Metaverse goal for Tintin | The Echo

NFTs could ensure the sustainability of Hergé’s work.

While the auction of the cover design for ‘Tintin in America’ at Artcurial Paris is expected to break records, the most famous of reporters continues his digital transformation. After being a pioneer in the field with a first website dedicated to the character in 1996, an e-commerce site in 2000 and a cutting-edge application in 2013, Tintinimaginatio (ex-Moulinsart), which commercially exploits the work of Hergé, will bring Tintin into his technological future.

Tintinimaginatio has created two types of NFTs. NFTs are “Non-Fungible Tokens”, digital assets that certify and authenticate a digital artwork and its owner. For these first Tintin NFTs, the company chose the illustration project for the album cover “Le Lotus bleu”, sent by Hergé to his publisher on February 12, 1936. Two types of NFTs will be marketed : a so-called “utility” NFT, in the form of an NFT certificate that securely authenticates and certifies each of the high-resolution prints of the illustration project, printed in 777 copies and sold for 750 euros, and a so-called “collectible” assuming the form of a purely digital asset – individualized, numbered and equipped with its own graphic feature – in high definition of the illustration project sold for 350 euros. Behind these NFTs, we also find the Austrian company ArtèQ which notably marketed Gustav Klimt’s “Kiss” NFTs.

For many, NFTs are just gimmicks. For the financial sustainability of Hergé’s work, this could be the future. In 2054, “The Adventures of Tintin” and other works by Hergé will enter the public domain, which means that the creations born from the mind of Hergé will in principle no longer be protected by copyright after that date. There is therefore an after to prepare now. The income from the sale of NFTs is a plus, especially since with each future resale a commission will go to Tintinimaginatio. The potential is huge, especially since we learned about it the artwork does not even need to be in the hands of Tininiimaginatio to be transformed into an NFT. This is the case here. The owner of this cover project learned at the same time as the press of the NFT launch of his work. Paradoxical, but legal, apparently. The exploitation of this design in digital form would fall within the moral rights, which are the responsibility of the person entitled. The company that manages the rights only had to digitize the work when it passed through its hands during an exhibition several years ago. Smart.

These two NFTs will certainly not be the last launched by the company that manages Hergé’s work. After NFTs, it is said that Tintin may even land in the metaverse. Leafing through Tintin’s works in a virtual world dedicated to Hergé’s most famous hero doesn’t seem that far off since the reporter and his rights managers started their digital transformation very early on. The nearly 100-year-old journalist certainly has talent.

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