Asterix Omnibus volume 9: Asterix and the Great Divide; Asterix and the Black Gold; Asterix and Son


By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens’ Books and others)
ISBNs: 978-1-44400-967-5 (HB), 978-1-44400-966-8 (PB)

Alberto Aleandro Uderzo was born on April 25th 1927 in Fismes, on the Marne, a son of Italian immigrants. Showing great artistic flair as a child reading Mickey Mouse in Le Pétit Parisien, he dreamed of becoming an aircraft mechanic one day. Albert became a French citizen when he was seven and found employment at 13, apprenticed to the Paris Publishing Society, where he learned design, typography, calligraphy and photo retouching.

When WWII broke out, he spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix’s idyllic village was being mooted the region was the only choice.

During the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the country’s revitalised and burgeoning comics industry. His first published work, a pastiche of Aesop’s Fables, appeared in Junior, and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own comics masterpiece The Beast is Dead is long overdue for a new edition…).

Indefatigable Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created vertical comic strip Le Crime ne Paie pas for France-Soir. In 1950, he illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the prodigy met Rene Goscinny in 1951. Soon fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or perhaps gracious living) for women’s weekly Bonnes Soirée, after which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they devised a western starring a native hero who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955 with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine, before in 1957 adding Charlier’s Clairette to his portfolio.

The following year he made his debut in Le Journal de Tintin, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959, Uderzo was a major creative force for the new magazine, collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Astérix le gaulois

Despite Asterix being a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first Roman romp was compiled and collected as Astérix le gaulois in 1961, it became clear that the series would demand most of his time – especially as the incredible Goscinny seemed to never require rest or run out of ideas.

By 1967 the strip occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until 2010 when he retired.

After nearly 15 years as a weekly comic strip subsequently collected into albums, in 1974 the 21st tale (Asterix and Caesar’s Gift) was the first to be published as a complete original album before being serialised. Thereafter each new release was a long-anticipated, eagerly-awaited treat for the strip’s millions of fans…

According to UNESCO’s Index Translationum, Uderzo is the tenth most-often translated French-language author in the world and the third most-translated French language comics author – right after his old mate René Goscinny and the grand master Hergé.

More than 370 million copies of 37 (soon to be 38) Asterix books have sold worldwide, making his joint creators – and their successors Jean-Yves Ferri and Didier Conrad – France’s best-selling international authors.

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut, with a wealth of animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, naturellement)…

So what’s it all about?

Like all the best stories the premise works on more than one level: read it as an action-packed comedic saga of sneaky and bullying baddies coming a cropper if you want or as a punfully sly and witty satire for older, wiser heads. We Brits are further blessed by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable little Gaul so very palatable to English tongues.

More than half of the canon is set on Uderzo’s beloved Brittany coast, where – circa 50 B.C. – a small village of cantankerous, proudly defiant warriors and their families resist every effort of the mighty Roman Empire to complete the conquest of Gaul. The land has been divided by the conquerors into compliant provinces Celtica, Aquitania and Amorica, but the very tip of the last cited just refuses to be pacified…

The remaining epics occur in various locales throughout the Ancient World, with the Garrulous Gallic Gentlemen visiting every fantastic land and corner of the myriad civilisations that proliferated in that fabled era…

When the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls couldn’t care less: daily defying the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix

Firmly established as a global brand and premium French export by the mid-1960s, Asterix continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold. Moreover, following the civil unrest and nigh-revolution in French society following the Paris riots of 1968, the tales took on an increasingly acerbic tang of trenchant satire and pithy socio-political commentary…

By the time of the first tale in this omnibus edition was released Goscinny had been gone for three years and Uderzo soldiered on alone…

Asterix and the Great Divide was the 25th volume, released in 1980 as Le Grand Fossé, and in many ways something of a departure and stylistic compromise.

In another Gaulish village, internecine strife is brewing. Political rivals Cleverdix and Majestix have split the sleepy hamlet down the middle, with an election for chief ending in a dead tie. They then make the figurative literal by having a huge trench dug through the centre of town, cutting the tribe in two, with the population resolved into uncompromising Leftists and stubborn Rightists…

It’s a tragedy in many ways, with friends and families split into feuding camps, but the most heartrending separation concerns dashing Histrionix, son of Leftist Cleverdix and his one true love Melodrama, daughter of Majestix. Their warring sires refuse to concede or compromise and that simmering Cold War has frustrated their children’s happiness forever…

The lover’s pleas cannot move either deadlocked party leader and the intolerable situation is further exacerbated by the insidious, coldly calculating advisor to Majestix who secretly eggs on the old warrior for his own purposes.

Wily toady Codfix’s latest idea is to get their Roman overlords to intervene, installing Majestix as sole ruler by force. In return, Codfix would be given Melodrama in marriage. Of course, that would make him next in line for the ruler’s position. Codfix is both patient and ambitiously far-sighted…

When Melodrama learns of the plan, she immediately informs Histrionix and the prince tells Cleverdix – who knows full well he cannot resist the overwhelming might of the Romans. The former soldier then remembers an old war-buddy who still successfully resists the conquerors. His name was Vitalstatistix

As Histrionix heroically dashes to the village of Indomitable Gauls – everything he does is heroic – Codfix has gone to the local garrison with his request. Centurion Umbrageous Cumulonimbus, however, has his own problems: discipline is lax and the soldiers are grumbling because of the menial chores they are forced to perform. Codfix has the perfect solution. If the Romans put Rightist Majestix in charge, they could take the pacified Leftists as slaves…

In the meantime, Histronix has returned with Vitalstatistix’ best men. Asterix, Obelix and Getafix the Druid are discussing the matter with Cleverdix when Roman soldiers arrive. Codfix however, has overstepped himself and underestimated the nobility of Majestix…

The doughty Rightist refuses to let any Gaul be enslaved – even political opponents – so the uncaring Romans grab him and his followers instead. Impressed with his rival’s integrity, Cleverdix accepts Asterix’ offer of assistance and our heroes infiltrate the garrison as volunteer slaves using an elixir that revitalises the body but causes a touch of amnesia…

Having fun by exploiting these new Romans’ ignorance of their true identities, the infilitrators feed the imprisoned Gauls soup fortified with the Druid’s strength potion before Asterix and Obelix lead a mass breakout which soon finds the prisoners back in their divided hamlet but no closer to an amicable resolution.

And both sides know that the Romans will soon come, eager for revenge…

Codfix has sensibly stayed with the garrison and found the last of Getafix’ elixir, left behind during the liberation. When he sneaks back into the village, he also discovers a fresh batch of power-potion whipped up in advance of the impending attack… and steals it.

The next day, the Gauls wake to find invaders marching upon them, fortified by the elixir which has erased the punishing memory of their recent defeat, and simultaneously super-charged by power potion.

Left with nothing but Obelix and Gaulish courage, the villagers unite to fight and fall with honour, but are astonished when a bizarre series of transformations wrack the empowered Romans. It takes a long time to become a Druid and apparently the first thing you learn is to never mix potions…

Codfix has used the distraction to kidnap Melodrama. Demanding ransom and safe passage, he has not reckoned on Histrionix’ determination, Asterix’s ingenuity or Obelix’ strength and – after a climactic confrontation involving our perennially luckless Pirates – gets what’s coming to him…

With the Romans routed and Codfix suitably punished, Cleverdix and Majestix settle their differences with a traditional Gaulish duel after which someone else becomes chief of the reunified village. The former divide is transformed into an appropriate symbol of their unity and life goes on happily…

Asterix and the Great Divide was devised by Uderzo as a critique on current affairs and metaphorical attack on the Berlin Wall which had, since 1961, split the city physically, Europe symbolically and the world ideologically. His earnest tale was more dramatic and action-oriented than previous Asterix fare, with the regulars frequently reduced to subordinate roles, but for all that there are still cunning laughs and wry buffoonery in welcome amounts.

 

Asterix and the Black Gold (L’Odyssée d’Astérix) debuted in 1981 and again saw Asterix and Obelix embarking on a long voyage into the unknown, rife with bold adventure and underpinned by topical lampooning and timeless swingeing satire.

The 26th saga begins with a brace of wild boar demonstrating that they are canny opponents for voracious Obelix. Whenever the gigantic Gaul encounters these particular pigs in his daily hunts, they escape by leading him to the nearest Roman patrol. The only thing Obelix loves more than eating pork is bashing Romans…

Back in Rome, Julius Caesar is livid. He’s just received news that the insufferable, indomitable Gauls are training wild boars to lead Roman patrols into Gaulish ambushes…

The raging ruler’s continued attempts to end the aggravating resistance always fail and in a fit of fury he charges his chief of the Roman Secret Service M.I.VI (geddit?) with ending his galling Gallic grief – or else…

M. Devius Surreptitius has just the man for the job. Dubbelosix is of Gaulish-Roman extraction and has, by persistence and deviousness, qualified as a Druid. He is wily, charming, debonair and comes with a host of cunning hidden gadgets – and he’s also the spitting image of Sean Connery…

Dispatched on a mission to stop the French resisting, Dubbelosix is secretly working with his boss M to supplant Caesar, and also harbours ambitions to rule Rome alone …but first he has to destroy the infernal Gauls. His chance comes almost as soon as he arrives in that little village…

Getafix is in a near-panic. The Druid has been eagerly awaiting the arrival of Phoenician merchant Ekonomikrisis who is bringing a vital ingredient for the magic potion that keeps the Romans at bay. When the ship at last arrives and the peddler apologises for forgetting the fabled rock oil, the highly strung Getafix has a fit and passes out.

