(2 intermediate revisions by the same user not shown)
Line 1:
Line 1:
{{short description|Comic album by Belgian cartoonist Hergé}}
[[File:Coke en stock.png|alt=The Red Sea Sharks |thumb|The Red Sea Sharks]]
{{For|sharks of the Red Sea|List of sharks in the Red Sea}}
'''The Red Sea Sharks''' (French: ''Coke en Stock'') is the nineteenth volume of ''[[The Adventures of Tintin]]'', the [[comic series]] by Belgian [[cartoonist]] [[Hergé]]. Initially serialized weekly in Belgium's ''Tintin'' magazine from October 1956 to January 1958, it was later published as a collected volume by Casterman in 1958. The narrative follows [[Tintin (character)|Tintin]], his dog [[Snowy (character)|Snowy]], and [[Captain Haddock]] as they travel to the fictional Middle Eastern kingdom of Khemed. Their mission is to aid Emir Ben Kalish Ezab in regaining control of his kingdom following a coup orchestrated by his nemesis, Sheikh Bab El Ehr, with financial backing from slave traders led by Tintin's old adversary, Roberto Rastapopoulos.
{{Good article}}
{{Use dmy dates|date=December 2020}}
{{Use British English|date=August 2013}}
{{Infobox graphic novel
|title=The Red Sea Sharks
|foreigntitle=Coke en stock
|image=The Adventures of Tintin - 19 - The Red Sea Sharks.jpg
|alt=Tintin, Snowy, Haddock, and Skut are on a raft in the Red Sea, waving at us. We are viewing the scene through a telescope.
|origdate=31 October 1956 – 1 January 1958
|origisbn=<!-- ISBN was not created until 1965 -->
|transpublisher=[[Methuen Publishing|Methuen]]
|transdate=1960
|transisbn=<!-- ISBN was not created until 1965 -->
|translator={{plainlist|
*Leslie Lonsdale-Cooper
*Michael Turner}}
|previous=''[[The Calculus Affair]]''
|previous-date=1956
|next=''[[Tintin in Tibet]]''
|next-date=1960
}}
'''''The Red Sea Sharks''''' ({{langx|fr|link=no|'''Coke en stock'''}}) is the nineteenth volume of ''[[The Adventures of Tintin]]'', the comic series by Belgian cartoonist [[Hergé]]. The story was initially [[Serial (literature)|serialised]] weekly in Belgium's ''[[Tintin (magazine)|Tintin]]'' magazine from October 1956 to January 1958 before being published in a collected volume by [[Casterman]] in 1958. The narrative follows the young reporter [[Tintin (character)|Tintin]], his dog [[Snowy (character)|Snowy]], and his friend [[Captain Haddock]] as they travel to the fictional Middle Eastern kingdom of [[Khemed]] with the intention of aiding the Emir Ben Kalish Ezab in regaining control after a ''coup d'état'' by his enemies, who are financed by slave traders led by Tintin's old nemesis [[Rastapopoulos]].
The story serves as a continuation of ''The Calculus Affair'' and features a wide cast of characters from earlier adventures, inspired by Hergé's admiration for Honoré de Balzac's ''The Human Comedy''. Thematically, the story addresses the Red Sea slave trade, which was ongoing at the time of publication. Despite its critical acclaim as one of Tintin's best adventures, the book faced controversy in the 1960s over alleged racist depictions of Africans, prompting Hergé to make revisions in later editions.
Following on from the previous volume in the series, ''[[The Calculus Affair]]'', ''The Red Sea Sharks'' was created with the aid of Hergé's team of artists at [[Studios Hergé]]. Influenced by [[Honoré de Balzac]]'s ''[[La Comédie humaine|The Human Comedy]]'', Hergé used the story as a vehicle in which to reintroduce a wide range of characters who had first appeared in earlier instalments of the series. The story dealt with the trade of enslaved Africans across the Arab world, specifically the [[Red Sea slave trade]], which was ongoing at the time of its publication. However, in the 1960s the story generated controversy as Hergé was repeatedly accused of having portrayed the Africans in a racist manner. He was upset by these claims, and made alterations to the depiction of the Africans in later reprints. Hergé continued ''The Adventures of Tintin'' with ''[[Tintin in Tibet]]'', and the series as a whole became a defining part of the [[Franco-Belgian comics]] tradition. ''The Red Sea Sharks'' was critically well-received, with various commentators describing it as one of the best Tintin adventures. The story was adapted for both the 1991 [[Ellipse Programmé|Ellipse]]/[[Nelvana]] animated series ''[[The Adventures of Tintin (TV series)|The Adventures of Tintin]]'' and the 1992-3 [[BBC Radio 5 (former)|BBC Radio 5]] dramatisation of the ''Adventures''.
=== Plot Summary ===
Tintin and Captain Haddock encounter General Alcazar in Brussels, shortly before returning to Marlinspike Hall. There, they learn that Emir Ben Kalish Ezab has been overthrown by Sheikh Bab El Ehr, and that the Emir has sent his mischievous son, Abdullah, to Marlinspike for safekeeping. The detectives Thomson and Thompson inform Tintin that Alcazar is purchasing military aircraft from J.M. Dawson, who is also arming Bab El Ehr.
==Synopsis==
Realizing that restoring the Emir's power is the only way to send Abdullah home, Tintin, Haddock, and Snowy travel to Khemed. They survive an assassination attempt when a bomb destroys their plane, forcing an emergency crash landing. In the capital city of Wadeshah, they reunite with their old friend Oliveira da Figueira, who helps them escape to the Emir's mountain hideout. En route, they evade Bab El Ehr's forces, including armored vehicles and fighter planes commanded by "Mull Pasha," revealed to be Dr. Müller, another old nemesis.
In [[Brussels]], Tintin and Captain Haddock bump into an old acquaintance, [[General Alcazar]]. Returning to [[Marlinspike Hall]], they find that another acquaintance, the Emir of [[Khemed]], [[Mohammed Ben Kalish Ezab]], has been overthrown by his nemesis [[Sheikh]] [[Bab El Ehr]], and that the Emir has accordingly sent his son, the disobedient [[Abdullah (Tintin)|Abdullah]], to stay at Marlinspike for his own protection.{{sfn|Hergé|1960|pp=1–9}} The police detectives [[Thomson and Thompson]] visit, informing Tintin that Alcazar is seeking to purchase military aircraft from [[List of The Adventures of Tintin characters#Dawson|J. M. Dawson]]. After further investigation, Tintin discovers that Dawson has also sold military aircraft to Bab El Ehr.{{sfn|Hergé|1960|pp=9–14}}
Realising that the only way to be rid of Abdullah is to restore the Emir's control of Khemed, Tintin, Haddock, and their dog Snowy travel to the Middle Eastern country. However, the trio narrowly survive a bomb planted aboard the plane to kill them as a result of Dawson discovering that Tintin spied on him. Meanwhile, a fight breaks out between Haddock, the angry man and Tintin. The pilot had ordered to make an emergency crash landing. With the fire now extinguished and the evacuation of passengers from a burning plane, the trio are able to slip into the city of Wadeshah unobserved. There they meet an old friend, the [[Portugal|Portuguese]] merchant [[Oliveira da Figueira]], who helps them to escape the city and ride on horseback to the Emir's hideout. During the journey, they evade armoured cars and fighter planes ordered to intercept them by "Mull Pasha", who is actually Tintin's old nemesis, [[Dr. Müller]].{{sfn|Hergé|1960|pp=22–25}}
The Emir explains the ongoing slave trade in Khemed, orchestrated by the international businessman "Marquis di Gorgonzola." The traffickers deceive African pilgrims traveling to Mecca, enslaving them instead. Tintin and Haddock investigate by boarding a sambuk, only to be attacked by fighter planes. After downing one, they rescue the mercenary pilot, Piotr Skut, and are later picked up by di Gorgonzola's yacht, the ''Scheherazade''. Di Gorgonzola is revealed as Rastapopoulos.
Meanwhile back at Marlinspike Hall, Abdullah finds Nestor who is bound and gagged into a chair in a kitchen and [[Professor Calculus]] later turns up while roller-skating. Later, the Emir welcomes Tintin and Haddock. It then transpires, from the Emir's explanation, that there is an ongoing slave trade through Khemed that is operated by the international businessman called "the Marquis di Gorgonzola", who falsely offers transport to [[Islam in Africa|African Muslim]]s on the [[Hajj|pilgrimage to Mecca]], but then sells them into slavery somewhere along the journey.{{sfn|Hergé|1960|pp=26–32}} Tintin, Haddock and Snowy leave for the [[Red Sea]] coast and board a [[sambuk]] for Mecca, but are attacked by fighter planes. Tintin shoots one down and rescues its mercenary Estonian pilot, [[Piotr Skut]]. The four are picked up by di Gorgonzola's yacht, the ''Scheherazade'', but are soon offloaded onto the SS ''Ramona'', a [[tramp steamer]]. Di Gorgonzola, it turns out, is another of Tintin's previous adversaries, [[Roberto Rastapopoulos]].{{sfn|Hergé|1960|pp=32–41}}
Transferred to the tramp steamer ''SS Ramona'', a fire breaks out onboard, and the crew, led by Allan, flees, leaving the passengers behind. Haddock assumes command, extinguishing the fire and sending distress signals. They are rescued by the USS ''Los Angeles'', which pursues Rastapopoulos. Although Rastapopoulos fakes his death and escapes in a mini-submarine, Tintin and Haddock return to Belgium, where they learn that the Emir has reclaimed his throne. However, their peaceful return is interrupted by the antics of Jolyon Wagg, who has arranged an auto rally at Marlinspike Hall.
