#find the target audience little post

[the-mother-of-lions]

MAMMALS | episode two

[gingerswagfreckles]

Mildly annoyed by the sudden slew of posts complaining about queer coming of age stories without any self awareness over the fact that the poster is not the target audience. "I don't want to see another movie about a teenage boy discovering his sexuality and navigating his identity and experiencing high school romance" yes babe that's because those movies are targeted at 15 yead olds and you are 28.

[melobin]

^.^

[tekablade-chronicles-3]

Hey uh Metaphor soldiers you might want to be looking out for this. This is a really big deal ( mostly just to me ) !!!

Archipel is hands-down my favorite documentary channel, and for good reason ! They have astounding quality in visuals and audio, and their interviews are fantastic with great tone and pacing. They're focused on japanese creators in a good range of creative fields, and they've covered Persona, Catherine, Hashino-san and Soejima-san before ! ( though for some reason i never even entertained the notion of them doing one on Metaphor, and I AM GOING INSANE YOU DON'T EVEN KNOW )

And best of all : their documentaries are available for free on youtube !! I highly recommend them, they're very inspiring !

The "and more" part has me really excited... It would be great for them to speak to Kazuma Koda ( from Nier ) and Ikuto Yamashita ( from Neon Genesis EVANGELION ) ! They could even get a cheeky comment from Yoko Taro ( who they've worked with before as well ! ) just for the sake of it !!

Ohhhhhhh it's gonna be so good !!! ^ normal feelings about a 10 to 40 minutes-long documentary that will not be released for many months yet to come

[agrebel18]

“If We Have Each Other” by Alec Benjamin straight up matches Luz and Hunter’s relationship from Hunting Palismen - Thanks To Them, and especially if you see them as siblings!

[dragonfruitghosts]

I really need to post more about my selfship stuff

the issue is that I am full of anxiety for no good reason

I’ll probably get to posting most of my s/i’s at some point unless the ship involves fictionkin shenanigans then at that point I’m kinda fucked lmao

[st0rmy-fr]

Gay 🫵

[exisntidonot]

So I was googling old tv shows I used to watch, procrastinating on my homework, and guess what show popped into my head, after not seeing it for a very, very, very long time?

The haunting hour.

I only remember that show because it used to be on YTV, at like, 10-11 o'clock at night, and I would watch it. I was really obsessed with the show, even though I barely understood what was going on.

And the nightmares. I used to get really, really bad nightmares after I watched the show, and after like 3 months of me watching it, and getting nightmares of it, my mom enforced a screen-time limit, mainly for shows after 9:00.

And I remember that show so damn much, mainly because of the body horror stuff, and how freaked out I was over it.

Anyways, one of my most vivid memories of the show was this one about this kid who was obsessed with ancient egypt stuff gets frickin. sucked back into time to be essentially another person's body or something??

And I googled it I googled rl stine show ancient egypt and I finally found the name of it. I'm gonna watch that episode, and get me a bit of nostogia

[watercolorwanderer]

The car alarm goes off incessantly. I kick the speakers. My shoes don’t fit. These clothes are my brother’s, my hands are my mom’s more than they are mine and she never feels in control. I don’t know how to apologize for all these things I didn’t do. They haven’t caught me yet but I’m on death row. I’m not afraid to die but I’m afraid my last meal will be sourdough and cheap wine. I swear I’m not hungover. I don’t know when I last spoke but I’ve been laughing. I haven’t been smoking but I can’t look people in the eyes. I watched that movie everyone recommended but I think I related to the wrong character. I think I’m a real person for now but I keep forgetting how to breathe. In, out, in, out, I can’t breathe. I don’t know what you did today. I want a cigarette. I still think about that afternoon. I’m scared for the summer. I wanna ask you to teach me how to breathe but I don’t know how to ask you how your day was. I’m scared for myself. I took the batteries out of my smoke alarms but I keep waking to the sound of them in the night. I’m trying to tell you I don’t make promises but my voice sounds like stars in a light polluted city and I tell you that I’m sorry instead. How have you been sleeping? I’m scared of myself. I can’t see the stars. The car alarm goes off incessantly. These aren’t my hands. I need a cigarette. Can you hear me? I don’t make promises. How was your day?

[lilislegacy]

Okay, I’m so gonna get hate for this. And it will probably get about 4 notes. This is, by far, the most opinionated thing I have ever posted on here. If you can’t tolerate criticism towards Rick Riordan, the books, or the TV show, please keep scrolling. My goal is NOT to change your mind or start arguments.

