a) Here I'm continuing with the idea that Dan O'Bannon hadn't read an Tintin before he got to Paris to work on Dune, and there he would have found out about it whether he liked it or not since Moebius and Jodorowsky were fans, Salvador Dali too and Hergé's work was a core part of the French Bande Desinée/ comic book scene. However while there are plenty of ideas that could have set Dan O'Bannon off, it's not any easy comic book series to enthusiastically discuss without constantly shoving the pages in front of people's eyes, because what does Tintin do in these adventures?
There aren't many scifi aliens or horror monsters to speak of with interest.
Again, I accept that Dan O'Bannon's widow Diane doesn't acknowledge that Tintin was an influence behind Alien since Dan never mentioned anything about Tintin to her.
Tintin comic books never reached great popularity in the USA perhaps because of their extremely European flavour, but they would have been something that eclectic comic book fans would have been able to find out about and there are signs that Tintin had influenced the American science fiction comic book scene by the 1950s
It is in this Tintin story that I suddenly worked out a secret about the evolution of the Alien story, that Dan appeared to focus on looking for abstract associations, ideas and scenes of behaviour surrounding jewels, as this one had a few that lined up well enough with Aien
b.i) Page 1 of The Adventures of Tintin and the Castefiore Emerald p2 (Collected edition published in 1963) by Hergé
Tintin and Captain Haddock walking through a woodlands and by a rubbish tip respond to a cry of distress.
Perhaps this would be like the crew of the Snark that later becomes the Nostromo responding to a distress call in the depths of space and it comes from a desolate planet.
b.ii). Early drawing of the pyramid
c.i) Page 2 of The Adventures of Tintin and the Castefiore Emerald p2 (Collected edition published in 1963) by Hergé
In that story the cry from a young gypsy girl who ends up biting Captain Haddock,
Dan had the idea that the SOS wasn't quite what they thought it was when he wrote the original Memory script, but this might reflect the idea that derelict ship with its SOS like transmission revealed itself as a warning offering danger.
Here it's the scene that might as well be the equivalent of the discovery of the derelict ship that would lead them to the pyramid scene
|Concept for the derelict by Chris Foss, no. 8|
d.i) Page 3 from The Adventures of Tintin and the Castefiore Emerald p3 (Collected edition published in 1963) by Hergé
d.ii) Three panels from page 4 from The Adventures of Tintin and the Castefiore Emerald p3 (Collected edition published in 1963) by Hergé
e.i) Page 39 from The Adventures of Tintin and the Castefiore Emerald p3 (Collected edition published in 1963) by Hergé
Scene from Tintin and the Castafiore Emerald (Collected edition published in 1963) by Hergé, where Madame Castefiore is searching for her jewels, andlooking beneath the cushions, throws a pillow in the face of either Thompson or Thomson/ Duponts or Dupons.
- INTERIOR - CORRIDOR OUTSIDE AIR LOCKFaust quickly turns a couple of corners and then comes to an abrupt halt when he notices that a DOORLEADING TO THE LOWER DECKS HAS BEEN WRENCHED OFF ITS HINGES.He hesitates, uncertain what to do, then there is A SOUND FROM THE DIRECTION OF THE AIR LOCK... AND THE INNER LOCK DOOR IS OPEN.Faust hesitates and peers into the lock.INTERIOR - AIR LOCKThe creature is squatting in the middle of the floor, gnawing on a bloody thigh bone. It does not see Faust.INTERIOR - CORRIDOR OUTSIDE AIR LOCKStealthfully, dropping back into the shadows, Faust presses the wall intercom and speaks into it.FAUST(whispering)It's in the lock -- blow the main lock.INTERIOR - BRIDGEStandard, Roby and Hunter are staring at the pictures. The call from Faust catches Standard in mid-sentence.STANDARD(into intercom)What?INTERIOR - CORRIDOR OUTSIDE AIR LOCKFAUST(whispering)It's in the main air lock. Blow the lock.INTERIOR - BRIDGEStandard hesitates, starts to frame a reply -- then changes his mind and runs to his console -- andTHROWS THE SWITCH.INTERIOR - AIR LOCKWith a mechanical whine, the inner door starts to close. The creature hears it and INSTANTANEOUSLYLEAPS OUT OF THE LOCK.INTERIOR - CORRIDOR OUTSIDE AIR LOCKThe creature comes flying out of the lock and DEALS FAUST A BACKHANDED BLOW, KNOCKING HIM ACROSS THE THRESHOLD OF THE AIR LOCK DOOR.FAUST SCREAMS IN MORTAL AGONY AS THE INNER DOOR CLOSES ON HIS WAIST, crushing him to a thickness of about three inches.On the wall, a green light goes on:"INNER DOOR CLOSED"INTERIOR - AIR LOCKDespite the fact that the inner door is still held open a few inches by Faust's squashed body, THE OUTER DOOR BEGINS TO SLIDE OPEN. IMMEDIATELY, THERE IS A TREMENDOUS SCREAM OF ESCAPING AIR.EXTERIOR - SHIP - OUTER SPACEIn dead silence, a thick spurt of steam comes out of the open air lock door. This is the ship's atmosphere freezing as it squirts out into the vacuum under pressure.INTERIOR - BRIDGEINSTANTLY, A TREMENDOUS WINDSTORM STARTS UP as the ship's air is sucked out toward the lock.A SIREN BEGINS TO SOUND, AND A RED LIGHT FLASHES:"CRITICAL DEPRESSURIZATION"After a moment of panic and confusion, Roby bolts out of the control room.
i.ii) In the Alien Directors cut film, Ripley before leaving the Nostromo, suddenly decides to explore the landing leg room downstairs and finds an alien nest