The ''Ramona'' is one of Rastapopoulos' slave trading ships, and when a fire breaks out aboard it during the night, the ship's commander [[Allan Thompson (comics)|Allan]] and his crew cowardly flee, leaving Tintin, Haddock, Snowy and Skut aboard along with a consignment of African slaves. With Haddock taking on the ship's captaincy, they are successfully able to put out the fire. However, Rastapopoulos orders a [[U-boat]] to destroy the ''Ramona'', with the ship taking evasive manoeuvres to survive, ultimately being rescued by a fighter from the cruiser [[USS Los Angeles (CA-135)|USS ''Los Angeles'']] after Tintin dispatches numerous distress calls. The ''Los Angeles'' chases down the ''Scheherazade'' and attempts to capture di Gorgonzola, but he fakes his own death and escapes via a mini-submarine.{{sfn|Hergé|1960|pp=32–59}} Tintin, Haddock and Snowy return to Belgium and learn that the Emir has recaptured Khemed and with the war now over at Khemed so that Abdullah can return home. Their relaxation is cut short by insurance salesman [[Jolyon Wagg]], who has arranged to use Marlinspike for an [[Rallying|auto rally]].{{sfn|Hergé|1960|pp=60–62}}
=== Background and Development ===
Hergé conceived ''The Red Sea Sharks'' after reading an article about the ongoing slave trade in the Arab world. The article detailed the enslavement of African pilgrims during their journey to Mecca. Hergé incorporated these themes into the story, using "coke" as a codeword for enslaved people in the original French title, ''Coke en Stock''.
==History==
Inspired by Balzac's use of recurring characters, Hergé reintroduced numerous figures from earlier adventures, including [[Dr. Müller]] (''The Black Island''), Allan (''The Crab with the Golden Claws''), and Oliveira da Figueira (''Cigars of the Pharaoh''). New characters, such as the Estonian pilot Piotr Skut, added depth to the narrative. The story also references real-world locations, such as Petra’s Al Khazneh, which inspired the Emir's hideout.
===Background and publication===
Hergé was inspired to develop the plot for ''The Red Sea Sharks'' after reading a magazine article detailing the continued existence of the slave trade within the Arab world, in which it was claimed that African pilgrims headed to Mecca were being enslaved during the journey. {{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Lofficier|2a2=Lofficier|2y=2002|2p=71|3a1=Assouline|3y=2009|3p=177|4a1=Goddin|4y=2011|4p=72}}
One of the routes that supplied the [[Red Sea slave trade]] where hajj pilgrims,<ref>Miers, Suzanne (2003). Slavery in the Twentieth Century: The Evolution of a Global Problem. Rowman Altamira. ISBN 978-0-7591-0340-5.p88-90</ref> and the Red Sea Slave trade was still ongoing in the 1950s, [[slavery in Saudi Arabia]] and [[Slavery in Yemen|in Yemen]] being banned in 1962, [[slavery in Dubai]] in 1963 and [[Slavery in Oman|in Oman]] in 1970. Hergé included a reference to this slave trade in the story's original French title, ''Coke en Stock'' ("Coke on Board"), which referred to the slave smuggler's use of "[[coke (fuel)|coke]]" as a codeword for the enslaved people. {{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Farr|2y=2001|2p=152|3a1=Lofficier|3a2=Lofficier|3y=2002|3p=70|4a1=Goddin|4y=2011|4p=74}}
[[File:Al Khazneh (The Treasury) (12293839934).jpg|thumb|left|The Treasury (''Al Khazneh'') in Petra depicted in the book]]
Hergé and his team at Studios Hergé meticulously researched the technical aspects of the story. For the ''Ramona'', Hergé and his assistant Bob de Moor sailed aboard a Swedish cargo ship, the MS ''Reine Astrid'', to create accurate depictions. The ''Scheherazade'' was modeled after the yacht of Greek magnate Aristotle Onassis.
Before writing the story, Hergé had read ''Balzac et son monde'' ("Balzac and His World"), a 1955 book written by his friend [[Félicien Marceau]].{{sfnm|1a1=Goddin|1y=2011|1p=63|2a1=Peeters|2y=2012|2p=256}} Intrigued by the work of [[Honoré de Balzac]], Hergé was inspired by how Balzac kept reusing characters from his previous stories and he subsequently adopted this trait for ''The Red Sea Sharks'', in which a wide range of characters from ''The Adventures of Tintin'' make a reappearance.{{sfnm|1a1=Farr|1y=2001|1p=151|2a1=Peeters|2y=2012|2p=256}} Hergé also introduced a new character, the Estonian pilot Piotr Skut, who would later reappear in ''[[Flight 714 to Sydney]]''.{{sfn|Farr|2001|p=151}}
=== Controversy and Revisions ===
In the 1960s, ''The Red Sea Sharks'' was criticized for its portrayal of Africans, particularly their simplified language, which some viewed as racist. Hergé, who had previously faced similar allegations for ''[[Tintin in the Congo]]'', was deeply affected by these accusations. For the 1967 reprint, he revised the dialogue to give the African characters more grammatically accurate speech, though Haddock’s use of pidgin remained unchanged.
