What makes certain creative works, containing egregious racial caricatures and politically replete depictions, outlive their popularity among readers they were originally meant for, but continue to hold the fancy among readers in other parts of the world? Just like P.G. Wodehouse, whose quaint, upper-class British humour and characters are all but forgotten in his homeland, but continue to regale generations of English-educated middle class in South Asia. Or, say, Tintin, the globetrotting comicbook hero that Belgians and other Europeans seem to have grown over, but whose fandom continues to grow in the global South. Perhaps, for these unintended consumers, they offer an escape from their own milieu that their home-grown creative works are unable to give.