I also want to preface this by saying that I love and respect Rick Riordan (even if I disagree with him on things and don’t like some of his choices) and fully acknowledge that he has the right to do whatever the hell he pleases with his own series. I also want to say that I love Annabeth Chase (both the book and tv show version) with my entire being and you will never find me being an Annabeth hater. She’s my girl.

We good? Okay cool. So here’s the thing: I’ve seen a lot of people on here saying things like “If you didn’t like the books, you just don’t know how to have fun,” and “The new book haters are just mad that they aren’t the target audience anymore,” and (my personal favorite) “Nothing in the books has changed, only the readers have.”

And while I see your points, and I respect you, allow me to show you something. Because of the 10 picture limit, I am only going to focus on one specific change: Annabeth’s view of Percy.

WOTTG: Annabeth is surprised to be comforted by Percy

Past Books: Percy is constantly comforting Annabeth

WOTTG: Annabeth is shocked when Percy is smart

Past Books: Annabeth often points out that Percy is intelligent

WOTTG: Annabeth thinks Percy can’t do anything on his own, and Rick communicates that Annabeth is always saving his ass

Past Books: Percy is ALWAYS watching her back, and saving her ass just as much (and Annabeth admits that)

I could put a hundred quotes in here. I could go on and on and on. But I can’t, and I won’t.

My problem with this new book is NOT that it is more goofy than serious. My problem is NOT that little things have changed. My problem is NOT that it’s just for fun. My problem is NOT that it’s much more childish. (And by the way, I’ve read PJO and HOO as an adult, so it’s not like I was a child when I read everything else and am now an adult reading the new ones.) I really did like and enjoy many parts of this book.

My problem is that the characters (especially Annabeth) have flat out changed—in bad ways—and we have no choice but to accept it as canon. My problem is that Rick, while trying to merge his books with his new TV show project, is changing the entire personalities and past behaviors/ tendencies of the characters.

I loved Chalice of the Gods. You know why? It was fun, goofy, and showed the characters that we know and love being happy and adorable. I strongly dislike Wrath of the Triple Godess because the characters—no matter how adorable and happy they might be—are no longer the ones we know and love.

My problem is that Rick Riordan fully admitted that he no longer considers the old book characters when he writes the new books. He is now purposefully incorporating his own personal mixture of the book characters and tv characters and writing those versions instead. Because of his desire to change and transform the series, I doubt he’s even read the original PJO or HOO books in years, which is why everything is so inconsistent. The old book characters—the ones who made the series what it was—are gone. And that is not my opinion. Rick fully admits that he doesn’t imagine them when he writes anymore. Don’t get me wrong, I LOVE the tv show actors. I adore Walker and Leah and Aryan with my whole heart, and I wouldn’t trade them for anything. But the fact is: they will never be exactly like the book characters. It’s impossible for actors to become the words on a page. They’re their own unique version! And likewise, you cannot turn actors into print. It doesn’t work! And why would you try? The books versions were perfect as they were. And the disney kids need to make the characters their own. The two versions can exist side by side, equally as wonderful, and still be gloriously different. We should celebrate the uniqueness of both. But instead, Rick is attempting to merge them into one. And in my opinion, it’s just hurting them both. And I’m gonna get real brave by saying this, but do you want my honest prediction? If he keeps doing what he’s doing now, the TV show is going to get cancelled and the books are going to turn into a joke. I so, so badly hope that this doesn’t happen! I have loved Rick and PJO for many, many years. I badly want both to thrive. But what is going on right now… it is not working, no matter how much we all want it to. And speaking as someone who knows people in the TV/Film industry, I am sadly not the only one who thinks the show is gonna flop. Which is devastating, because Rick Riordan deserves a redemption on the big screen, and the incredible actors deserve to bring this series to life in a new way.

I am not trying to force my opinions onto anybody. You are welcome to disagree with me and move on. I am not saying that I’m right and you’re wrong. If you disagree, that’s okay. If you agree but you don’t have a problem with it, that’s okay. In fact if other people have literally no issues, that makes me somewhat happy. And if you loved the book, I’m honestly so stoked for you. Feel free to just keep on scrolling, my friend.

