My review, as published in Tintin Books:

"The Red Sea Sharks" often gets a bit forgotten, coming on the heels of two masterpieces - [b:Explorers on the Moon|165556|Explorers on the Moon (The Adventures of Tintin)|Hergé|http://photo.goodreads.com/books/1172341878s/165556.jpg|159847] and [b:The Calculus Affair|743454|The Calculus Affair (The Adventures of Tintin)|Hergé|http://photo.goodreads.com/books/1177938437s/743454.jpg|1992577] - and preceding as it does Herge's experimental works. Which is a shame, since this is a solid adventure story, expertly rendered. (He'd been writing 'Tintin' solidly for 30 years, after all)

In terms of story, things are intriguing from page one, and very little is predictable. General Alcazar and the Emir pop up early on and set the story in motion, and yet comparatively little time is spent in Khemed, and none in San Theodoros. Despite what it may look like, Herge is in fact already experimenting with formula: the plot moves fast and through various locales and episodes, yet at the same time is clearly all connected, and never feels gratuitous. Best of all, the appearances of recurring characters such as Oliveira and La Castafiore are entirely connected to the story, and help to propel the plot.

Herge's artwork has reached a peak in the last few albums, and that carries on here. The sands of Khemed, the emptiness of the Red Sea and so on, contrast nicely with the vividness of Brussels and Marlinspike (particularly noticeable in that final page, which is reminiscent of the lighter mood of "The Calculus Affair"). Note, particularly, the torpedo sequence, which is intensely gripping, jumping off the page as if on film.

Perhaps my favourite page is Page 60, a whole page of newspaper articles piled on top of each other. In that single page, the plotlines of the Emir, the slaves, Dawson, Allan, Tintin and Rastopopoulos (or at least his escape) are tied up, as well as a brief mention that General Alcazar has toppled his rival Tapioca again. My God!

Very occasionally, in the early pages, it becomes clear that Herge had grown accustomed to havnig Tintin surrounded by friends. When he and Snowy are on their own, Tintin begins to speak a bit like an annoying children's TV presenter: "Hmmm how can I sneak past this window without being seen? I know! I'll crawl under it!" The animal-rights activist in me also ponders Herge's treatment towards animals, again seen in the destruction of a shark - however Herge himself later apologised for this, and one must admit it is a unique and clever way to resolve that particular cliffhanger!

Politically, this is the angriest "Tintin" album by far. Haddock's refusal to believe that slavery still exists in the 20th century, and his growing awareness of it, is classily done. Look, it's certainly clear that his humble Muslims are quite simple characters. They're cheerful, easily contented folks with incorrect speech patterns and an inability to grasp subtle points. But... as with the pilot Piotr Skut, I would argue part of this is a language barrier issue. And I would certainly state that the artist's clear push against slavery tempers these characterisations. It seems like an odd thing to say, but I think for Herge himself he felt it necessary to draw these people as quite simple, and further hammer home the immorality of slavery. (On top of this, his clear contrast between the slaves and the debauchery of di Gorgonzola's yacht should clearly show on which side of things Herge stood).

But leaving aside such implications, there is barely a wrong turn. Calculus only appears in a few frames, but has very funny cameos alongside Nestor and Abdullah. The plot comes thick and fast, utilising an old enemy of Tintin's very well. (It's strange, but unless I missed it, Tintin never actually is given a realisation moment. Somewhere between escaping the ship and seeing Rastopopoulos, he's already figured it out! I guess Herge assumed that we as the audience would pick up on it - either that or the moment was edited out between strip and album). Characters appear in context, without feeling like mere coincidences, and humour abounds without detracting from the seriousness of the situation. There may not be anything experimental about "The Red Sea Sharks", but it stands alongside "The Calculus Affair" as the best examples of Tintin doing what he does best: adventure. ( )

A lot of, "Wait, what?" But fun. ( )

One of the weaker Tintins. Plot is very linear, and there's little wit or charming trickier. Also seems to re-discover the casual racism which Herge had self-consciously left behind. ( )

My daughter enjoyed this book, best suited for youths in my view, really enjoyable book ( )

En esta aventura Tintín y Haddock siguen la pista de un traficante de aviones de guerra que los deja atrapados enmedio del oceano, envueltos de submarinos y aviones de guerra.

Me ha parecido una historia bastante más densa que sus antecesores, con muchas referencias, y no me ha entretenido tanto. ( )