Follow the link for more information. Tintin and Snowy are following a cigars of the Pharaoh PDF within an Egyptian tomb.
Rudely interrupted from their holiday cruise, Tintin and Snowy suddenly find themselves embroiled in a dangerous gun-running, smuggling adventure! Dr Sarcophagus has uncovered the lost tomb of Kih-Oskh, but Tintin must discover the meaning behind the Pharaoh’s strange symbol, before it’s too late.
The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. Following the publication of Tintin in America, Hergé had been keen to produce a mystery story, and had been inspired by the tabloid speculation surrounding an alleged Curse of the Pharaohs following the 1922 discovery of the tomb of Tutankhamun. Holidaying on a Mediterranean cruise ship, Tintin and his dog Snowy meet wealthy film director Rastapopoulos and eccentric Egyptologist Sophocles Sarcophagus. However, when the army storms their hideout, Tintin manages to elude the policemen.
Boarding a plane, he escapes Arabia but runs out of fuel over India, crashing into the jungle. He discovers Sarcophagus, who has become insane as the result of being injected with Rajaijah juice, „the poison of madness“. Tintin is hypnotised by a fakir and institutionalised in an asylum, which he soon escapes. The Taijitu symbol and the Kih-Oskh symbol. For his fourth Adventure, Hergé was eager to write a mystery story.
The 1930s saw mystery novels flourish across Western Europe with the success of authors like Agatha Christie and Ellery Queen. Hergé took influence from the published works of French adventurer and gunrunner Henry de Monfreid, particularly his books Secrets of the Red Sea and The Hashish Cruise. Having lived through the First World War, Hergé disliked arms dealers, and used Monfreid as the basis for the gunrunner character in Cigars. On 24 November 1932, Le Petit Vingtième published a fictional interview between Jamin and Tintin in which the reporter announced that he would be travelling to China via Egypt, India, Ceylon, and Indochina. Cigars of the Pharaoh saw the introduction of several characters who would gain a recurring role in The Adventures of Tintin.
The most notable are the two detectives, who were initially called „Agent X33 and Agent X33 bis. The series introduced Tintin’s adversary Roberto Rastapopoulos in Cigars of the Pharaoh, here depicted as a famous Hollywood film director. It is only in the successor volume, The Blue Lotus, that he is also revealed as the head of an international criminal organisation. Hergé thought it was hilarious and decided to use it. It was during the serialisation of Cigars that Wallez was embroiled in a scandal after he was accused of defaming the Bureau of Public Works. The accusation resulted in a legal case being brought against the newspaper, and in response its owners demanded Wallez’s resignation, which was tended in August 1933.
Comparisons of the same scene from the 1934 and 1955 versions of the comic. In cutting down the length of the story, Hergé removed various isolated scenes that added nothing to the development of the plot, such as those in which Tintin confronts a bat, a crocodile, and snakes. Casterman republished the original black-and-white version in 1979 in a French-language collected volume with The Blue Lotus and The Broken Ear, the second part of the Archives Hergé collection. In 1983, they then published a facsimile version of the original. Jean-Marc and Randy Lofficier considered Cigars of the Pharaoh to be graphically between Tintin in America and The Blue Lotus, as Hergé was expanding his „visual vocabulary“ and making use of „unforgettable moments“ such as the dream sequence in the tomb. Photograph of a middle-aged man speaking into a microphone. Hergé biographer Benoît Peeters considered Cigars of the Pharaoh to be the first of The Adventures of Tintin to exhibit „narrative unity.
Harry Thompson considered Cigars of the Pharaoh „almost completely unrecognisable from its predecessors“, praising its „inspired comic characters“ and „observed character comedy“, which he thought escaped the sheer slapstick evident in the earlier Adventures. Hergé biographer Benoît Peeters thought that with Cigars, Hergé was engaging in the „novelesque“, and that the opening scene had echoes of Rodolphe Töpffer’s Mr Pencil. He also thought it the first of the Adventures to have a „semblance“ or „narrative unity. Cigars of the Pharaoh was adapted into a 1991 episode of The Adventures of Tintin television series by French studio Ellipse and Canadian animation company Nelvana.