Luckily a young Druid dubbed Dubbelosix is passing and, after a minor skirmish with a Roman patrol, accompanies Asterix and Obelix back to their comatose friend…

The spy might be a double agent, but he knows his stuff and soon cures the ailing Getafix, who explains that the generally useless black ooze from the Middle East is vital to the potion: without a fresh supply they are all doomed…

When Asterix and Obelix – and faithful hound Dogmatix, of course – volunteer to obtain some of the crucial rock oil, Dubbelosix insists on accompanying them. But as they commandeer the Phoenician’s ship for the emergency mission, Getafix clandestinely warns Asterix to watch the too-good-to-be-true young Druid…

Expediting matters by selling off Ekonomikrisis’ wares at prices nobody – even Pirates – dare refuse, our heroes make their way to Mesopotamia, unaware that Dubbelosix, using his unique messaging service, has briefed Caesar and M to stop the ship at all costs.

After a succession of military vessels are sent to the bottom of the Mediterranean by the joyfully belligerent Gauls, the Ruler of the World is forced to change tactics and blockade all ports to prevent Asterix and Obelix from disembarking.

With time running out, Ekonomikrisis eventually sneaks the Gauls and Dubbelosix ashore in distant Judea. The trio travel overland to Jerusalem where they are befriended by the locals who have no love for the Romans. The oppressors are always just one step behind the voyagers, though. It is as if someone is telling them every time the questers alter their plans…

After a memorable night in a village called Bethlehem, the Hebrews’ attempt to smuggle the Gauls into Jerusalem is sabotaged by Dubbelosix. However, the Middle Eastern garrisons have never seen fighters like Asterix and Obelix and the doughty heroes escape, leaving the scurrilous double agent behind.

With time running out at home and no word of the fate of their friends, the Gauls are hidden by friendly merchants, and learn that the Romans have seized and burned all the rock oil in the city – and probably the entire region. Their only chance to secure some of the previously worthless black goo is to get it from the source – in Babylon, where it just seeps out of the ground…

Assisted by brave, helpful guide Saul ben Ephishul (a loving visual tribute to Uderzo’s deeply-missed partner René Goscinny, who was Jewish) Asterix and Obelix undertake another perilous journey into the deep desert, frolicking in the Dead Sea and encountering a procession of fanatical tribes all warring on each other for long-forgotten reasons in a savage lampoon of modern Middle East strife…

Eventually, the Gauls become completely lost; waterless and without hope under the scorching sun. However when little Dogmatix starts digging in the sand, the resultant oil gusher provides more than enough to buoy up their hopes and they battle on to rendezvous with Ekonomikrisis for a frantic return to Gaul.

Unfortunately, Dubbelosix has tracked them down again and has one last trick to play…

This return to the style and format of classic collaborations features hilarious comedy set-pieces, thrilling drama and a bitingly gentle assault on the madness of keeping ancient feuds alive, intransigence of religious tensions and the madness of recurring oil crises; lampooning ideologies and dogmas whilst showing how great it is when people can just get along.

Fast, furious and funny-with-a-moral, this is one of the artist/author’s very best efforts and even manages a double-shock ending…

 

Asterix and Son was released in 1983, the 27th saga and another unconventional step off the well-worn path as it touches on a rather touchy subject…

One particularly fine morning in the Village of Indomitable Gauls, Asterix and Obelix awake to discover someone has left a baby in a basket on their doorstep. Nonplussed and bewildered, they try to care for the infant – much to the horror of the local cows who would be delighted to provide sustenance if milked in a normal manner – but human tongues in the village are beginning to wag…

Things only get worse after the feisty tyke develops a taste for magic potion and somehow keeps finding new supplies of it…

Determined to clear his name and find the real parents, Asterix begins his investigations at the four Roman Garrisons, even as Crismus Cactus, Prefect of Gaul begins a suspiciously sudden emergency census of the local villages…

Hyper-charged on potion, the baby keeps getting out and following Asterix and Obelix, who discover that the Romans seem to be looking for one child in particular…

After a painful encounter with our heroes, Crismus Cactus retires to his villa where a VIP from Rome is waiting. Marcus Junius Brutus is Caesar’s adopted son and is most insistent that the mystery baby is found and turned over to him – even if he has to raze all Gaul to achieve his aim…

The infant in question is still causing trouble for the villagers and Brutus marshals an army near the isolated hamlet, successfully confirming the child’s location with a rather inept spy. The kid’s treatment of the intruder prompts Asterix to seek out a nanny, but as the village women are still suspicious and condemnatory, he hires a rather unsavoury stranger named Aspidistra for the task…

This provokes even more vicious tongue-wagging amongst the women, who assume the worst of both her and Asterix. Inexplicably, nobody notices the ferocious childminder’s astonishing resemblance to the Prefect of Gaul…

Unfortunately, once Crismus has successfully infiltrated the village he can’t get out again, and spends a punishing time amusing the infant horror until his nerve breaks. Drained of patience, Brutus then attacks with the full might of Rome, torching the village and bombarding it with catapults.

As the men tank up on potion and counterattack, the village women head for the beach. Sadly, Brutus is willing to sacrifice his entire army, and is waiting to grab the baby…

Once the Roman Legions are crushed, Asterix and Obelix return and discover what has occurred. Filled with rage, they set off in deadly pursuit and save the child just in time for his real mother and father to arrive. Two of the most powerful people in the world, they are extremely angry with somebody…

Laced with a dark and savage core, this rollicking rollercoaster ride combines tragedy with outrageous slapstick, transforming historical facts into a compelling comedy-drama that is both delightful and genuinely scary in places…

Stuffed with sly pokes and good-natured joshing, featuring famous caricatures to tease older readers whilst the raucous, bombastic, bellicose hi-jinks and riotous action astounds and bemuses the younger set, these tales celebrate the illustrative ability of Uderzo, confirming his potion-powered paragon of Gallic Pride to be a true national and cultural treasure.

If you still haven’t experienced this sublime slice of French polish and graphic élan, it’s never too late…
© 1980-1983 Goscinny/Uderzo. Revised English translation © 2002 Hachette. All rights reserved.

Asterix Omnibus Volume 8 Asterix and the Great Crossing; Obelix and Co.; Asterix in Belgium


By Goscinny & Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Children’s Books)
ISBN: 978-1-44400-837-1 (HB) 978-1-44400-838-8 (TPB)

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut in 1959, with a dozen animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, unsurprisingly…); all stemming from his gloriously absurd exploits.

More than 325 million copies of unforgettable Asterix books have sold worldwide (not counting the five non-canonical tomes most fans also own), making his joint originators France’s best-selling international authors. There is even the tantalising yet frightening promise of a new – 38th – volume sometime this year by follow-up creative team Jean-Yves Ferri and Didier Conrad…

The diminutive, doughty, potion-powered paragon of Gallic Pride was created by two of the industry’s greatest masters, René Goscinny & Albert Uderzo, as a weekly strip in Pilote, swiftly becoming a national success and symbol. Although their inspirational collaborations ended in 1977 with the death of the prolific scripter, the creative wonderment continued until 2010 from Uderzo and assistants – albeit at a slightly reduced rate.

After nearly 15 years as a comic strip subsequently collected into compilations, in 1974 the 21st tale (Asterix and Caesar’s Gift) was the first to be published as a complete original album before being serialised. Thereafter each new release was a long anticipated, eagerly awaited treat for the strip’s countless aficionados…

The comics magic operates on multiple levels: ostensibly, younger readers revel in the action-packed, lavishly illustrated comedic romps where sneaky, bullying baddies get their just deserts, whilst we more worldly readers enthuse over the dry, pun-filled, sly satire, especially as enhanced for English speakers by the brilliantly light touch of translators Anthea Bell & Derek Hockridge, who played no small part in making the indomitable Gaul and his gallant companions so palatable to the Anglo-Saxon world. (pour moi, though, a perfectly produced physically poetic “Paf!” to the phizzog is as welcome and wondrous as any painfully potent procession of puns or sardonic satirical sideswipes…)

More than half of the canon occurs on Uderzo’s beloved Brittany coast, where, circa 50 B.C., a small village of cantankerous, proudly defiant warriors and their families resisted every effort of the Roman Empire to complete the conquest of Gaul. The land had been divided by the conquerors into the provinces of Celtica, Aquitania and Amorica, but the very tip of the last-cited just refused to be pacified…

The remaining epics take place in various legendary locales throughout the Ancient World, as the Garrulous Gallic Gentlemen visited all the fantastic lands and corners of civilisations of the era…

When the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus, the little seaside hamlet was permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: daily defying the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold. Moreover, following the civil unrest and nigh-revolution in French society following the Paris riots of 1968, the tales took on an increasingly acerbic tang of trenchant satire and pithy socio-political commentary…

La Grande Traversée was the 22nd saga and second original book release in France, premiering in 1975, with a British hardcover edition – Asterix and the Great Crossing – launching here the following year.