To produce accurate illustrations for the ''Ramona'', Hergé and his assistant [[Bob de Moor]] travelled aboard a Swedish cargo vessel, the MS ''Reine Astrid'', from [[Antwerp]] to [[Gothenburg]] and back, during which they took photographs and drew sketches.{{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Farr|2y=2001|2p=155, 157|3a1=Goddin|3y=2011|3pp=79–80}} Hergé had also collected press clippings depicting the ''[[Christina O|Christina]]'', a motor yacht owned by the Greek shipping magnate [[Aristotle Onassis]], and used them as the basis for his depiction of Rastapopoulos' ship, the ''Sheherezade''.{{sfn|Farr|2001|p=158}}
Additionally, Hergé altered the Emir’s letter to Tintin, adopting a more elaborate and poetic style. He also expressed regret over depicting the killing of a shark in the story, later admitting he had misunderstood the animal’s nature at the time.[[File:Al Khazneh (The Treasury) (12293839934).jpg|thumb|The Treasury (''Al Khazneh'') in Petra depicted in the book]]
The aircraft, cars, and machinery that appear in the story were drawn by [[Roger Leloup]], one of the members of the [[Studios Hergé]].{{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Farr|2y=2001|2p=157}} In one scene in the latter part of the story, Hergé included a
[[frogman]], whose depiction was drawn from a press clipping of [[Lionel Crabb]]. {{sfn|Farr|2001|pp=157–158}} His depiction of the Emir's hideaway palace cut from the rock was based on the [[Al Khazneh]] in [[Petra]], Jordan, which he had seen in an issue of ''[[National Geographic (magazine)|National Geographic]]''.{{sfnm|1a1=Thompson|1y=1991|1p=166|2a1=Farr|2y=2001|2p=152|3a1=Goddin|3y=2011|3p=82}}
Hergé's growing interest in art was reflected in the story, as he included a copy of [[Alfred Sisley]]'s ''[[The Canal du Loing (painting)|Le Canal du Loing]]'' at Marlinspike Hall.{{sfnm|1a1=Farr|1y=2001|1p=158|2a1=Goddin|2y=2011|2p=82}} He also included paintings by [[Pablo Picasso]] and [[Joan Miró]] aboard Rastapopolous' ''Scheherazade''.{{sfn|Farr|2001|p=158}} Muller's pseudonym in the story, Mull Pasha, was based upon the British soldier [[John Bagot Glubb|Glubb Pasha]].{{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Farr|2y=2001|2p=152}} The character of Piotr Skut was based on {{ill|Remi Milk|et}}, an Estonian pilot who escaped to Sweden from Estonia in an Arado floatplane.{{sfn|JSS Gallery|2011}} In the final scene, Hergé included cameos of both himself and his friend and colleague [[Edgar P. Jacobs]]. {{sfn|Farr|2001|p=155}}
=== Themes and Analysis ===
The story began serialisation in Belgium's ''Tintin'' magazine in October 1956,{{sfn|Lofficier|Lofficier|2002|p=70}} before being serialised in the French edition of the magazine in December.{{sfn|Lofficier|Lofficier|2002|p=70}} It was then published in book form by Casterman in 1958.{{sfn|Lofficier|Lofficier|2002|p=70}} Upon the story's British publication in 1960, ''Coke en Stock'' was renamed ''The Red Sea Sharks''.{{sfnm|1a1=Farr|1y=2001|1p=152|2a1=Goddin|2y=2011|2p=74}}
==== Political and Social Commentary ====
''The Red Sea Sharks'' explores themes of political instability, the commodification of human life, and Western complicity in global injustices. Rastapopoulos, representing the global market, exploits both human lives and political alliances for personal gain. Critics have noted parallels between the Emir's alliances and Western governments’ relationships with authoritarian regimes.
===Racism allegations and alterations===
==== Character Dynamics ====
Hergé had been accused of exhibiting a racist attitude toward Africans in an earlier story, ''[[Tintin in the Congo]]'', and potentially hoped to exonerate himself from such criticism by depicting Tintin and Haddock freeing African slaves in ''The Red Sea Sharks''.{{sfn|Farr|2001|p=152}} In preparing the latter story he had consulted a colleague who worked for an African-themed magazine, ''[[L'Afrique et le Monde]]'' ("Africa and the World"); they translated some of the passages that Hergé wished to include in the story into [[Yoruba language|Yoruba]].{{sfn|Goddin|2011|p=93}} However, in January 1962 an article in the magazine ''[[Jeune Afrique]]'' criticised Hergé for a racist depiction of Africans in the story,{{sfnm|1a1=Peeters|1y=1989|1pp=106–107|2a1=Thompson|2y=1991|2p=166|3a1=Farr|3y=2001|3p=152}} an accusation that would be echoed in other publications.{{sfnm|1a1=Peeters|1y=1989|1p=106|2a1=Thompson|2y=1991|2p=166}} These claims focused on the African characters' simplistic use of [[pidgin]] language, which was similar to the speech patterns used in ''Tintin in the Congo''.{{sfn|Peeters|1989|p=107}}
The story functions as a "family reunion" of Tintin characters, blending nostalgia with a more mature tone. Critics noted that this crowded narrative left little room for regulars like Professor Calculus and the Thompson twins. Piotr Skut, while introduced as a new character, was described as a minor supporting figure.
:African: "You speak well, Effendi. Wicked Arab, very wicked. Poor black men do not want to be slaves. Poor black men want to go to Mecca".
