Gustave Guitton's (The Billionaires' Conspiracy). They thought that Hergé's depiction of the exploitation of Native Americans was an "astonishing piece of the narrative". Harry Thompson considered the story to be "little more than a tourist ramble" across the U.S., describing it as only "marginally more sophisticated" than its predecessors. He nevertheless thought that it contained many indicators of "greater things", remarking that Hergé's sympathy for the Natives was "a revolutionary attitude" for 1931. Thompson also opined that the book's "highlight" was on page 29 of the 1945 version, in which oil is discovered on Native land, following which they are cleared off by the U.S. Army, and a complete city is constructed on the site within 24 hours. Biographer Benoît Peeters praised the strip's illustrations, feeling that they exhibited "a quality of lightness" and showed that Hergé was fascinated by the United States despite the anti-Americanism of his milieu. He nevertheless considered it "in the same mode" as the earlier Adventures, calling it "a collection of clichés and snapshots of well-known places". Elsewhere, Peeters commented that throughout the story, Tintin rushes around the country seeing as much as possible, likening him to the stereotypical American tourist. Hergé biographer Pierre Assouline believed Tintin in America to be "more developed and detailed" than the prior Adventures, representing the cartoonist's "greatest success" in a "long time". Opining that the illustrations were "superior" due to Hergé's accumulated experience, he nevertheless criticized instances where the story exhibited directional problems; for instance, in one scene, Tintin enters the tunnel, but Assouline notes that while he is supposed to be traveling downward, he is instead depicted climbing upstairs. Such directional problems were also criticized by Michael Farr, who nevertheless thought the story "action-packed", with a more developed sense of satire and therefore greater depth than Soviets or Congo. He considered the depiction of Tintin climbing along the ledge of the skyscraper on page 10 to be "one of the most remarkable" illustrations in the entire series, inducing a sense of vertigo in the reader. He also opined that the depiction of the Blackfoot Natives being forced from their land was the "strongest political statement" in the series, illustrating that Hergé had "an acute political conscience" and was not the advocate of racial superiority that he has been accused of being. Comparing the 1932 and 1945 versions of the comic, Farr believed that the latter was technically superior,