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“Jazzy” or not, the close intermedial encounter of jazz and comics, i.e., two medially and semiotically complex forms of expression already by themselves, asks for a general reflection on the nature of sound in combination with visual notes, scores, movement, and performance in the comics medium. The present essay illuminates how such encounters take shape in specific Francophone Belgian comics of the 1920s and 1930s; it consists of a close reading of musical and sound notation in Herge’s early Aventures de Tintin albums. It departs from the observation that somebody like Herge, with an oft-reported affinity for jazz, would shy away from making allusion to thriving dancefloors and the presence of African American musicians so central in the “white” Western European discourses of these decades. The essay sheds light on whether this is closely linked to or, conversely, contrasted from colonialist attitudes Herge propagates especially in his earliest albums—and on how allusions to the jazz age and American music may be read between the panel lines in some Tintin albums all the same.

Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics1