History
In 1976, a few months after the publication of Tintin and the Picaros, Hergé told the journalist and author Numa Sadoul that he was contemplating the next adventure of Tintin—setting an entire story in an airport departure lounge. This idea was eventually dropped, and in 1978, he decided to set the story in the world of modern art. During later years Hergé had grown more and more interested in modern art, even attempting it a few times himself as a hobby; so he chose to incorporate his love of avant-garde artwork into the new story. Hergé was inspired by the Fernand Legros and Elmyr de Hory affair, and incorporated a second element, a new age sect and a phoney guru. He planned to cast Rastapopoulos as the villain, but according to Harry Thompson, dropped the idea in 1980 when he introduced the alphabet art element. Still, an idea exists that the villain Ramó Nash or his accomplice Endaddine Akass may be Rastapopoulous in yet another of his disguises.
Read more about this topic: Tintin And Alph-Art
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“Anyone who is practically acquainted with scientific work is aware that those who refuse to go beyond fact rarely get as far as fact; and anyone who has studied the history of science knows that almost every great step therein has been made by the “anticipation of Nature.””
—Thomas Henry Huxley (1825–95)
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—Georg Wilhelm Friedrich Hegel (1770–1831)