It begins with another typical village kerfuffle as to the true and relative vintage of Unhygienix the fishmonger’s wares before descending into the standard-issue, boisterous, all-comers-welcome brawl.

However, the situation is rather more serious this time as Druid Getafix needs really fresh fish for the magic potion that keeps them all free of Rome…

A merchant but not a fisherman, Unhygienix refuses to catch his own stock so Asterix and Obelix eventually volunteer to take to sea in old Geriatrix’s dilapidated skiff to replenish the wizard’s stores, even though a big storm is brewing. Sadly, our heroes aren’t fishermen either, and after losing the nets the neophyte seamen are blown far from home…

Lost at sea and starving, they encounter their old pals the Pirates, but Obelix eats all their provisions in one go and soon the mismatched mariners – and faithful mutt Dogmatix – are in even direr straits as another storm blows them ever further westward.

Just as death seems inevitable, the Gauls wash up on an island of the Empire they have never seen before. In this strange outpost the Romans have red skins, paint their faces and wear feathers in their hair. Most terrifyingly, there are no wild boar to eat, only big ugly birds that go “gobble, gobble”…

After the usual two-fisted diplomacy with the “Iberians, or perhaps Thracians?”, Asterix and Obelix settle down comfortably enough, but the situation changes when the chief decides the big paleface is going to marry his daughter. Desperately, the Gauls steal a canoe one night and strike out across the Big Water towards home but only get as far as a little islet where they’re picked up by Viking explorers Herendethelessen, Steptøånssen, Nøgøødreåssen, Håråldwilssen and their valiant Great Dane Huntingseåssen, who are all jointly looking for unmapped continents…

Convinced their odd discoveries are natives of this strange New World, the Danes try to entice the oddly eager indigenes to come home with them as proof of Herendethelessen’s incredible discovery. Braving icy Atlantic seas, the dragon ship is soon back in cold, mist-enshrouded Scandinavia where gruff, dismissive Chief Ødiuscomparissen is suitably amazed and astounded…

However, when Gaulish slave Catastrofix reveals they are from his European homeland, tempers get a bit heated and another big fight breaks out…

Taking advantage of the commotion, Asterix, Obelix and Catastrofix – an actual fisherman by trade – steal a boat and head at last for home, picking up some piscine presents for Getafix en route…

This is a wittily arch but delightfully straightforward yarn, big on action and thrills, packed with knowing in-jokes and sly references to other French Western strips such as Lucky Luke and Ompa-pa (Oumpah-pah in French) as well as Shakespeare’s Hamlet, and ultimately formed the basis of the animated feature film Asterix Conquers America.

Strong, stinging satire was the foundation of the next saga. Obélix et Compagnie debuted in 1976 with English-language hardcover Obelix and Co. launching in 1978: once again dealing with frustration-wracked Julius Caesar’s attempting to end the aggravating resistance of the indomitable Gauls.

To that effect the most powerful man in the world dispatches a bold, brash go-getter from the Latin School of Economics to destroy their unity forever. Financial whiz-kid Preposterus has a plan that simply can’t fail and will incidentally pay huge dividends to the Empire.

Meanwhile, the replacing of the Totorum Garrison with fresh troops has allowed the Gauls to give Obelix a truly inspired birthday gift. After beating up the entire contingent on his own and without having to share the soldiers, the delighted big man goes back to carving and delivering Menhirs before meeting a strange young Roman.

Preposterus – a cruelly effective caricature of France’s then Prime Minister Jacques Chirac – intends to destroy the villagers by making them as greedy, lazy and corrupt as any Roman Patrician, all through the introduction of Capitalism and Market Forces…

To that end he pretends to be a Menhir buyer, willing to pay any amount for the giant stone obelisks (which have no appreciable use or worth and were normally swapped for small treats or favours), telling the big gullible oaf that money makes men important and powerful.

Without really understanding, easygoing Obelix begins accepting ever-larger sums for each standing stone, forcing himself to work harder and never stop. He doesn’t know what to do with the money but is caught up in an ever-hastening spiral of production.

Too busy to have fun hunting wild boars or play with Dogmatix, he begins hiring his equally gullible friends and neighbours: first to hunt for him and later to help sculpt Menhirs. All does is work and spend his growing mountain of cash on increasingly daft fancy clothes as he drives himself to miserable exhaustion.

Before long most of the village is caught in the escalating economic bubble, all except wily Asterix, who attempts to bring his old pal to his senses by suggesting to his friends that they set up as rival Menhir manufacturers. The little man is inadvertently helped in this by the status-obsessed village wives who push their men to become as “successful and influential” as the fat oaf…

In Totorum, the megaliths are beginning to pile up as Preposterus proceeds to exhaust all Rome’s funds purchasing Menhirs. Centurion Ignoramus is ecstatic that the plan to destroy the Gauls through cutthroat competition is working, but wants the growing mountain of shaped stones out of his camp, so Preposterous has them shipped back to Rome and starts selling them to rich trendies as indispensable fashion accessories.

The whiz-kid has nearly emptied Caesar’s coffers but his swish and intensive advertising campaign looks sets to recoup the losses with a folk-art sales boom… until sleazy Italian entrepreneur Meretricius starts selling cut-rate Rome-manufactured Menhirs and the Boom leads to a ruthless price war and inevitable Bust which almost topples the Empire…

Meanwhile, success has not made Obelix happy and he’s thinking of quitting, just as the desperate Preposterous returns and inconsiderately, immediately stops buying Menhirs. Of course, being simple peasants the Gauls don’t understand supply and demand or the finer principles of a free market: they’re just really annoyed and frustrated.

Luckily there’s lots of Romans around to help deal with their pent-up tensions…

Soon the air is cleared and the villagers have returned to their old-fashioned ways so Asterix and Getafix can laugh at news of a financial crisis wracking Rome…

This hilarious and telling parody and unashamed anti-Capitalist tract shows Goscinny & Uderzo at their absolute, satirical best, riffing on modern ideologies and dogmas whilst spoofing and lampooning the habits and tactics of greedy bosses and intransigent workers alike. Many politicians and economists have cited this tale – which is as always, stuffed with cameos and in-joke guest shots. I’m reliably informed that the beautiful page 36, which featured Preposterus explaining his ad campaign, was also the 1000th page of Asterix since his debut in 1959.

Asterix travel epics are always packed with captivating historical titbits, soupcons of healthy cynicism, singularly surreal situations and amazingly addictive but generally consequence-free action, always illustrated in a magically enticing manner. Such was certainly the case with Astérix chez les Belges, the 24th adventure and Goscinny’s last. The indefatigable writer passed away in 1977 halfway through the book’s completion. You can even commemorate the tragic event as just as Uderzo did, by drawing sullen, stormy skies for the rest of the tale he was completing: marking the moment, and incorporating one last wry shared dig at Belgian weather…

The story is a grand old romp of friendly rivalries – released in Britain in 1980 as Asterix in Belgium – and begins when a relief troop takes over the garrison of Laudanum. These soldiers are delighted to be in Amorica, because it means they are no longer fighting the Belgians. Those barbarians are even worse than the indomitable villagers in Amorica. Caesar himself has called them “the bravest of all the Gaulish Peoples”…

Perplexed by the laid-back attitude of the new occupiers, who consider their new posting a “rest cure”, Asterix and Obelix question one of the replacement Romans. They report his unbelievable news to Vitalstatistix, who is beside himself with indignation. Most of the others don’t really care, but when the furious Chief storms off for the border to see for himself, the old pals follow to keep him out of trouble…

Soon they have crossed the border and encounter the fabled warriors, led by their chiefs Beefix and Brawnix. They are indeed mighty fighters but awfully arrogant too, and soon Vitalstatistix has become so incensed with their boasting that he proposes a competition to see who can bash the most Romans and prove just who are the Bravest Gauls.

Obelix doesn’t mind: the Belgians are just like him. The only thing they like more than hitting Romans is eating and they seem to do the latter all day long…

Before long, however, there are no more Roman forts in the vicinity and the matter of honour is still unsettled. What they need is an unbiased umpire to judge who is the greatest and – fortuitously – Julius Caesar, moved to action by the terrible news from Belgium and rumours that the Amoricans (three of them at least) are also rising in revolt, has rushed to the frontier with the massed armies of the Empire…

Against such a force the squabbling cousins can only unite to force Caesar to admit who’s best…

Stuffed with sly pokes and good-natured joshing over cherished perceived national characteristics and celebrating the spectacular illustrative ability of Uderzo, this raucous, bombastic, bellicose delight delivers splendid hi-jinks and fast-paced action, and is perhaps the most jolly and accessible of these magical all-ages entertainments: a fitting tribute to the mastery of Goscinny and Uderzo.
© 1975-1979 Goscinny/Uderzo. Revised English translation © 2005 Hachette. All rights reserved.

Asterix Omnibus volume 7: Asterix and the Soothsayer; Asterix in Corsica; Asterix and Caesar’s Gift


By Goscinny & Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Books)
ISBN: 978-1-44400-835-7 (HB), 978-1-44400-836-4 (PB)

One of the most-read comics strips in the world, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut in 1959, with animated and live-action movies, TV series, assorted games, toys and even a theme park outside Paris (Parc Astérix, unsurprisingly…) all stemming from his glorious exploits.