=== Reception ===
:Haddock: "Naturally, I realise that. But I repeat if you go there, you'll be sold as slaves. Is that what you want?"
''The Red Sea Sharks'' was widely praised upon publication. Critics lauded its intricate plot, mature themes, and sharp political commentary. Benoît Peeters called it "complex, ambiguous, even labyrinthine," noting its retrospective quality as Hergé revisited earlier characters and themes. Harry Thompson described it as "a first-rate thriller," and the Lofficiers rated it four out of five, praising its realism and political undertones.
:African: "We not slaves, Effendi. We good Muslims. We want to go to Mecca".{{sfn|Peeters|1989|p=107}}
Hergé biographer Benoît Peeters expressed the view that "for the most part these attacks were extremely unfair".{{sfn|Peeters|1989|p=107}}
However, the story’s conclusion was criticized as rushed. Later commentators viewed it as a transitional work, bridging the action-adventure tone of earlier volumes with the introspective nature of ''[[Tintin in Tibet]]''.
Hergé was emotionally affected by the accusations, and made changes to the book for its 1967 reprint accordingly; here he changed the Africans' speech patterns, giving them improved grammar.{{sfnm|1a1=Peeters|1y=1989|1p=107|2a1=Thompson|2y=1991|2p=167|3a1=Farr|3y=2001|3p=155}}
However, he left Haddock speaking pidgin in response to the Africans. {{sfn|Peeters|1989|p=107}}
For this version, he also made changes to the Emir's letter to Tintin; the former version had been formal in its prose, saying "Most esteemed and well-beloved friend, I entrust to you my son Abdullah, to improve his English. Here the situation is serious. Should any misfortune befall me I count on you, my friend, to care for Abdullah". In Hergé's revised edition, he adopts a more florid prose style: "This is to tell you, oh highly esteemed friend, that I entrusted to you Abdullah, my adored son. Because here the situation is serious. Should misfortune descend on me like the hawk on an innocent gazelle (for the world is made of life and death) I am sure that Abdullah will find you with warmth and affection, refuge and peace. And in doing this you will be performing a fragrant act before [[God in Islam|Allah]]".{{sfnm|1a1=Peeters|1y=1989|1p=107|2a1=Farr|2y=2001|2p=155}}
=== Adaptations and Legacy ===
In 1991, ''The Red Sea Sharks'' was adapted as part of the Ellipse/Nelvana animated series, praised for its fidelity to Hergé's original artwork. It was also dramatized for BBC Radio 5 in 1992-1993.
Hergé also expressed regret that he depicted the death of a shark in the story, later stating that "I still believed that sharks were big evil beasts" when writing ''The Red Sea Sharks''.{{sfn|Farr|2001|p=155}}
The story remains a hallmark of ''The Adventures of Tintin'', exemplifying Hergé’s ability to blend humor, action, and social commentary. It is regarded as a key work in the series, representing the culmination of Hergé's "golden age."
==Critical analysis==
{{Quote box|width=25em|align=right|quote="[In ''The Red Sea Sharks''], total confusion puts an end to the [[Manichaenism]] of the opening adventures. The former opposition between Good and Evil now becomes the opposition between the private and the public. Unable to judge such a complex world, Tintin prefers to withdraw from it. He reluctantly takes on this adventure as a traveler without baggage and spends little time with people he formerly would have gotten to know quite well".|source=— [[Jean-Marie Apostolidès]]{{sfn|Apostolidès|2010|p=200}} }}
Commenting on the inclusion of a wide range of characters from ''The Adventures of Tintin'', [[Harry Thompson]] referred to the story as "a Tintin family reunion", commenting that it was "a story unusually full of the type of people Captain Haddock liked to avoid".{{sfn|Thompson|1991|p=164}} Michael Farr believed that in reviving so many older characters, Hergé had given ''The Red Sea Sharks'' "a marked retrospective quality".{{sfn|Farr|2001|p=151}} [[Jean-Marc Lofficier]] and Randy Lofficier felt that the "crowded" nature of the story left little room for series regulars [[Professor Calculus]] or Thomson and Thompson, and resulted in the new character of Skut serving only as "a nice supporting character, but nothing more".{{sfn|Lofficier|Lofficier|2002|p=71}} The Lofficiers stated that "Hergé was doing some house-cleaning of his past works and characters before embarking on something more serious and with more personal resonance", ''[[Tintin in Tibet]]''.{{sfn|Lofficier|Lofficier|2002|p=72}}