But me? I’m sad. I’m really, really freaking sad. And I’m a little angry too, even if I don’t have a right to be. I can’t help it because I’m only human. But this is how I—and a lot of other people—feel. And you know what? That’s okay too. Because the fact of the matter is:

Annabeth isn’t the same Annabeth anymore. And Percy isn’t the same Percy anymore. And it’s not because they went through trauma, or because time has passed. It’s because Rick Riordan doesn’t have any interest in writing those versions of them anymore. And I think the comparisons between the old and the new show that fact pretty clearly.

[fear-is-truth]

finding out about your tumblr blog ─ 𝓻. cameron

⋆౨ৎ˚⟡˖ this is definitely targeted… tw : allusions to sex

rafe never understood your obsession with “girlblogging.” sure, he thought it was cute—the way you’d curl up on the couch, your pink laptop balanced on your knees, a cup of milk tea within arm’s reach. the faint clicks of your keyboard always filled the air when you were lost in your own little world, sharing “self-care tips” and “moodboards” with your mysterious tumblr audience.

he didn’t think much it. at least, not until today.

you were sprawled out on your bed, legs kicking behind you as you typed away, completely absorbed. the salty breeze from the open window ruffled the curtains, and the sound of distant waves mixed with the soft hums you let out every so often. rafe stood in the doorway, fresh from a shower, his hair still damp and curling at the ends. he leaned against the frame, phone in hand, scrolling absentmindedly.

“what are you writing about now?”

“just blogging,” you said vaguely, not even sparing him a glance.

“girly tumblr stuff?” he teased, pushing off the doorframe and walking toward you.

“yeah, actually,” you replied, giving him a quick smirk before returning to your screen. rafe sat on the edge of the bed, his gaze flicking from your focused face to the laptop. “you ever write about me?”

your fingers froze on the keyboard for a split second before you quickly recovered, brushing him off. “no.”

“really?” his eyebrow quirked as he leaned back against the headboard, his phone still in his hand. “sounds like something you’d do.”

“why would i write about you on my blog?” you scoffed, avoiding his eyes.

“dunno,” he said in a mock-hurt tone. “i’m a pretty interesting guy.” you rolled your eyes, trying to ignore him as you finished up your post. after rereading it once (okay, twice), you hit “publish” and closed your laptop, satisfied. rafe didn’t say anything else, and you thought that was the end of it—until you heard a quiet chuckle.

“what?” you asked, turning your head to see him grinning at his phone.

“you sure this post isn’t about me?” he asked, holding up his screen so you could see it. your stomach dropped. there it was—your freshly published post, complete with a vague (but not that vague) recount of what had gone down earlier.“rafe!” you shrieked, lunging for his phone, but he held it out of reach, laughing as you scrambled to grab it.

“‘he’s so unfairly hot it’s disgusting. the way he kissed me earlier,’” he read aloud, grinning as you groaned and buried your face in your hands. “‘don’t even get me started. my legs still feel weak, and i’ll never stop thinking about-’”“stop!” you whined, your face burning.

“so this is what you’ve been up to?” he teased, finally tossing his phone onto the bed and pulling you into his lap. “sharing all our secrets with the internet? naughty girl…”

“you’re the worst,” you hid your face in his chest.

“nah, more like ‘unfairly hot’,” he chuckled, pressing a kiss to the top of your head. you peeked up at him, pouting. “you’re never supposed to find my blog.”

“well, then maybe don’t write about how i give the best creampies,”

“ugh, i’m deleting it,” you mumbled.

“don’t you dare,” he said, holding you tighter. “i kinda like knowing you’re out here bragging about me. makes me feel special.”

“you’re insufferable.”

“and yet you’re still obsessed with me,” he shot back, leaning in to kiss your still-pouting lips.

 fear-is-truth 2024 — all rights reserved. do not modify, repost, translate, or plagiarise my content.

[ultrace]

A Reminder About the Moral Imperative of Pirating Games

Today -- or rather, two days from now in an extraordinary feat of time travel -- the United States Copyright Office ruled (among other things) to uphold the ban against the digital lending of antiquated and abandoned video games by digital library structures; e.g., archive.org or other sites in association with the Video Game History Foundation. This was, no surprise, at the urging of lobbyists from the ESA and other groups who are not in favor of the digital sharing of their works with anyone who has not paid appropriate purchase or licensing fees. The fact that the vast majority of video games ever produced are no longer available for initial purchase from an authorized publisher is not a mitigating consideration.

