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building. He discovers his uncle tied to a chair; Totor frees him, and Pad tells his nephew that the bandits kidnapped his aunt Save. Totor suddenly has an idea to use the treasure he found as a ransom for his aunt. The two of them set out to go fetch it, but along the way a criminal steals their map while they sleep. After discovering the loss of their jewels they follow the thief's unique footprints for a few miles. When they see another set of footprints join the first and then head up into some mountains, Totor continues on his own. Having eluded several Native sentries he spies the chest in the hands of the Chief. After recovering the box and outrunning the
Natives back to his uncle, they hurriedly head home. There they find a ransom note from the leader of the bandits, Jim Blackcat, saying to meet them under a big fir tree that day or they would kill his aunt. Totor rushes to the rendezvous where he overwhelms the criminals and orders them to tell him where they are keeping his aunt hostage. After a heroic rescue and an emotional reunion between his aunt and uncle, he finds out that it is time for him to go back to Belgium. Once back, he tells everyone of his adventures and wistfully yearns for more.
201:. Totor is awed by the skyscrapers and is unintentionally hit by a car which flings him into a passing stranger who turns out to be a criminal named John Blood. After Totor receives a $ 5,000 reward for the gangster he takes a train to his uncle's ranch in Rolmopcity. His uncle picks him up at the station and on their way back a group of Native Americans hold them up. Totor manages to distract the Natives and the two of them escape. However, a few hours later at the ranch, the same tribe kidnaps Totor in revenge. Standing tied to a torture stake Totor is made into a target for knives, axes and arrows. One of the arrows cut the ropes binding him and when the Chief draws close to scalp the young boy, Totor digs his feet into the Sachem's stomach and makes a quick getaway into a river, pretending to have drowned. Underwater, he finds an old chest full of countless jewels and buries them at the base of a boulder nearby.
486:
498:"very Boy Scout in spirit and clearly a prefiguration of Tintin." He nevertheless had mixed views of the illustrations, commenting that the lines were "awkward, hesitant, incomplete, but the movement, rhythm, and above all, the humor is apparent." Another biographer, Benoît Peeters, thought that the intrigue of the series was "extremely fragmented" because the main goal was to string gags and fight scenes together rather than to develop a plot. He commented that although by the early 21st century, it appeared "puerile", being "a long way" from the formula of
327:, an innovation that was yet to become widespread in Europe, and instead his cartoons were accompanied by captions, three to five lines long. He would begin to add simple speech bubbles into the series, stating simple comments like "Eureka!", "Bang!", and "Hip! Hip! Hip! Hurrah!". Hergé later noted that "From time to time... I risked a timid question mark, or perhaps a few stars, when, for example, a character was punched. I must have seen that in
284:, a type of beetle, but also the French for "scatterbrain"). Hergé had hoped that being the author of an ongoing comic strip would improve his job prospects, for at the time he was beginning to develop a reputation as a designer of postcards, stationery, and advertisements. Rather than representing an example of a comic as the medium would come to be understood in the following decade,
402:" and "United Rovers presents a stupendous film." He had continued writing and drawing installments in the series during his military service in 1926, but in early 1927 ceased producing the series for nine months as he focused on other projects, only returning to it in late 1927, when he included a résumé of the series at the start.
229:). With the Scouts, he travelled for summer camps in Italy, Switzerland, Austria and Spain, and in the summer of 1923 his troop hiked 200 miles across the Pyrenees. His experiences with Scouting would have a significant influence on the rest of his life, sparking his love of camping and the natural world, and providing him with a
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Tintinologist Harry
Thompson described Totor as "a brave, resourceful young character", noting that in several years he would "metamorphose" into Tintin. He nevertheless thought that the text was "slightly rambling and uninspired." Hergé biographer Pierre Assouline described the Totor story as being
204:
A trapper in a canoe takes Totor up the river. Leaving the trapper, Totor goes back to the ranch to find it deserted. As he searches the place a hand reaches out and pulls him through a doorway where a fierce brawl ensues in the darkness. Totor is victorious, and throws his three captors out of the
48:
246:, the newsletter of the Federation of Scouts, he published more of Remi's illustrations, the first of which appeared in the fifth issue, from 1922. Remi continued publishing cartoons, drawings and woodcuts in subsequent issues of the magazine, which was soon renamed
398:, which he had enjoyed in childhood. This influence was evident in his decision to sign some of the images with the signature "Hergé Moving Pictures" or "Hergé, Director", and giving many of them titles such as "United Rovers presents a great comic film:
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read like "an adult was retelling one of those early
American western serials... to a group of children. On the one hand, he is exciting the children, but on the other, he is winking at the adults as if to say, "you and I know this is not serious.""
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were contemporary with each other. Hergé decided that he wanted to focus on the new character, bringing the Totor story to an end in July 1929, when he had the main character return to
Belgium. In all, the series had lasted for 26 pages.
254:). During this time, he experimented with different pseudonyms, using "Jérémie" and "Jérémiades" before settling on "Hergé", the pronunciation of his reversed initials (R.G.), a name that he first published under in December 1924.
196:
Totor leaves
Brussels to go and visit his uncle Pad Hatt and aunt Save Hatt in Rolmopcity, the United States. Along the way he is pulled overboard by a shark and then thrown onto an American submarine which takes him to
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thought that Hergé "adopted his former hero to the new circumstances". The
Tintinologists Jean-Marc and Randy Lofficier thought that graphically, Totor was "virtually identical" to Tintin. The early installments of
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that stressed personal loyalty and keeping one's promise. His
Scoutmaster, Rene Weverbergh, encouraged his artistic ability, and published one of Remi's drawings in the newsletter of the Saint-Boniface Scouts,
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519:", including the artistic style, the pace of the story, the use of humour, and the manner in which it imitated motion pictures. They also commented that
153:, with a nine month break in 1927. The plot synopsis revolved around the eponymous Totor, a Belgian boy scout who travels to visit his aunt and uncle in
264:
in July 1926, and would continue to appear in the magazine until July 1929. The meaning of the name has been translated differently; Hergé biographer
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consisted of square boxes containing illustrations with the captions written separately underneath, as was the style found in French comic creator
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Tintinologist
Phillipe Goddin considered the series to be "a milestone", describing it as "full of promise" and containing "plety [
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308:). Initially using four boxes per page, as the series progressed this was increased to six and then eight, with each page ending on a
335:, the illustrated papers of the time." Hergé had come under the influence of other comic strips, such as those of the French author
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511:] of humour, rich in developments". The Tintinologists Jean-Marc and Randy Lofficier commented that "Everything that made
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441:). Tintinologist Michael Farr described the character of Totor as a "natural prototype" for Tintin, while literary critic
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instead translated it as "The
Adventures of Totor, patrol leader of the Cockchafers", but conversely, biographer
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throughout, something influenced by
American comics. In 1929, Hergé created the character of
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series. It was serialised monthly from July 1926 to summer 1929 in Belgian scouting magazine
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translated it as "The Adventures of Totor, C.P. of the June Bugs", while Tintinologist
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1023:. Tina A. Kover (translator). Baltimore, Maryland: Johns Hopkins University Press.
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and Native Americans would subsequently be reused in the third installment in
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had sent back to Belgium from Mexico, where he was stationed to report on the
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tribes and gangsters, each of whom he outwits, before returning to Belgium.
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938:. Charles Ruas (translator). Oxford and New York: Oxford University Press.
473:, although Thompson commented that the latter was "a great improvement" on
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345:. He was also influenced by the contemporary American comics that reporter
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had it as "The Adventures of Totor, patrol chief of the Scatterbrains". ("
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502:, it was nevertheless "an important step toward the modern comic strip".
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comics, which were common in Western Europe at the time, the series is a
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In creating the series, he was also heavily influenced by the films of
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Aged 12, Georges Remi—who later became best known under the pen name
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would continue to influence his new series, as the encounters with
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919:. Jocelyn Hoy (translator). Stanford: Stanford University Press.
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383:. Totor's button nose was influenced by the illustrations in
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The Art of Hergé, Inventor of Tintin: Volume I, 1907–1937
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Hergé made pioneering use of speech bubbles in the strip.
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brigade attached to Saint-Boniface School in his native
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The Adventures of Totor, Chief Scout of the Cockchafers
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The Adventures of Totor, Chief Scout of the Cockchafers
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917:The Metamorphoses of Tintin, or Tintin for Adults
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141:, who later came to notability as the author of
1001:. Harpenden, Hertfordshire: Pocket Essentials.
997:Lofficier, Jean-Marc; Lofficier, Randy (2002).
515:what it later became was seminally present in
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353:. These American comics included
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52:One of the early installments of
1045:. London: Hodder and Stoughton.
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958:Tintin: The Complete Companion
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960:. London: John Murray.
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260:began serialisation in
61:Publication information
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443:Jean-Marie Apostolidès
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298:The Fenouillard Family
294:La Famille Fenouillard
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1184:Belgian comics titles
1152:Minor comics by Hergé
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415:The Twentieth Century
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252:The Belgian Boy Scout
95:July 1926 – July 1929
1179:Belgian comic strips
1021:Hergé: Son of Tintin
439:The Little Twentieth
192:Characters and story
1254:Comics set in Texas
1214:1929 comics endings
1174:Comics publications
1137:Jo, Zette and Jocko
409:Le Vingtième Siècle
182:for the new story,
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1121:Quick & Flupke
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433:Le Petit Vingtième
385:Bringing Up Father
360:Bringing Up Father
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262:Le Boy-Scout Belge
248:Le Boy-Scout Belge
150:Le Boy Scout Belge
72:Le Boy Scout Belge
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1008:978-1-904048-17-6
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967:978-0-7195-5522-0
945:978-0-19-539759-8
926:978-0-8047-6031-7
897:, pp. 19–20.
572:, pp. 11–12.
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470:Tintin in America
380:Katzenjammer Kids
333:Les Belles Images
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883:Goddin 2008
859:Goddin 2008
819:Goddin 2008
807:Goddin 2008
342:The Rainbow
310:cliffhanger
209:Publication
135:comic strip
86:text comics
1168:Categories
1091:Comics by
528:References
290:Christophe
282:Cockchafer
172:text comic
105:Written by
1154:(1928–69)
1140:(1936–57)
1124:(1930–40)
1116:(1929–76)
1019:(2012) .
915:(2010) .
831:Farr 2001
775:Farr 2001
533:Footnotes
370:Krazy Kat
292:'s works
244:Boy-Scout
219:Boy Scout
167:BĂ©cassine
164:Like the
129:(French:
115:Artist(s)
67:Publisher
27:Hungarian
1041:(1991).
978:(2008).
956:(2001).
329:L'Éatant
278:hanneton
223:Brussels
23:Romanian
21:For the
461:cowboys
1132:(1934)
1108:(1926)
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180:Tintin
29:, see
1093:Hergé
521:Totor
517:Totor
475:Totor
215:Hergé
155:Texas
139:Hergé
118:Hergé
109:Hergé
78:Genre
1047:ISBN
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450:and
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373:and
508:sic
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