Hergé biographer [[Benoît Peeters]] described ''The Red Sea Sharks'' as a "complex, ambiguous, even labyrinthine" story which was "undoubtedly the book in which Hergé ventured furthest into the creation of his own universe".{{sfn|Peeters|2012|p=256}} He thought that "Hergé enters a new phase" with ''The Red Sea Sharks'', as its author "seems to know his family of characters better and better, and he enjoys playing with them and his reader".{{sfn|Peeters|1989|p=106}} Peeters noted that the book was "in some respects a continuation" of ''[[Land of Black Gold]]'',{{sfn|Peeters|1989|p=105}} an assessment shared by Thompson, the Lofficiers, and Farr, all of whom described it as a partial sequel to the earlier book.{{sfnm|1a1=Thompson|1y=1991|1p=165|2a1=Farr|2y=2001|2p=151|3a1=Lofficier|3a2=Lofficier|3y=2002|3p=71}} Thompson added that ''The Red Sea Sharks'' "atoned for the relative failure" of ''Land of Black Gold'',{{sfn|Thompson|1991|p=165}} believing that although it had a "rather hasty finish", it was "a first-rate thriller".{{sfn|Thompson|1991|p=166}} The Lofficiers awarded it four out of five,{{sfn|Lofficier|Lofficier|2002|p=72}} stating that it was "very effective as a modern political thriller and far more believable than ''The Calculus Affair''".{{sfn|Lofficier|Lofficier|2002|p=71}} They also opined that it provided an effective political commentary on the West's relationship with the Arab world. In their analysis, Tintin and Haddock seek to aid the Emir not because he is a good leader, but for their own selfish purposes (to get Abdullah out of Marlinspike), just as Western governments and corporations build alliances with Arab leaders guilty of human rights abuses in order to benefit their own interests.{{sfn|Lofficier|Lofficier|2002|p=72}}
Thompson felt that the inclusion of slavery as a key theme led to this book being "one of Hergé's more adult-oriented adventures".{{sfn|Thompson|1991|p=165}} Nevertheless, Farr noted that the story contained "a good measure of humour" to balance out these darker elements.{{sfn|Farr|2001|p=158}} Farr drew comparisons with [[Anthony Powell]]'s ''[[A Dance to the Music of Time]]'', a series of novels that was contemporary to ''The Red Sea Sharks'' and which was similarly inspired by Balzac's ''The Human Comedy''.{{sfn|Farr|2001|p=151}} Hergé biographer [[Pierre Assouline]] believed that ''The Red Sea Sharks'' represented "the culmination of his golden age", which had begun with ''[[The Blue Lotus]]''.{{sfn|Assouline|2009|p=179}} He also commented that "it almost seemed as if Hergé had regained the pace and rhythm of his most creative period" with this story.{{sfn|Assouline|2009|p=177}}
In his [[psychoanalysis|psychoanalytical]] study of ''The Adventures of Tintin'', the [[literary criticism|literary critic]] [[Jean-Marie Apostolidès]] expressed the view that ''The Red Sea Sharks'' reflected a world in which traditional values have been degraded and everything – including human life – has become a commodity.{{sfn|Apostolidès|2010|p=201}} He added that Rastapopoulos becomes "the embodiment of the global market" in this story, tying together all of the other characters and therefore replacing Tintin as the figure "at the centre of the universe".{{sfn|Apostolidès|2010|p=200}} Apostolidès opined that ''The Red Sea Sharks'' amplifies "the theme of the general equivalence of everything" that is present in the series, serving as "a kind of retrospective" by introducing old characters and establishing new relationships between them.{{sfn|Apostolidès|2010|p=200}} He believed that the theme of the [[mirage]] pervaded the story, appearing repeatedly in such forms as Abdullah's [[cuckoo clock]] which concealed a water squirter and the pseudonyms employed by the various characters throughout the narrative.{{sfn|Apostolidès|2010|pp=200–201}} The literary critic [[Tom McCarthy (novelist)|Tom McCarthy]] stated that ''The Red Sea Sharks'' exhibited a number of themes that recurred throughout ''The Adventures of Tintin''. He believed that a scene in which one of Bab El Ehr's men spies on the Emir in his mountain hideaway reflected a wider theme of eavesdropping that features throughout the series.{{sfn|McCarthy|2006|p=26}} McCarthy also highlighted Tintin's actions in returning Abdullah to Khemed, expressing the view that it is part of a wider running theme throughout the series in which the hero takes abandoned children to their home; other instances included Tintin's discovery of an adoptive family for the orphan [[Chang Chong-Chen]] in ''[[The Blue Lotus]]'' and the delivery of the lost gypsy child Miarka to her family in ''[[The Castafiore Emerald]]''.{{sfn|McCarthy|2006|p=69}}
== Adaptations ==
In 1991, a collaboration between the French studio [[Ellipse Programme|Ellipse]] and the Canadian animation company [[Nelvana]] adapted 21 of the stories – among them ''The Red Sea Sharks'' – into a series of episodes, each 42 minutes long. Directed by Stéphane Bernasconi, the series has been praised for being "generally faithful", with compositions having been actually directly taken from the panels in the original comic book.{{sfn|Lofficier|Lofficier|2002|p=90}}