More than 325 million copies of Asterix’s many albums have sold worldwide, making his joint creators France’s bestselling international authors.

The doughty, potion-powered paragon of Gallic Insouciance was created by two grandmasters of comics: René Goscinny & Albert Uderzo. Although their inspirational collaborations ended with the death of the prolific scripter in 1977, the creative wonderment continued until relatively recently from Uderzo, assistants and ultimately his successors – albeit at a slightly reduced rate.

The wonderment works on multiple levels: ostensibly, younger readers revel in action-packed, lavishly illustrated comedic romps wherein sneaky, bullying baddies get their just deserts, whilst we more worldly readers enthuse over the dry, pun-filled, sly satire, especially as enhanced for English speakers by the brilliantly light touch of translators Anthea Bell & Derek Hockridge, who played no small part in making the indomitable Gaul and his gallant companions so palatable to the Anglo-Saxon world.

(Moi, I still rejoice in a perfectly produced “Paf!” to the phizzog as much as any painfully potent procession of puns or sardonic satirical sideswipe…)

The stories were set on Uderzo’s beloved Brittany coast, where a small village of warriors and their families resisted every effort of the Roman Empire to complete the conquest of Gaul, or alternately, anywhere in the Ancient World, circa 50 BCE, as the Gallic Gentlemen wandered the multifarious provinces of the Empire and even beyond its generally-secure borders…

When the heroes were playing at home, the Romans, unable to defeat this last bastion of Gallic insouciance, resorted to a policy of containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The truculent Gauls don’t care: they daily defy the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold.

Le Devin was the 19th serialised epic, originally running in Pilote #652-673 throughout 1972, first translated into English album Asterix and the Soothsayer in 1975, and begins ominously whilst the village’s venerable mystic protector Getafix is away at his annual Druiding conference.

During a torrential storm, a nefarious soothsayer named Prolix turns up seeking shelter. His dark predictions instantly spread disharmony amongst the hospitable, hot-headed, painfully superstitious and credulous Gaulish stalwarts… except for level-headed, canny little Asterix.

As Prolix leaves, Chief’s wife Impedimenta sneaks after him, keen on a personal prediction, and the crafty charlatan soon discovers he’s on to a good thing and profitably cushy number…

Before long the entire village is under the soothsayer’s grimy thumb, but when he vanishes the ladies of the village accuse Asterix of driving him away.

In actuality, the unsavoury sage has been arrested by the Romans who have standing orders to deal harshly with all non-Roman prognosticators and troublemakers. Wily Prolix barters for his life with Centurion Arteriosclerosus, who sees a way to end his Indomitable Gaul problem by using the obviously fraudulent fortune-teller as a wedge to drive out the obstreperous resistors. Prolix returns to the village uttering a doom-laden pronouncement: the place has been cursed by the Gods and a pestilential stench will precede plague. Inevitable death will be their fate if they remain…

Panicked, the gullible Gauls head for the beach and take refuge on an off-shore island – all that is, except for Asterix, Obelix and chivalrous canine companion Dogmatix

With the Romans at last in possession of the village – and all Gaul finally conquered – the bold last rebels make their plans until Getafix returns. On his arrival the three men and a dog embark on an elaborate scheme to take back their home and teach their foolish fellows a much-needed lesson.

Concocting a stunningly malodorous vapour which drives the occupiers from the village, the druid convinces the Romans that Prolix is a real soothsayer and ambitious Arteriosclerosus sees a chance to become the next Caesar. Increasingly baffled, conman Prolix begins to believe his predictions are real…

After dressing down the refugee Gauls, Getafix leads them back to their beloved homes where the incensed and wiser villagers top up on magic potion before rushing off to teach the invaders – and Prolix – a much needed lesson. On this occasion, Impedimenta and the village women accompany their men, determined to expiate their embarrassing gullibility with a little cathartic violence of their own…

This delightfully arch and acerbic attack on gullibility and superstition is a splendid and long-overdue chance to see the minor characters play to their strengths and weaknesses, with Asterix and Obelix almost relegated to walk-on parts…

First translated two years earlier in England but chronologically following on from The Soothsayer in the original French serialisations, Astérix en Corse (Pilote #687-708, in 1973) was the 20th adventure and the best-selling French-language album of the series.

Another globe-trotting yarn, it begins with the Romans of the four occupying garrisons “deploying for manoeuvres” to avoid having to deal with Gauls’ painfully exuberant celebration of the anniversary of the Battle of Gergovia. Unfortunately for Centurion Hippotamus and his men, they are delayed by the arrival of a party from Praetor Perfidius, Governor of Corsica, escorting a dangerous prisoner into exile. They are all still in Totorum when the high-spirited villagers (and many guest-star friends from previous tales) arrive, keen for a punch-up and a little annoyed that all the other Roman camps are deserted…

When the dust settles and the groans of pain subside, Asterix discovers and liberates the prisoner Boneywasawarriorwayayix and invites him back to the village for a slap-up feed. Over boar and beer, the Gauls hear how Perfidius had the popular Corsican leader exiled to prevent him revealing how the Praetor has been over-taxing the people and embezzling the gold for himself instead of sending it to Caesar in Rome.

Corsica is officially the most troublesome spot in the Empire and the exile is determined to return and expose the hated Governor, so proud, haughty Boneywasawarriorwayayix is delighted when Asterix and Obelix – with faithful canine companion Dogmatix – determine to help him sneak back to his fiercely over-fortified and contained island (most volumes of this album have a map of Corsica instead of the traditional Gaulish village, and the tiny nation contains four towns and forty-six Roman camps)…

Hilariously obtaining passage on the pirate ship of Redbeard, the voyagers soon find themselves on the island – but by no means unnoticed…

Soon the dissolute and lazy soldiery are hunting the heroes as they make their way inland to the exile’s home village to rally the populace, whilst in the city of Aleria Perfidius reckons the jig is up and prepares to flee with his ill-gotten gains…

Attempting to rally the natives, Boneywasawarriorwayayix comes up against the age-old dilemma: most Corsicans are involved in centuries-long vendettas and would much rather fight each other – at least when they’re not taking a siesta – than unite to attack the invaders. However, eventually – and almost too late – a determined band of warriors march on Aleria. Perfidius has been secretly loading his loot onto a ship, but when his soldiers discover the riches, they realise their leader is planning to abandon them to the fiercely furious Corsicans – at least if overtaxed diplomatic Asterix can keep the natives from killing each other first…

Asterix travel epics are always packed with captivating historical titbits, soupcons of healthy cynicism, singularly surreal situations and amazingly addictive but generally consequence-free action, always illustrated in a magically enticing manner.

Stuffed with sly pokes and good-natured trans-national teasing of perceived (and generally treasured) national characteristics; celebrating the terrifying power of Corsican cheeses and liberally served up with raucous hi-jinks and fast-paced action, this is another magical titbit of all-ages entertainment.

In 1974 Le Cadeau de César was the first tale to be published as a complete album prior to being serialised, with British translation Asterix and Caesar’s Gift appearing in 1977. The saga begins in Rome where two 20-year veteran legionaries drunkenly celebrate being honourably discharged. Tremensdelirious and Egganlettus eagerly look forward to being given their service reward: a parcel of land each.

Unfortunately, Tremensdelirious is overheard disparaging Caesar, but the sardonically cruel Emperor does not punish the old soldier or even withhold his pension. In fact, he gives the veteran a lovely portion of the Gaulish coast in Armorica: all he has to do is shift a few recalcitrant Gauls from their village on his new small holding…

A drunk but not a fool, the old soldier knows his fate is sealed and soon trades his dispensation to Lutetian inn-keeper Orthopaedix to settle his outstanding and prodigious bar-bill…

The first that the Indomitable Gauls know of this is when Orthopaedix, wife Angina and daughter Influenza roll up in their cart and try to take possession. After some hilarity the villagers go back about their business and the inn-keeper is left to suffer the fury of his wife at the uprooting of the family to a barbaric hovel where nobody acknowledges their claim.

No stranger to such a tongue-lashing, Chief Vitalstatistix takes pity on Orthopaedix, offering to let them stay and open an inn in the hamlet, but the standoffish villagers are angered by Angina’s superior airs and a riot breaks out on opening night…

The world-weary publican is ready to quit, but now humiliated Angina is in a status duel with Impedimenta and, determined to stay, forces Orthopaedix to challenge Vitalstatistix for the post of village Chief. As the campaign to win the support of the always-argumentative villagers intensifies, all manner of shoddy tactics, dubious lobbying and outright bribery takes place, with each party frantically trying to curry political favour from the fickle but extremely astute potential voters who know the value of their own support…

Meanwhile, simple, gentle, oafish Obelix has fallen under the spell of the lovely Influenza, and she leads him on cruelly to help out her mother’s naked ambition, leading to a clash with his best friend. Only Asterix seems aware that the discord could well be the death of the village and lead to Caesar’s ultimate triumph and before long the waters are further muddied when elderly Lothario Geriatrix declares himself a third party, splitting the potential vote even further.