The sad reality is that regardless of what individual programmers, composers, graphic artists, voice actors or other contributors to a game may feel, most publishers of those games do not view the games as artistic achievements to be shared for posterity so much as competition against their latest offerings. Part of that perception might lie with gamers themselves, who depreciate games rapidly based upon their age, a devaluation that is greatly accelerated over other entertainment media such as movies, television, music and books. It often isn't economically feasible for publishers with the rights to games (for those games whose chain of custody can even be tracked anymore) to port the game to a modern system, as the target audience would be small and what those players will pay is a pittance. Despite its considerable technical achievements and overall coolness, personal favorite Scarabaeus simply isn't going to sell to enough persons to make up the cost of business efforts.

But the alternative shouldn't be to let unused properties rot, either. I have advocated emulation of older games before; indeed, I spent four and a half years doing exactly that to make about 1700 posts about classic arcade, computer and console video games. Generally, I advocate this because as gamers we deserve the breadth of experiences available to us and the only way to achieve that can be the legally dubious route. Now, however, it is clear that without the intervention of gamers as a population, the appreciation of old games will be lost -- as some publishers would like them to be, and that would be a shame.

Though I can't directly link to any site that provides ROMs or disk or tape images of older systems, such things can be very easy to find on Google. The difficulty of emulation varies with the system; many older cartridge-based consoles such as the Atari 2600, NES, SNES and Sega Genesis, are amazingly easy. MAME for arcade games may take a little adjustment for its interface depending on which version you go with. All of these are based on long-since obsolete chip-based ROM storage which was incredibly small. Games of the Fifth Generation of video game consoles (PS1, Sega Saturn, et al) have CDs or larger storage mediums which take a little longer to download and more storage space on your drive. The Commodore 64, Amiga, Apple II and other computer systems have tens of thousands of games -- some of astounding quality -- but most require you to operate the system within the emulator, so that may be a bridge too far. Whatever road you decide to take, good luck and enjoy.

[ancientgoddessofegypt]

Lilith The Enchantress: Lilithian Energy In The Houses. How Each One Brings Their Own Tempting Flair.

So you're probably wondering, where am I going with this?

I wanted to focus on the temptation of lilith, and why she is so oozing and attractive as is she.

For this reading, I will focus on the houses. In my later post, it'll be in each sign.

So lets dig in! Shall we ;)

Lilith in the first house - Pleasing to the eye. Can have a very sultry appearance. There is a point where they must undergo a transformation of the self, and at some point they will have a divine, sensual aura. There sensual power comes through the way they look at you, and often times they can tell when they're being a little too flirtatious. But that is so they can get the person of their choice. Like a siren, they go in for their target and come out on top. They use their attractive persona as like a spell, think of the girl on who framed roger rabbit with the beautiful red hair and dress.

Lilith in the second house - They have an eye for detail. This is the time to take you to their home and show you the rose petals on the bed with the red and white candles everywhere. They know how to make a person want them, by adding to some flair into their home. While also using different aesthetics for they're look to match with the energy that is being shared between them and they're lover. Very picky with who they spend their time with you know. They aren't for everyone. These are the type to make you wait for it.

Lilith in the third house - These are the lovers that can write erotic letters and make you think about them all night. The way their minds can carry a story, and then when you meet them in person its even better than the books. They hold their composure well, but deep inside they are ready to be explored in more ways than one. My my my, they sure know how to right a love spell. One that lasts til the very end.

Lilith in the fourth house - It's actually so much harder to get them to show you who they truly are, thats what makes their mystique so awe dropping. The way these lilithian beings share themselves is with the power of their emotions, and eventually they will bring you right into their beautiful dungeon they call a home. Where you will find all them in just one bite. Very sensual with the right one. The one that makes them feel good, the one that knows them from the inside out. These lilith babes will let you have all of them if once you have succumb to their power.

Lilith in the fifth house - The sensual energy these lilithians carry is a one of a kind. Their magnetism never goes unnoticed, and they take you on a roller coaster of emotions with their performance. They are intimate with their audience and can put you under a spell with the way they make things look. Their hearts are in it with this one. Very gentle to the eye, but to the soul its much more deep and profound. Can't take them anywhere because their wild manes get stuck in the pursuit of love, where they will drenched you with all their sweet and tears to make more use of the bloody romances they've indulged in. They will have you thinking about them for many moons, due to them putting their all into what they do in the matters of the heart.