==References==
==References==
<references />
===Footnotes===
{{reflist|30em}}
===Bibliography===
{{refbegin|30em}}
* {{cite book |title=The Metamorphoses of Tintin, or Tintin for Adults |last=Apostolidès |first=Jean-Marie |author-link=Jean-Marie Apostolidès |others=Jocelyn Hoy (translator) |year=2010 |orig-year=2006 |publisher=Stanford University Press |location=Stanford |isbn=978-0-8047-6031-7 |url=https://books.google.com/books?id=GiktoScv17oC }}
* {{cite book |title=Hergé, the Man Who Created Tintin |last=Assouline |first=Pierre |author-link=Pierre Assouline |others=Charles Ruas (translator) |year=2009 |orig-year=1996 |publisher=Oxford University Press |location=Oxford and New York |isbn=978-0-19-539759-8 |url=https://books.google.com/books?id=YsyEMjvdYJgC }}
* {{cite book |title=Tintin: The Complete Companion |last=Farr |first=Michael |author-link=Michael Farr |year=2001 |publisher=John Murray |location=London |isbn=978-0-7195-5522-0 |url=https://books.google.com/books?id=DcytngEACAAJ }}
* {{cite book |title=The Art of Hergé, Inventor of Tintin: Volume 3: 1950–1983 |last=Goddin |first=Philippe |author-link=Philippe Goddin |others=Michael Farr (translator) |year=2011 |publisher=Last Gasp |location=San Francisco |isbn=978-0-86719-763-1 |url=https://books.google.com/books?id=Dk4CaAEACAAJ }}
* {{cite book |title=The Red Sea Sharks |last=Hergé |author-link=Hergé |year=1960 |orig-year=1958 |others=Leslie Lonsdale-Cooper and Michael Turner (translators) |publisher=Egmont |location=London |isbn=978-1-4052-0818-5 |url=https://books.google.com/books?id=KCoEAQAACAAJ }}
* {{cite book |title=Tintin and the Secret of Literature |last=McCarthy |first=Tom |author-link=Tom McCarthy (novelist) |year=2006 |publisher=Granta |location=London |isbn=978-1-86207-831-4 |url=https://books.google.com/books?id=T-UbAQAAIAAJ }}
* {{cite book |title=Tintin and the World of Hergé |last=Peeters |first=Benoît |author-link=Benoît Peeters |year=1989 |publisher=Methuen Children's Books |location=London |isbn=978-0-416-14882-4 |url=https://books.google.com/books?id=P97GQgAACAAJ }}
* {{cite book |title=Hergé: Son of Tintin |last=Peeters |first=Benoît |author-link=Benoît Peeters |others=Tina A. Kover (translator) |year=2012 |orig-year=2002 |publisher=Johns Hopkins University Press |location=Baltimore, Maryland |isbn=978-1-4214-0454-7 |url=https://books.google.com/books?id=eS5v-F04AoQC }}
* {{cite book |title=Tintin: Hergé and his Creation |last=Thompson |first=Harry |author-link=Harry Thompson |year=1991 |publisher=Hodder and Stoughton |location=London |isbn=978-0-340-52393-3 |url=https://books.google.com/books?id=NDX5TmISfYUC }}
* {{cite web |date=1 November 2011 |title=Tintin, Estland och Arado |trans-title=Tintin, Estonia and Arado |work=JSS Gallery |language=sv |url=http://lae.blogg.se/2011/november/apropa.html |access-date=11 August 2012 |ref={{sfnref|JSS Gallery|2011}} }}
{{refend}}
==External links==
==External links==
*[http://en.tintin.com/albums/show/id/43/page/0/0/the-red-sea-sharks ''The Red Sea Sharks''] at the Official Tintin Website
*[http://en.tintin.com/albums/show/id/43/page/0/0/the-red-sea-sharks ''The Red Sea Sharks''] at the Official Tintin Website
*[http://www.tintinologist.org/guides/books/19redsea.html ''The Red Sea Sharks''] at Tintinologist.org
*[http://www.tintinologist.org/guides/books/19redsea.html ''The Red Sea Sharks''] at Tintinologist.org
{{Tintin and Hergé}}
{{Portal bar|Belgium|Comics}}
{{DEFAULTSORT:Red Sea Sharks, The}}
{{DEFAULTSORT:Red Sea Sharks, The}}
Latest revision as of 15:38, 28 December 2024
The Red Sea Sharks
The Red Sea Sharks (French: Coke en Stock) is the nineteenth volume of The Adventures of Tintin, the comic series by Belgian cartoonistHergé. Initially serialized weekly in Belgium's Tintin magazine from October 1956 to January 1958, it was later published as a collected volume by Casterman in 1958. The narrative follows Tintin, his dog Snowy, and Captain Haddock as they travel to the fictional Middle Eastern kingdom of Khemed. Their mission is to aid Emir Ben Kalish Ezab in regaining control of his kingdom following a coup orchestrated by his nemesis, Sheikh Bab El Ehr, with financial backing from slave traders led by Tintin's old adversary, Roberto Rastapopoulos.
The story serves as a continuation of The Calculus Affair and features a wide cast of characters from earlier adventures, inspired by Hergé's admiration for Honoré de Balzac's The Human Comedy. Thematically, the story addresses the Red Sea slave trade, which was ongoing at the time of publication. Despite its critical acclaim as one of Tintin's best adventures, the book faced controversy in the 1960s over alleged racist depictions of Africans, prompting Hergé to make revisions in later editions.