The political crisis reaches boiling point when Tremensdelirious turns up, demanding his land-grant back: after all it’s illegal to sell them to Gauls, and Orthopaedix has no say in the matter…

When the ex-legionary turns violent, Asterix steps in to save the day and the old sot is driven off at sword-point. He doesn’t go far – only to the garrison of Laudanum where old comrade Egganlettus has re-enlisted – and together they blackmail Centurion Tonsillitus into attacking the Gauls to uphold Roman law and get back that “official” pension land which is every soldier’s right…

That kind of military intervention usually ends disastrously, but this time the village is hopelessly divided by political intrigue and backstabbing and even Asterix cannot unite them against their real and common foe. It seems that the Gauls must lose everything until Orthopaedix makes a supreme sacrifice to save the day…

Brittle, barbed and devilishly sharp, this outrageous political thriller and satire on modern electioneering is as pertinent and punchy as it ever was, proving once again that these Gallic graphic masterpieces are perfect comics which everyone should read over and over again.
© 1972-1974 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Omnibus 6: Asterix in Switzerland, The Mansions of the Gods, Asterix & the Laurel Wreath


By Goscinny & Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Books)
ISBN: 978-1-44400-489-2 (HB), 978-1-44400-491-5 (PB)

One of the most-read comics strips in the world, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut in 1959, with animated and live-action movies, TV series, assorted games, toys and even a theme park outside Paris (Parc Astérix, unsurprisingly…) all stemming from his glorious exploits.

More than 325 million copies of 34 Asterix books have sold worldwide, making his joint creators France’s bestselling international authors.

The doughty, potion-powered paragon of Gallic Insouciance was created by two grandmasters of comics: René Goscinny & Albert Uderzo. Although their inspirational collaborations ended with the death of the prolific scripter in 1977, the creative wonderment continued until relatively recently from Uderzo, assistants and ultimately his successors – albeit at a slightly reduced rate.

The wonderment works on multiple levels: ostensibly, younger readers revel in action-packed, lavishly illustrated comedic romps wherein sneaky, bullying baddies get their just deserts, whilst we more worldly readers enthuse over the dry, pun-filled, sly satire, especially as enhanced for English speakers by the brilliantly light touch of translators Anthea Bell & Derek Hockridge, who played no small part in making the indomitable Gaul and his gallant companions so palatable to the Anglo-Saxon world.

(Moi, I still rejoice in a perfectly produced “Paf!” to the phizzog as much as any painfully potent procession of puns or sardonic satirical sideswipe…)

The stories were set on Uderzo’s beloved Brittany coast, where a small village of warriors and their families resisted every effort of the Roman Empire to complete the conquest of Gaul, or alternately, anywhere in the Ancient World, circa 50 BCE, as the Gallic Gentlemen wandered the multifarious provinces of the Empire and even beyond its generally-secure borders…

When the heroes were playing at home, the Romans, unable to defeat this last bastion of Gallic insouciance, resorted to a policy of containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold. Moreover, following the civil unrest and nigh-revolution in French society following the Paris riots of 1968, the tales began to increasingly show signs of trenchant satire and more directed social commentary…

As Astérix chez les Helvètes was the 16th serialised saga, originally running in Pilote #557-578 throughout 1970 and first translated into English as Asterix in Switzerland in 1973. It opens with the attempted murder of Roman official Quaestor Vexatius Sinusitus; dispatched to Gaul to audit the corrupt, embezzling and utterly decadent Governor Varius Flavus.

The poisoning only fails due to the efforts of Getafix, but to keep the Roman alive – and further thwart Flavus – the sage needs a rare flower which only grows in the mountains of neighbouring country Helvetia (and that’s Switzerland, mein kinder). Always keen for a road trip, Asterix and Obelix quickly volunteer to fetch the fabled “silver star” or Edelweiss …

With Sinusitus sheltered in the village of the indomitable Gauls, Flavus’ only hope is to stop the happy voyagers. To that end he sends his most unscrupulous man to warn the equally repugnant and devious Curius Odus, Governor of Helvetia, to stop the Gauls at all costs…

Asterix and Obelix cannily avoid Roman sabotage plots, beat up many, many thugs and bullies, whilst marvelling at the quirkiness of their newfound Helvetian friends, with their mania for cleanliness, passion for melted cheese, yodelling, tidy, solicitous brand of medical treatments, cultured beverages, cultivated villages, lakes and banks and their fruit-based archery training programs for the young…

Although a far darker tale than most previous escapades, all the familiar gentle spoofing of national characteristics, cartoon action and hilarious lampoonery is incorporated into this splendid and beautifully rendered yarn. The search for the silver-star is, of course ultimately successful, despite an entire battalion of troops racing up a mountain after them, with a stunning alpine climax and an exceptionally different kind of ending…

 

Translated that same year was Le Domaine des Dieux (from Pilote #591-612, in 1971) wherein Caesar, determined to eradicate the last remnant of Gaulish resistance, tries to win by social planning and cultural imperialism. To that end he plans to cut down the great forest which surrounds the village and build a new town of lavish Roman apartments in the stylish, modern Roman manner: The Mansions of the Gods

Whiz kid architect Squaronthehypotenus leads the project, but his immigrant army of slave labourers soon founders when boar-loving Obelix strenuously objects to having his favourite hunting preserve torn down and paved over…

However, the massed might of Rome is insurmountable, and eventually many mighty oaks are felled. To counter this Getafix simply grows instant new ones whilst Asterix shares his magic potion with the increasingly fed up slaves…

This stalemate is only overcome when the wily Gauls seemingly surrender and allow the “Mansions of the Gods” to be built and stocked with middle-class colonists from Rome. After a rapid bump in trade as the villagers become tourist-trappers, the complacent property developers make their greatest mistake and rent an apartment to the Gaul’s uniquely gifted bard Cacofonix, leading to a rapid exodus of tenants and an inevitable and breathtaking final clash with the garrison of Aquarium, who had moved into the luxurious vacant apartments…

Drenched in trenchant observation of and jibes at the industrial relations conflicts, the then runaway speculation in new developments in France and the inexorable growth of “planning blight” (still painfully relevant today anywhere in the industrialised world), this tremendously effective satire is packed with gags and action and displays artist Uderzo’s sublime gift for caricature and parody – especially in the wonderful spoofs of real estate advertising campaigns…

 

Also debuting in Pilote, Les Lauriers de César came from issues #621-642, in 1971 and was given the fabulous Bell/Hockridge treatment in 1974 to become Asterix and the Laurel Wreath. It begins in Rome where Asterix and Obelix are arguing…

During a visit to Chief Vitalstatistix’s wealthy, snobbish and city-dwelling brother-in-law Homeopathix, the crusty old warrior gets too drunk and boasts that he can get something which all the merchant’s money cannot buy – a stew seasoned with Caesar’s fabled wreath of office.

Sober now and in dire danger of eternal embarrassment as well as the unflinching approbation of his sharp-tongued wife Impedimenta, the Chief has no option but to allow his two best men – the larger of whom had drunkenly egged him on at the family gathering and then volunteered to fetch the leafy headpiece – to travel to the heart of Caesar’s power and attempt the impossible…

At least Asterix knows it’s impossible; Obelix is quite happy to storm the Imperial Palace and just grab the wreath…

Luckily, reason prevails and the wily little warrior determines their only chance is infiltration, to which end Asterix sells them both as slaves. Unfortunately, they are bought by the wrong Roman. Osseus Humerus is an innocuous Patrician with a troublesome family, but as Asterix tries every trick to get their unsuspecting owner to return them to the Slave Auctioneer, he only endears himself even more to his very satisfied customer. So much so in fact, that Humerus entrusts them with a message to be delivered to Caesar himself.

Jealous major-domo Goldendelicius then accuses them of planning assassination and the heroes are locked in the dungeons – leaving them complete access to the entire palace…

Before long, the indomitable duo are wreaking havoc in the Imperial Court and playing hob with the usually predictable proceedings in the Arena of the Circus Maximus.

Seemingly untouchable, but no nearer the Laurel Wreath, the despondent Gauls finally seize their chance when they encounter again the recently promoted Goldendelicius. Rewarded by Caesar, the major-domo now holds a position of great responsibility: holder of the triumphal floral arrangement at Caesar’s next public engagement…

Sharp and deeply intriguing, this comedy of errors is spectacularly illustrated by Uderzo at the very top of his game, whilst Goscinny’s dry, wry script seamlessly rockets from slapstick set-piece to penetrating observational comedy and magnificently engaging adventure, with our unlikely heroes inevitably, happily victorious in every instance. Just as it should be…

Asterix epics are always packed with captivating historical titbits, soupcons of healthy cynicism, singularly surreal situations and amazingly addictive but generally consequence-free action, illustrated in a magically enticing manner. These are perfect comics that everyone should read over and over again.
© 1970, 1972-3 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Asterix Omnibus volume 5: Asterix and the Cauldron, Asterix in Spain & Asterix and the Roman Agent


By Goscinny & Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Books)
ISBNs: 978-1-44400-488-5 (HB); 978-1-44400-490-8 (PB)

One of the most-read comics series in the world, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut in 1959, with animated and live-action movies, TV series, assorted games, toys and even a theme park outside Paris (Parc Astérix, if you’re planning a trip…) spinning off from his hilarious exploits.

More than 325 million copies of 34 Asterix books have sold worldwide, making his joint creators France’s bestselling international authors.