Lilith in the sixth house - To be loved by a lilith babe with this placement, is to have made yourself fully devoted to them. Worship is what they want, and it is what they need to pursue them. They don't let just anyone in, so you must be prepared to give yourself as an offering. Very pleasant, and freaky to ones they want most. Most never see this coming, which is why they always get away with it ;) The sensual energy they carry is very smooth, abundant and hard to describe. Mysterious auras that you want more of, so much so you will spend every hour, every day of the week wanting to get to know them.

Lilith in the seventh house - The die hard lovers who goes in for the kill. What they want wants them, and they oozee it in with their attraction spells. Their auras are unique, fresh and able to commit to their partners. It's just that they have so many options to choose from so they have no use to sticking around if you're not pulling in your weight. Im sorry, its hard having to be loved by so many! The sensual power in them is hot, tempting, and alluring. You just can't get enough of them. Can see right thru you and can captivate you with just a look!

Lilith in the eighth house - The way they just make things easy with how they seduce people is something I feel nobody else can relate to. The way they come in and take the throne with how they please their partners as well as themselves, It may be that nobody could come close. But thats the thing about being in a scorpion house, is that you touch people in a way that people are not able to control within themselves.. yet you've already mastered it. Very pleasing, pulsating, bold and full of passion. The sensual nature in them could have you feel things you've never felt before, and that will have you in a panic. because the way they are able to get you to come out of that shell and move deeper into them . Will have you begging for more & more & more. Bewitching auras indeed!

Lilith in the ninth house - The delicacy mixed with erotic power. The angels and the demon. The artist and the muse. They have the power to seduce anyone with just their mind alone. They can seduce you with their wit, their humor, their charisma and just their soul in general. But on a sensuality note, they are abundantly clear on what it is they want. And they know just how to get it. They waste no time in going after the energy it is they feel desires them. They are devoted to themselves and the power of a Godly force and nobody comes close. So to the ones who get to experience them, they feel a closeness to the divine that makes you tremble a bit. Because they show us a sense of carefreeness thats been missing, so the way they seduce you is in how they free themselves in a world that is committed to self restraint.

Lilith in the tenth house - Enchanting and mysterious in nature. The world wants to have them but cannot get enough of them. The secret to these characters is that they know what it is you're looking for, but you just won't get it from em. Not immediately that is. They'll make you wait for it. Hell, they'll even charge you for it if your a beggar. They know you want it, but they aren't easy. Like a coquette, they'll have you waiting for years, and their energy will be intact and while yours feels depleted. Lilith tenth housers just know how to work it with their sex appeal. It can transform you, to say the least. ;)

Lilith in the eleventh house - A special energy is unlocked in these lilithians because not only do they have the capacity to seduce the whole world they can be someone close to them too. Be careful with them, because they might bite! ;) Their sensual power comes from the ability to be close with them and they have a compassionate nature too! This makes them way more likeable and seductive. And even if you're close to them, there is still something else about them. Almost hard to ignore, so its no wonder friends and associates try to get it on with em.

Lilith in the twelfth house - If all the other placements are tempting to the eye, then these beings are tempting to the soul. They have a capacity to entice others with the way they carry themselves. They have a gift in pulling you in, and telling a story with just their body language alone. The moment you are seduced by them, is the very moment you come over and have a meeting with God. They are no angel, but they can just about make you feel things that where never present before.

Lilith in these houses can show the tempting, seductive energies of a person if they learn how to tap in. There is a short story about lilith being the tempting 'devil' we kind of all known of her to be. However, learning more complexities of her story. She is so much more. So this just a small version of what we know as lilith, there will be many more to come!

[personnage-neutre]

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

[ohnoitstbskyen]

100 songs to get to know me

I posted this image over on the bluesky, and it got like 100 likes, so now here we are. I was going to write them all up here, but Tumblr imposes a 10 video limit on embeds per post which I find infuriating.

So! You can read the first ten entries here, but you can read the entire list here: https://tbskyen.bearblog.dev/100-songs-to-get-to-know-me/

1. ABBA - Lay All Your Love On Me

I genuinely don't quite know if my enjoyment of ABBA is something I came by honestly, or something which is simply genetically engineered into my Scandinavian soul. I remember hearing my mom blasting their songs on the home stereo in my childhood, and the association has put permanent nostalgia blinders on me for all of ABBA's greatest hits. Still, I think the beat is undeniable and the mournful tone of the chorus adds some real melancholy to the dramatic plea at the core of the song.