Plot Summary
Tintin and Captain Haddock encounter General Alcazar in Brussels, shortly before returning to Marlinspike Hall. There, they learn that Emir Ben Kalish Ezab has been overthrown by Sheikh Bab El Ehr, and that the Emir has sent his mischievous son, Abdullah, to Marlinspike for safekeeping. The detectives Thomson and Thompson inform Tintin that Alcazar is purchasing military aircraft from J.M. Dawson, who is also arming Bab El Ehr.
Realizing that restoring the Emir's power is the only way to send Abdullah home, Tintin, Haddock, and Snowy travel to Khemed. They survive an assassination attempt when a bomb destroys their plane, forcing an emergency crash landing. In the capital city of Wadeshah, they reunite with their old friend Oliveira da Figueira, who helps them escape to the Emir's mountain hideout. En route, they evade Bab El Ehr's forces, including armored vehicles and fighter planes commanded by "Mull Pasha," revealed to be Dr. Müller, another old nemesis.
The Emir explains the ongoing slave trade in Khemed, orchestrated by the international businessman "Marquis di Gorgonzola." The traffickers deceive African pilgrims traveling to Mecca, enslaving them instead. Tintin and Haddock investigate by boarding a sambuk, only to be attacked by fighter planes. After downing one, they rescue the mercenary pilot, Piotr Skut, and are later picked up by di Gorgonzola's yacht, the Scheherazade. Di Gorgonzola is revealed as Rastapopoulos.
Transferred to the tramp steamer SS Ramona, a fire breaks out onboard, and the crew, led by Allan, flees, leaving the passengers behind. Haddock assumes command, extinguishing the fire and sending distress signals. They are rescued by the USS Los Angeles, which pursues Rastapopoulos. Although Rastapopoulos fakes his death and escapes in a mini-submarine, Tintin and Haddock return to Belgium, where they learn that the Emir has reclaimed his throne. However, their peaceful return is interrupted by the antics of Jolyon Wagg, who has arranged an auto rally at Marlinspike Hall.
Background and Development
Hergé conceived The Red Sea Sharks after reading an article about the ongoing slave trade in the Arab world. The article detailed the enslavement of African pilgrims during their journey to Mecca. Hergé incorporated these themes into the story, using "coke" as a codeword for enslaved people in the original French title, Coke en Stock.
Inspired by Balzac's use of recurring characters, Hergé reintroduced numerous figures from earlier adventures, including Dr. Müller (The Black Island), Allan (The Crab with the Golden Claws), and Oliveira da Figueira (Cigars of the Pharaoh). New characters, such as the Estonian pilot Piotr Skut, added depth to the narrative. The story also references real-world locations, such as Petra’s Al Khazneh, which inspired the Emir's hideout.
Hergé and his team at Studios Hergé meticulously researched the technical aspects of the story. For the Ramona, Hergé and his assistant Bob de Moor sailed aboard a Swedish cargo ship, the MS Reine Astrid, to create accurate depictions. The Scheherazade was modeled after the yacht of Greek magnate Aristotle Onassis.
Controversy and Revisions
In the 1960s, The Red Sea Sharks was criticized for its portrayal of Africans, particularly their simplified language, which some viewed as racist. Hergé, who had previously faced similar allegations for Tintin in the Congo, was deeply affected by these accusations. For the 1967 reprint, he revised the dialogue to give the African characters more grammatically accurate speech, though Haddock’s use of pidgin remained unchanged.
Additionally, Hergé altered the Emir’s letter to Tintin, adopting a more elaborate and poetic style. He also expressed regret over depicting the killing of a shark in the story, later admitting he had misunderstood the animal’s nature at the time.
The Treasury (Al Khazneh) in Petra depicted in the book
Themes and Analysis
Political and Social Commentary
The Red Sea Sharks explores themes of political instability, the commodification of human life, and Western complicity in global injustices. Rastapopoulos, representing the global market, exploits both human lives and political alliances for personal gain. Critics have noted parallels between the Emir's alliances and Western governments’ relationships with authoritarian regimes.
Character Dynamics
The story functions as a "family reunion" of Tintin characters, blending nostalgia with a more mature tone. Critics noted that this crowded narrative left little room for regulars like Professor Calculus and the Thompson twins. Piotr Skut, while introduced as a new character, was described as a minor supporting figure.
Reception
The Red Sea Sharks was widely praised upon publication. Critics lauded its intricate plot, mature themes, and sharp political commentary. Benoît Peeters called it "complex, ambiguous, even labyrinthine," noting its retrospective quality as Hergé revisited earlier characters and themes. Harry Thompson described it as "a first-rate thriller," and the Lofficiers rated it four out of five, praising its realism and political undertones.
However, the story’s conclusion was criticized as rushed. Later commentators viewed it as a transitional work, bridging the action-adventure tone of earlier volumes with the introspective nature of Tintin in Tibet.
Adaptations and Legacy
In 1991, The Red Sea Sharks was adapted as part of the Ellipse/Nelvana animated series, praised for its fidelity to Hergé's original artwork. It was also dramatized for BBC Radio 5 in 1992-1993.
The story remains a hallmark of The Adventures of Tintin, exemplifying Hergé’s ability to blend humor, action, and social commentary. It is regarded as a key work in the series, representing the culmination of Hergé's "golden age."
_(12293839934).jpg)