The diminutive, doughty potion-powered champion of Gallic Pride was created by two of the art form’s greatest proponents, writer René Goscinny & illustrator Albert Uderzo and although their inspirational collaborations ended in 1977 with the death of the prolific scripter, the creative wonderment still continued until relatively recently from Uderzo and assistants – albeit at a slightly reduced rate.

The wonderment works on multiple levels: ostensibly, younger readers revel in the action-packed, lavishly illustrated comedic romps where sneaky, bullying baddies get their just deserts whilst we more worldly readers enthuse over the dry, pun-filled, sly satire, especially as enhanced for English speakers by the brilliantly light touch of translators Anthea Bell & Derek Hockridge, who played no small part in making the indomitable Gaul and his gallant companions so palatable to the Anglo-Saxon world. (Me, I still delight in a divinely delivered “Paff!” as much as any painfully potent pun or dryly searing jibe…)

The stories were set on Uderzo’s beloved Brittany coast, where a small village of warriors and their families resisted every effort of the Roman Empire to complete the conquest of Gaul, or alternately, anywhere in the Ancient World, circa 50BC, as the Gallic Gentlemen wandered the fantastic lands of the Empire and beyond…

When the heroes were playing at home, the Romans, unable to defeat this last bastion of Gallic insouciance, resorted to a policy of containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the rather diminutive dynamo and his simplistic, supercharged best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold.

Asterix and the Cauldron was the 13th saga, originally running in Pilote #469-491 throughout 1968 before being first translated into English in 1976.

It’s a convoluted tale of treachery, felony and dishonour as fellow Gaulish chieftain Whosemoralsarelastix – a cunning and conniving Roman collaborator – convinces the reluctant but big-hearted Vitalstatistix to guard the occupied cliff-top community’s treasury from Imperial tax collectors.

Despite knowing how untrustworthy the scoundrel is, Gaul must help Gaul and the rogue’s huge onion-soup cauldron, stuffed with his people’s golden Sestertii, is placed under the stewardship of the village’s greatest hero and most trustworthy warrior: Asterix.

However, that night, as a great inter-village feast is consumed, somebody cuts their way into the guard hut and steals the glittering contents of that mighty tureen. Of course, dodgy Whosemoralsarelastix wants his money back and the noble Vitalstatistix is honour-bound to replace the stolen horde and disgraced Asterix is banished until he can refill the empty cauldron with gold…

Trusty Obelix refuses to turn away from his friend and joins the quest, which first takes them to the garrison of Compendium, where the wily warrior intends to refill the empty churn with some of the gold the occupiers have been regularly collecting from Gauls.

Unfortunately, Caesar has been experiencing some cash-flow problems of his own and not only has he been rushing the takings to Rome, he hasn’t even paid his soldiers for months…

With disharmony, mutiny and strike action imminent among the legions, Asterix and Obelix realise they must look elsewhere for their loot.

Even their old acquaintances the pirates are cash-strapped – and all-too-soon traditionally thrashed – so the doughty duo must seek their fortune at the grand market in Condatum, briefly and disastrously becoming boar merchants, paid street boxers, actors and charioteers, before turning to crime and planning a bank robbery…

Even here our two just men fare badly. In desperation, they decide to rob Caesar’s tax collector, but Asterix discovers a strange thing. Not only has destitute Whosemoralsarelastix somehow paid his taxes, but the coins deposited smell of onion soup…

With realisation dawning, Asterix visits the cliff-dwelling villagers for a little chat and a mighty reckoning…

Rich with slapstick action and cutting commercial satire (for example the tax collector is a caricature of France’s then Finance Minister Valéry Giscard d’Estaing), this hilarious crime caper is a glorious example of dry yet riotous adventure comedy.

Astérix en Hispanie promptly followed (during 1969 and in Pilote #498-519) in France and was translated into English as Asterix in Spain two years later. It recounts how a valiant group of Iberian warriors are similarly holding-out against Caesar’s total conquest of that proud nation.

Chief Huevos Y Bacon is the noble warrior leading the resistance, but when his haughty son Pepe is captured, all seems lost. Fearing reprisal or rescue, the Romans hastily despatch the hostage lad to the garrison at Totorum, under the oversight of brutish Spurius Brontosaurus. He has no idea what the “pacified” Gauls of the area are like and has his hands more than full contending with the appallingly behaved and inspirationally vicious young prince…

When his guards encounter Gauls in the great forest, they are easily overwhelmed by playful Obelix. Asterix takes Pepe back to the village where – following an ill-advised and painful attempt by Brontosaurus and the legion to reclaim him – our heroes decide to return him to his father.

Most pertinent and urgent in reaching this decision is the spoiled brat’s obnoxious behaviour…

Brontosaurus has pragmatically decided the kid is perfectly safe with the Gauls, and, unaware of their planned jaunt to Hispania, smugly returns to his post. Meanwhile, after their mandatory encounter with pirates, Asterix, Obelix and faithful mutt Dogmatix make their leisurely way through the scenic countryside (offering many trenchant asides regarding the then popular French passion for Spanish touring holidays), until a chance encounter in an inn reveals to the General Brontosaurus how close they are to undoing all his plans.

Venal but no coward, the Roman joins their excursion party, captures Asterix and steals the Gaul’s magic potion: planning to destroy Huevos Y Bacon’s resistance once and for all. However, Obelix, Pepe – and Dogmatix – have a plan to spectacularly save the day…

Full of good-natured nationalistic pokes and trans-national teasing, liberally served up with raucous hi-jinks and fast-paced action, this is another magical titbit of all-ages entertainment.

During 1970, Pilote #531-552 serialised La Zizanie. It translates as “strife”, but on making the jump to English in 1972, became the far less evocative Asterix and the Roman Agent. The tale featured more homeland insecurity as Caesar, under attack by the Roman Senate over the indomitable, unconquerable Gauls, deploys his greatest weapon: a double-edged sword named Tortuous Convolvulus, whose every word and gesture seems to stir ill-feeling and conflict in all who meet him.

Where Force of Arms has failed perhaps this living manifestation of disharmony and dissent might forever fracture the Gauls’ unshakable comradeship and solidarity with dose of Roman entente dis-cordiale

On the crossing, just two minutes with the conniving Convolvulus has the brotherhood of pirates at each other’s throats, and, even while discussing plan with Aquarium’s commander Felix Platypus, the agent’s unique gift sows dissonance and violence, so when he finally enters the village it’s not long before the high-spirited and fractious Gauls are at war with each other…

Women are cattily sniping at each other, traders are trading blows and even Asterix and Obelix are on the outs. But that’s not the worst of it: somehow the idea has gotten around that their sharp little champion has sold out to the Romans…

With unrest abounding and abundant, the Romans soon have the secret of the magic potion too (or do they?) but ingenious Convolvulus hasn’t reckoned on two things – the sheer dimness of Imperial troops and the invaluable power of true friendship – leaving Asterix and Obelix a way to overcome their differences, turn the tables and once more save the day.

At last, the agent provocateur is forced to realise that sometimes one can be too smart for one’s own good…

Brittle, barbed and devilishly sharp, this yarn was reputedly based on lingering ill-feeling following an internal power-struggle at Pilote which almost cost editor Goscinny his job. The original title for the tale transliterates as “The Ill-feeling” or “The Dissension”. Seen through the lens of 40 years of distance, however, all that can be seen now is stinging, clever, witty observational comedy and magnificently engaging adventure, and surely that’s what matters most?

Asterix sagas are always stuffed with captivating historical titbits, soupcons of healthy cynicism, singularly surreal situations and amazingly addictive action, illustrated in a magically enticing manner. These are perfect comics that everyone should read over and over again.
© 1968-1970 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Asterix Omnibus volume 4: Asterix the Legionary; Asterix and the Chieftain’s Shield; Asterix at the Olympic Games


By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion)
ISBN: 978-1-44400-428-1 (HB)                    978-1-44400-487-8 (PB)

Asterix the Gaul is one of Europe’s – more specifically France’s – most exciting and rewarding contributions to global culture: a cunning little paragon of the underdog spirit who resists the iniquities, experiences the absurdities and observes the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and a magic potion bestowing incredible strength, speed and vitality. The savvy smarts are all his own…

One of the most-read comics in the world, his chronicles have been translated into more than 100 languages (including Latin and ancient Greek for educational purposes); with 14 live-action and animated movies, 55 board and video games and even into his own theme park (Parc Astérix, near Paris).

More than 370 million copies of 37 Asterix books have sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

The diminutive, doughty hero was created by two of the art-form’s greatest masters, René Goscinny & Albert Uderzo who were already masters of the form and at the peak of their creative powers. Although their perfect partnership ended in 1977 with the death of the terrifying prolific scripter Goscinny, the creative wonderment still continues – albeit at a slightly reduced rate of rapidity.

Asterix launched in 1959 in the very first issue of Pilote (with a teaser premiere page appearing a week earlier in a promotional issue #0). The feature was a massive hit from the start. Initially Uderzo continued working with Charlier on Michel Tanguy, (Les Aventures de Tanguy et Laverdure), but soon after the first epic escapade was collected as Astérix le gaulois in 1961, it became clear that the series would demand most of his time – especially as the incredible Goscinny never seemed to require rest or run out of ideas (after the writer’s death the publication rate dropped from two books per year to one volume every three to five).