2. Afenginn - Oestrogenmanipuleret Basilisk

Afenginn describe themselves as "bastard etno-punk" which is probably as good a description as you're going to get. There's a lot of klezmer and eastern European folk influences here, but what is more important about Afenginn's best songs is that they go hard as f*ck and it's an absolute blast to dance to them at a show. They played this the first time I saw them live, and the rhythm comes back every time I hear it again. Good times!

3. Afenginn - Ralli in D Minor

With 100 slots to fill, I am giving myself permission to allocate two slots to Afenginn, and for the same reason. Ralli in D Minor is less of a dance tune to me, and more of a headbanger, but with a sufficiently loud subwoofer and a game crowd, you could f*ing mosh to this.

4. Anamanaguchi - Prom Night

I discovered Anamanaguchi as the composers of the title track to the Nerdist podcast back in the day, and being unfamiliar with the concept of chiptunes, I was drawn in initially by the sheer novelty of hearing the squeaks and bloops of my gaming childhood employed towards rock tunes and combined with "real" instruments.

Beyond the gimmick, though, Anamanaguchi won me over fully with the Scott Pilgrim game soundtrack, and then 2013's Endless Fantasy, where the gimmick of chiptune nostalgia noise (at least for me) finally coalesced into something that felt entirely like its own thing. Plus I'm a sucker for exactly this kind of bright dance pop, and Bianca Raquel's vocals here are a perfect match for the tone of the music.

5. Jennifer Hudson - Memory

2019s Cats is a fascinating fucking disaster. Tom Hooper is the worst director of musicals in my living memory, the abuse of the VFX staff extended beyond brutal crunch and absurd challenge imposed by a director who had no idea what the hell he was asking them to do all the way into an astonishingly arrogant and condescending joke from Rebel Wilson and James Corden at the expense of workers who were the last people at fault for the disaster that the movie became (look in the fucking mirror, Wilson and Corden, your performances were rancid).

Still, the silver lining of Cats is we got to hear Jennifer Hudson shake the world on its foundations with her rendition of Memory. I don't give a shit what anyone says, this performance is transcendent and no amount of institutional failure can dim its quality.

6. Annette Bjergfeldt - Min Bærende Bjælke

Annette is one of my mother's oldest friends, and a prolific singer-songwriter now turned author. I've been going to her concerts since I was a little child, and while I am absolutely not the target audience for any of it, it has stuck with me as part of my musical vocabulary deep into adulthood.

She has experimented with brass band accompaniment a few times, but for my money, nothing quite comes close to the floating, optimistic vibe of Min Bærende Bjælke. It sounds like a very particular kind of lasting romance, which of course is also what the lyrics are about.

7. Hozier - Blood Upon the Snow

We'll get more than one Hozier song on this list, but Blood Upon the Snow stands out to me as a song which easily transcends the videogame soundtrack promotional tie-in nature of its conception. Bear McCreary's hurdy gurdy and lyrics about surviving through adversity by holding on to existence with your teeth and nails... yeah, it hits with me. There's something real in that.

"The trees deny themselves nothing that makes them grow, no rainfall, no sunshine, no blood upon the snow." Something about that feels real.

8. The Beatles - Something

idk if I really need to write anything about George Harrison's most famous love song that hasn't been written more extensively by a million dad-rock enthusiasts before me.

I will say, this is one of the few songs I listen to regularly that justify the expensive audiophile headphones I invest in. There's a LOT to hear on a good, lossless, original mix of this song, if you're the kind of pervert who gets off to listening to a song a hundred times to focus on different parts of the soundscape. (it's me, I am the pervert)

9. Blink-182 - Adam's Song

I discovered a lot of my music taste as a young man from extremely low-resolution AMVs that my friend used to download off sketchy file-sharing sites. Blink-182 entered my musical lexicon through the one above, specifically, piggybacking off of my teenage love of Dragon Ball.

I never really grokked what the lyrics were actually about, until relistening to the song years later, but something about the minor-key wail of the thing really sat with my angsty teenage soul and has stuck with me ever since. I cannot listen to this song without that music video playing in my head, the song will forever belong to Vegeta.

