L'Île Noire
Harry Thompson thought that "The Black Island" expressed a "convenient, hitherto unsuspected regard for the British" on Hergé's behalf, with Britain itself appearing as "a little quaint". He thought that it "outstrips its predecessors" both artistically and comedically, describing it as "one of the most popular Tintin stories". He felt that some of the logically implausible slapstick scenes illustrated "the last flicker of 1920s Tintin", but that the 1966 version was "a fine piece of work and one of the most beautifully drawn Tintin books". Michael Farr commented on the "distinct quality and special popularity" of "The Black Island". He thought that the inclusion of many airplanes and a television in the first version was symptomatic of Hergé's interest in innovation and modernism. Commenting on the differences between the third version of the comic and the earlier two, he thought that the latter was "strongly representative" of the artistic talents of Studios Hergé in the 1960s, but that it was nevertheless inferior, because it had replaced the "spontaneity and poetry" of the original with "over-detailed and fussily accurate" illustrations.