Reviewed by: De Tintin au Congo à Odilon Verjus: le missionnaire, héros de la BD Belge [Tintin from Congo to Odilon Verjus: the Missionary, Hero of the Belgian comics] by Philippe Delisle Soizik Jouin Translated by Hasmig Chahinian De Tintin au Congo à Odilon Verjus: le missionnaire, héros de la BD Belge [Tintin from Congo to Odilon Verjus: the Missionary, Hero of the Belgian comics]. By Philippe Delisle. Paris: Karthala, 2011. 214 p. In this recently published text, Philippe Delisle focuses on a key figure of the colonial imagination: the Catholic missionary. From the White Father (Père Blanc) in Tintin au Congo (which is certainly the most emblematic work of these "colonial" comics) to Odilon Verjus, a rude and ribald priest-adventurer (and former pimp) created in 1996 by Yann and Laurent Verron, to Charles de Foucauld by Jijé (1959) and the Belles histoires de l'oncle Paul, the missionary figure is indeed curiously present, in various shapes, in all Franco-Belgian comics. This reveals the Belgians' deeply Catholic roots. The author also explains the evolution of these comics, that, although born in Belgium, were quickly adapted to the French market: The Congo (Belgian), very present in the first adventures of Tif et Tondu, Tintin and Spirou by Rob-Vel, becomes by the 1930s an African country devoid of a specific identity in order not to confuse the little French readers. But some Belgian characteristics are still present: the importance given to missionaries is perhaps partly due to the firm belief of Catholics in this country that their religion is the pillar of any civilization. These comics, intended for children and young adults, are the ideal means for an intense missionary propaganda that uses the taste of young people for exoticism and adventure to generate vocations. This essay, illustrated by numerous black and white thumbnails and written in a very lively and humorous way, explores the complex ties that link comics, religion, and politics. Philippe Delisle understands how to share his passion for comics and helps us (re)discover some forgotten series, like Blondin et Cirage by Jijé, which passes on a generous antiracist message in 1939. He also engagingly tracks the career paths of interesting authors like Jijé or Yves Challand. As soon as we close this book, we have only one desire: to dive into the old issues of Spirou or Tintin to meet Marc Dacier, Zig, Puce, Jean Valhardi, Pom, Teddy, and other comic strip heroes (forgotten to a certain [End Page 91] extent) that have contributed in strengthening colonial mythology but have also enchanted and inspired generations of young readers. Footnotes Review reprinted from La Revue des livres pour enfants 271 (2013): 73. Copyright © 2013 Bookbird, Inc.