There's remastered versions of this AMV out there, apparently, but if it's not 144p with tinny audio, it's just not right. That's not what the song is supposed to sound like, not to me.

10. Blink-182 - Miss You

Blink-182 is one of those bands I discovered via anime AMVs and listened to obsessively for a period as a teenager (The Offspring will show up later on this list), and then fell entirely out of touch with for years until discovering much later in life that they did, in fact, keep releasing music. I Miss You from their self-titled 2003 album felt, when I discovered it sometime in the early 2010s, like a much more mature and interesting sound from a band which had gotten stuck associated with my adolescent superpower kung-fu fantasies which I was, at the time, feeling a bit embarrassed about.

The song had a resurgence on TikTok a little while ago as a meme template, which made me listen to the albums again, and rediscover yet again that Blink-182 is, in fact, still putting out albums.

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The rest of the list is here: https://tbskyen.bearblog.dev/100-songs-to-get-to-know-me/

[oobbbear]

This rant has 1 target audience and it’s me sorry I like to talk about my unfinished/abandoned stories like they’re successful tv shows and I’m the director getting interviewed about the little details of said show

I love afterland postal so so so much you don’t know how hard it was for me to cut it, but it got to the point that it’s effecting my mental health so I had to stop it. His story in the afterlife is a healing journey, so for that healing journey to be effective I have to make the downfall in his past life hurt, like, HURT hurt, and I went a bit too far that and focused on it a bit too much that I was not working on the healing part anymore. Everyday I regret the making of water angel cause it ended being my fav instead of the protagonists and it being the physical manifestation of death made me focus on the downfall of the story too much, until it literally just crumbled to the ground. If I pick back up Dolus’s story one day I will cut out water angel entirely and maybe most part of his past life, focusing mainly on the afterlife part and how he recovers/deal with his past traumas and rid of bad habits. I want to draw this gremlin again so so bad.

Afterland Postal is a story about learning to love life through death. I like to draw Dolus with CT moon and Callisto sitting together because all three of their stories are about “learning to love life again through the death”. In Dolus’s case is his literal death. For CT moon is him fantasizing death. And for Callisto is through the death of her old life.

After the “death” all three of learned to love themselves again by traveling. They see the world in different perspectives, goes out of their bubbles and get a taste of the wild possibilities of what life has to offer.

For Dolus, I specifically placed him in this post office that delivers mails to the living plane so he can run around experiencing the world but doesn’t have to deal with life? One of his big thing is that he enjoys simply existing, he likes observing the world, feel his surroundings, I had an entire chapter that’s describing how he sees the world through his 5 senses. The feelings are the only thing he enjoyed about life, now he’s a ghost life doesn’t have effect on him anymore, he can really slow down sit down and look at the world he didn’t have the time to look at before, see what he missed and what he may have never be able to see.

For CT moon is basically all described in that If my world goes Bang comic.

Callisto is a different case cause she doesn’t die, strongest fucking character in my stories she survived and very passionate about living. In the original plan after her finding Hester and having Hester’s soul freed, she’s gonna go and travel the world. She has been living in this little house in the middle of nowhere for good half of her life, having her burned down her past and moving on to a new one is good for her. I had a lot a lot of sketches that is just her traveling, I used this as a chance to expand on this weird magical world she lives in, so many cool places and concept. (Also she started dating people again wohoo) I really wish I didn’t burn myself out after that animatic this story would have been so fun to work on.

SPEAKING OF TRAVELING AS A HEALING MECHANISM☝️I m gonna go on a mad Orange Knife spoiler rant since I don’t think there’s a single soul still reading this thing. In Moondust & Natto plot, Moondust really really wanted to see the world with Natto, she loved the world she loved life, in her eyes the outside world is a struggle but one she would fight for because the sunset is beautiful and the grass is soft and for that the hardship is worth it, she loved the world so so much and she wanted to have Natto experience it too. Freedom was a large part of her soul and being add to OK’s collection permanently took that away. She never got to see it again not even the part of her that got added to worm made it out, her soul is killed long ago and body died with the fire that led to Worm and the remaining crew’s freedom, which honestly I think she would be happy knowing that her death freed Natto in the end. She would be mad knowing the person who killed her is freed too but she would understand if she knows Worm’s situation better. After Natto is free I’d like to think he carries a piece of Moondust with him so in his heart he completed their dream, and they can finally experience the world together.

It’s 2am and nothing is making sense sent post to tumblr.com go