By 1967 the strip occupied all Uderzo’s time and attention. In 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation and when Goscinny passed away three years later Uderzo was, after much effort, convinced to continue the adventures as writer and artist, producing a further ten volumes.

Like all great literary classics, the premise works on multiple levels: younger readers enjoying an action-packed, lavishly illustrated comedic romp of sneaky, bullying baddies getting their just deserts whilst crustier readers enthuse over the dry, pun-filled, sly and witty satire, enhanced for English speakers by the brilliantly light and innovative touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable Gaul so palatable to the Anglo-Saxon world. (Personally, I still thrill to a perfectly delivered punch in the bracket as much as a painfully swingeing string of bad puns and dry cutting jibes…)

Asterix the Gaul is a cunning underdog who resists the iniquities, experiences the absurdities and observes the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and a magic potion. The stories were set on the tip of Uderzo’s beloved Brittany coast around the year 50 BCE, where a small village of redoubtable warriors and their families resist all efforts of the Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorts to a policy of containment and the little seaside hamlet is perpetually hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by a magic potion provided by the resident druid and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

Firmly established as a global brand and premium French comics export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold.

In late 1966 they began Asterix the Legionary (running in Pilote #368-389), which was later adapted as half of the plot for the movie Asterix Vs Caesar (the other album incorporated into the animated epic being Asterix the Gladiator).

This clever romp introduced the destabilising concept of true romance to the doughty hero and his prodigious pal Obelix as, whilst boar hunting in the great forest around their unconquerable village, they encounter the fabulously beautiful Panacea picking mushrooms.

The little darling has freshly returned to the village after years away in Condatum, and the sheltered Obelix is instantly smitten. Dazed and confused by the only force that could ever affect him, the gentle giant is teased by Asterix and venerable druid Getafix, but innocently undaunted, Obelix begins bringing the oblivious lass a succession of inappropriate presents…

When the befuddled buffoon finds Panacea crying, he dashingly volunteers to mend her woes. Tragically for him, the problem is a boyfriend named Tragicomix, who has been pressed into military service with the Roman Army…

Where other men would take advantage of the hopeless situation, Obelix, afflicted with True Crush, determines to make her happy and rushes off to rescue her lost beau. Ever faithful, Asterix and diminutive canine companion Dogmatix accompany the big oaf… to keep him out of trouble…

In Condatum, they discover Tragicomix has already been shipped out to Africa where Caesar battles fellow Roman Scipio in a clandestine Civil War. Asterix realises the only way to find Tragicomix is to enlist in the Roman Army, too…

In Basic Training they meet a motley assortment of fellow recruits – all gently-contrived national stereotypes – allowing for a broad bombardment of friendly ethnic comedy and graphic accent humour. There was Neveratalos the Greek, Goths Allegoric and Hemispheric, Gastronomix from Belgium, Selectivemploymentax the Briton and poor Ptenisnet the Egyptian, who doesn’t know the language and thinks he joined a holiday package tour…

After lashings of their unique brand of anarchy disrupting regulation army life, Asterix, Obelix and crew ship out to Africa. When they arrive, the war is going badly for Caesar, but more importantly, Tragicomix has gone missing: believed captured by Scipio’s forces…

With magic potion in hand, Asterix, Obelix and Dogmatix take matters in hand…

A hilariously engaging yarn with delicious overtones of the iconic British comedy Carry On Sergeant, this action-packed farce is big on laughs but harbours a bittersweet core that will tug at the heartstrings of young and old alike…

Asterix and the Chieftain’s Shield (originally entitled Le bouclier arverne) was the 11th epic outing for the Greatest French Hero of Them All: debuting in Pilote #399 and running until #421 in 1967. It acts as a tongue-in-cheek patriotic history lesson and opens years before the usual setting of Asterix tales as Gaulish over-chief Vercingetorix surrenders to Caesar at the Battle of Alesia. This he does by throwing down his weapons and armour at the Conqueror’s feet. It’s the start of a lengthy running gag…

Such is the shame of the defeated Gauls that the location of the clash is excised from their memories. Now, nobody remembers where Alesia was…

After the battle, the accoutrements lay where they fell until a greedy Legionary stole the Great Shield, subsequently losing it in a game of dice. From there, the legendary buckler passes through many scurrilous hands before fading into legend…

Jumping to “modern” times, in the village of indomitable Gauls Chief Vitalstatistix is terribly ill: a sedentary life of over-indulgence has ruined his liver and since Getafix’s druidic potions can’t help him, he has to go to the spa town of Aqua Calidae (Arverne) for a rest-cure and diet.

It isn’t all bad though, since his forthright wife Impedimenta has to stay behind….

As a chief he needs an honour guard and Asterix, Obelix and Dogmatix are happy to accompany him, especially as the chief uses the journey to test all the inns and taverns en route. Once there though, the warriors’ robust consumption and boisterous high jinks appals all the dieting dignitaries and impatient patients, so Asterix and Obelix are summarily kicked out of the Health Resort.

Footloose and fancy-free, the boys tour the local countryside of Gergovia, idly trying to find the lost site of Alesia until they encounter Roman envoy Noxius Vapus and his cohort. After indulging in their favourite sport of Roman-bashing, the lads befriend local merchant Winesandspirix – a veteran of Alesia – while Noxius hightails it to Rome to tell Caesar the Gauls are revolting…

({   } This space provided for you to fill in your own joke)…

Set on putting the Gauls in their place and reminding them who’s boss, Caesar determines to hold a Roman Triumph with the shield of Vercingetorix as the centrepiece. He’s none too happy when he discovers it’s been missing for years…

And thus begins the second stage of this hilariously thrilling detective mystery as the Romans frantically hunt for the missing artefact and Asterix and Obelix set out to thwart them at every turn…

No prizes for guessing which faction succeeds and who scurries home in defeat and disgust in this marvellously slapstick saga with a delightfully daft twist ending…

Asterix at the Olympic Games first appeared weekly in Pilote #434-455, serialised in 1968 to coincide with and capitalise upon the Mexico City Games. The translated British album was released four years later, just before the 1972 Munich Olympiad.

The Romans of Aquarium garrison are in an ebullient mood. Their comrade Gluteus Maximus has been selected to represent Rome at the Greeks’ Great Games in Olympia. Centurion Gaius Veriambitius is happy too, because he knows if Gluteus wins, they can both write their ticket in Rome…

It all starts to go horribly wrong when the Roman superman is bested and humiliated by Asterix and Obelix whilst training in the Great Forest. His confidence shattered, Gluteus returns to Aquarium and only regains a modicum of his old form when Veriambitius reminds him that the potion-fuelled Gauls won’t be at the Games…

Meanwhile, the men of the village have decided to go to Olympia and have a go themselves…

There follows an uproarious and nigh-scandalous sequence of events as the unbeatable Greeks try to placate their Roman overlords; the Latin competitors undergo the tortures of the arrogant damned to cheat, wheedle and somehow exclude the all-conquering Gauls, whilst the basically honest and honourable Asterix devises a cunning yet fair way to beat the politically motivated, greed-inspired “sportsmen” and still uphold the best traditions and ideals of the Olympic Games.

Guess who wins…

Spoofing package tours, obnoxious tourists, self-serving sports authorities and doping scandals in equal proportion, this sparkling escapade features some of Uderzo’s most inspired art as he recreates the grandeur and glory of the Ancient World whilst simultaneously graphically lampooning the haughty elites of the Sporting World, the Military and Politics. A genuine classic far more valuable than any medal and a bit sturdier than laurel leaf crowns…

Asterix volumes are always stuffed with captivating historical titbits, soupcons of healthy cynicism, singularly surreal action and splendidly addictive adventure, illustrated in a magically enticing manner. These are perfect comics that everyone should read over and over again.
© 1967-1969 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Asterix Omnibus volume 3: Asterix and the Big Fight; Asterix in Britain; Asterix and the Normans


By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion)
ISBN: 978-1-44400-427-4 (HB)                    978-1-44400-475-5 (PB)

Asterix the Gaul is one of Europe’s – more specifically France’s – most exciting and rewarding contributions to global culture: a cunning little paragon of the underdog spirit who resists the iniquities, experiences the absurdities and observes the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and a magic potion bestowing incredible strength, speed and vitality. The savvy smarts are all his own…

One of the most-read comics in the world, his chronicles have been translated into more than 100 languages (including Latin and ancient Greek for educational purposes); with 14 live-action and animated movies, 55 board and video games and even into his own theme park (Parc Astérix, near Paris).

More than 370 million copies of 37 Asterix books have sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

The diminutive, doughty hero was created by two of the art-form’s greatest masters, René Goscinny & Albert Uderzo who were already masters of the form and at the peak of their creative powers. Although their perfect partnership ended in 1977 with the death of the terrifying prolific scripter Goscinny, the creative wonderment still continues – albeit at a slightly reduced rate of rapidity.

Asterix launched in 1959 in the very first issue of Pilote (with a teaser premiere page appearing a week earlier in a promotional issue #0). The feature was a massive hit from the start. Initially Uderzo continued working with Charlier on Michel Tanguy, (Les Aventures de Tanguy et Laverdure), but soon after the first epic escapade was collected as Astérix le gaulois in 1961, it became clear that the series would demand most of his time – especially as the incredible Goscinny never seemed to require rest or run out of ideas (after the writer’s death the publication rate dropped from two books per year to one volume every three to five).

