The plot synopsis revolved around the eponymous Totor, a Belgian boy scout who travels to visit his aunt and uncle in Texas, United States.

Totor is awed by the skyscrapers and is unintentionally hit by a car which flings him into a passing stranger who turns out to be a criminal named John Blood.

One of the arrows cut the ropes binding him and when the Chief draws close to scalp the young boy, Totor digs his feet into the Sachem's stomach and makes a quick getaway into a river, pretending to have drowned.

He discovers his uncle tied to a chair; Totor frees him, and Pad tells his nephew that the bandits kidnapped his aunt Save.

There they find a ransom note from the leader of the bandits, Jim Blackcat, saying to meet them under a big fir tree that day or they would kill his aunt.

[2] His experiences with Scouting would have a significant influence on the rest of his life, sparking his love of camping and the natural world, and providing him with a moral compass that stressed personal loyalty and keeping one's promise.

[4] Remi continued publishing cartoons, drawings and woodcuts in subsequent issues of the magazine, which was soon renamed Le Boy-Scout Belge (The Belgian Boy Scout).

Hergé had hoped that being the author of an ongoing comic strip would improve his job prospects,[10] for at the time he was beginning to develop a reputation as a designer of postcards, stationery, and advertisements.

[11] Rather than representing an example of a comic as the medium would come to be understood in the following decade, The Adventures of Totor consisted of square boxes containing illustrations with the captions written separately underneath, as was the style found in French comic creator Christophe's works La Famille Fenouillard (The Fenouillard Family) and Sapeur Camembert (Sapper Camembert).

Tintinologist Michael Farr described the character of Totor as a "natural prototype" for Tintin,[18] while literary critic Jean-Marie Apostolidès thought that Hergé "adopted his former hero to the new circumstances".

[21] Tintinologist Harry Thompson described Totor as "a brave, resourceful young character", noting that in several years he would "metamorphose" into Tintin.

"[8] Hergé biographer Pierre Assouline described the Totor story as being "very Boy Scout in spirit and clearly a prefiguration of Tintin.

"[7] He nevertheless had mixed views of the illustrations, commenting that the lines were "awkward, hesitant, incomplete, but the movement, rhythm, and above all, the humor is apparent.

"[7] Another biographer, Benoît Peeters, thought that the intrigue of the series was "extremely fragmented" because the main goal was to string gags and fight scenes together rather than to develop a plot.

[11] He commented that although by the early 21st century, it appeared "puerile", being "a long way" from the formula of The Adventures of Tintin, it was nevertheless "an important step toward the modern comic strip".

[11] Tintinologist Phillipe Goddin considered the series to be "a milestone", describing it as "full of promise" and containing "plety [sic] of humour, rich in developments".

[22] The Tintinologists Jean-Marc and Randy Lofficier commented that "Everything that made Tintin what it later became was seminally present in Totor", including the artistic style, the pace of the story, the use of humour, and the manner in which it imitated motion pictures.