By 1967 the strip occupied all Uderzo’s time and attention. In 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation and when Goscinny passed away three years later Uderzo was, after much effort, convinced to continue the adventures as writer and artist, producing a further ten volumes.

Like all great literary classics, the premise works on two levels: younger readers enjoy an action-packed, lavishly illustrated comedic romp of sneaky, bullying baddies getting their just deserts whilst crustier readers enthuse over the dry, pun-filled, sly and witty satire, enhanced for English speakers by the brilliantly light and innovative touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable Gaul so palatable to the Anglo-Saxon world.

The stories were set on the tip of Uderzo’s beloved Brittany coast in the year 50 BCE, where a small village of redoubtable warriors and their families resist all efforts of the Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorts to a policy of containment and the little seaside hamlet is perpetually hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by a magic potion provided by the resident druid and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

By the time Asterix and the Big Fight first ran in Pilote #261-302 in 1964 (originally entitled Le Combat des chefs or ‘The Battle of the Chiefs’) the feature was a fixture in millions of lives.

Here another Roman scheme to overwhelm the hirsute hold-outs begins when Totorum’s commander Centurion Nebulus Nimbus and his aide-de-camp Felonius Caucus try using an old Gaulish tradition to rid themselves of the rebels.

The Big Fight is a hand-to-hand duel between chiefs, with the winner becoming ruler of the loser’s tribe. All the Romans have to do is find a puppet, have him defeat fat, old Vitalstatistix and their perennial problem goes away for good. Luckily, just such a man is Cassius Ceramix: chief of Linoleum, a hulking brute and, most importantly, a keen lover of all things Roman…

Even such a cunning plan is doomed to failure whilst Vitalstatistix uses magic potion to increase his strength, but what if the Druid Getafix is taken out first?

When the Romans attempt to abduct the old mage, Obelix (who fell into a vat of potion as a baby and grew into a genial, permanently superhuman, eternally hungry goliath) accidentally bounces a large menhir off the druid’s bonce, causing amnesia and a touch of insanity…

Although not quite what they intended, the incapacitation of Getafix emboldens the plotters and the Gallo-Roman Ceramix’s challenge is quickly delivered and reluctantly accepted. With no magic potion, honour at stake and the entire village endangered, desperate measures are called for. Asterix and Obelix consult the unconventional sage (even for druids) Psychoanalytix – who specialises in mental disorders – and Vitalstatistix is forced to diet and begin hard physical training!

Unfortunately, when Obelix shows Psychoanalytix how Getafix sustained his injury the net result is two crazy druids, who promptly begin a bizarre bout of magical one-upmanship. As the crucial combat begins and Vitalstatistix valiantly battles his hulking, traitorous nemesis, Getafix accidentally cures himself, which is lucky as the treacherous Nebulus Nimbus and Felonius Caucus have no intention of losing and have perspicaciously brought along their much-abused Legions to crush the potion-less Gauls, should Ceramix let them down…

Manic and deviously cutting in its jibes at the psychiatric profession, this wildly slapstick romp is genuinely laugh-a-minute and one of the very best Goscinny tales.

Following the established pattern, after a “home” adventure our heroes went globe-trotting in their next exploit -although not very far…

Asterix in Britain originated in 1965 (Pilote#307-334) and followed Caesar’s conquest of our quirky country. It was never a fair fight: Britons always stopped in the afternoon for a cup of hot water and a dash of milk and never at the weekend, so those were the only times the Romans attacked…

Just so’s you know: by this time the Gallic wonders were already fairly well known on our foggy shores. The strips had been appearing in UK weekly anthology Valiant since November 1963, graduating to Ranger (1965-66) and Look & Learn (1966). Set in Britain circa 43 AD and entitled Little Fred and Big Ed, Little Fred, the Ancient Brit with Bags of Grit, Beric the Bold, Britons Never, Never, Never Shall Be Slaves! and In the Days of Good Queen Cleo. The first true Asterix album was subsequently released in 1969 by Brockhampton Press, with all names and locations just as we know them today.

After the conquest, in Cantium (Kent) one village of embattled Britons hold out against the invaders and they send Anticlimax to Gaul where his cousin Asterix has successfully resisted the Romans for absolutely ages. Always happy to oblige, the Gauls whip up a barrel of magic potion and the wily warrior and Obelix accompany Anticlimax on the return trip. Unfortunately, during a brief brouhaha with a Roman galley in the channel, the invaders discover the mission and begin a massive hunt for the rebels and their precious cargo…

As the trio make their perilous way to Cantium, the entire army of occupation is hard on their heels and it isn’t long before the barrel goes missing…

Simply stuffed with good natured jibes about British cooking, fog, the Tower of Londinium, warm beer, council estates, the still un-dug Channel tunnel, boozing, the Beatles (it was the swinging Sixties, after all), sport, fishing and our national beverage, this action-packed, wild frenetic chase yarn is possibly the funniest of all the Asterix books… if you’re British and possess our rather unique sense of humour, eh, wot…?

Asterix and the Normans debuted in Pilote #340-361 (1966) and showed how Vikings (who would eventually colonise parts of France as Northmen or “Normans”) first encountered our heroic Gauls and learned some valuable lessons…

The action opens with Chief Vitalstatistix reluctantly taking charge of his spoiled teenaged nephew Justforkix, intending to make a man of the flashy brat from Lutetia (Paris). The country girls go for his style and modern music (spoofing Elvis Presley in the original and the Rolling Stones in the English translation) and the lad’s glib tongue even convinces the Bard Cacofonix that his “unique” musical talent would be properly appreciated in the big city…

Meanwhile, a shipload of Vikings have fetched up on the beach, looking for the answer to a knotty question.

Rough, tough and fierce, the Scandinavians have no concept of fear, but since they have heard that the emotion can make people fly, they’re determined not to leave until they have experienced terror first hand…

They’ve met their match in the Gaulish villagers, but Justforkix is a different matter. The once-cool lad is a big ball of cowardy-custardness when confronted by the Normans, so the burly barbarians promptly snatch him, insisting he teach them all about that incomprehensible emotion…

Canny Asterix knows fighting Normans is a waste of time, but reasons the only way to get rid of them is to teach them what fear is like. If violence won’t work then what’s needed is something truly horrible… but Cacofonix and his assorted musical instruments are already on their way to fame and fortune in Lutetia. If only Obelix and Dogmatix can find him and save the day…

Daft and delicious, this superbly silly tale abounds with comedy combat and confusion; a perfect mix of gentle generational jibing and slaphappy slapstick with a twist ending to boot…

Outrageously fast-paced, funny and magnificently illustrated by a supreme artist at the very peak of his form, these historical high jinks cemented Asterix’s growing reputation as a world treasure and as these albums are available in a wealth of differing formats and editions – all readily available from a variety of retail and internet vendors or even your local charity shop – there’s no reason why should miss out on all the fun.

Asterix is sublime comics storytelling and if you’re still not au fait with these Village People you must be as Crazy as the Romans ever were…
© 1964-1965 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Asterix Omnibus volume 2: Asterix the Gladiator, Asterix and the Banquet, Asterix and Cleopatra


By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens Books)
ISBN: 978-1-4440-0424-3

It’s been a painful year for lovers of comics, with many of our greatest practitioners – famous or otherwise – leaving us. I’m going to spend the remainder of the year dwelling on them and recommending examples of their work we can read to commemorate them in the best way possible… through enjoyment.

Suffolk-born Anthea Bell OBE came from prestigious stock. She was born in 1936 and translated numerous works from history books such as WG Siebald’s Austerlitz to the works of Hans Christian Andersen to fantasies such as Cornelia Funke’s Inkworld books Either singly or with Derek Hockridge, however, she found true immortality: translating thousands of pages of European comics and Bande Dessinée. She was a smart and dedicated woman and brilliantly adroit with worlds and concepts in many tongues. Her creative punning and naming techniques in the Asterix books garnered praise all over the world and many aficionados believe the strip is actually funnier in English than in any other language.

I can certainly confirm that’s the case with German…

Among her many triumphs are the aforementioned Asterix, Le Petit Nicolas, Lieutenant Blueberry and Iznogoud.

She died on 18th October 2018 and can never be replaced.

Asterix the Gaul is probably France’s greatest literary export: a wily wee warrior who resisted the iniquities, experienced the absurdities and observed the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and a magic potion which bestowed incredible strength, speed and vitality.

One of the most popular comics in the world, the chronicles have been translated into more than 100 languages; 8 animated and 3 live-action movies, assorted games and even into a theme park (Parc Astérix, near Paris). More than 325 million copies of 34 Asterix books have been sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

The diminutive, doughty hero was created as the transformative 1960s began by two of the art-form’s greatest masters, René Goscinny & Albert Uderzo and even though their perfect partnership ended in 1977 the creative wonderment still continues – albeit at a slightly reduced rate of rapidity.

When Pilote launched in 1959 was Asterix was a massive hit from the start. For a while Uderzo continued working with Charlier on Michel Tanguy, (Les Aventures de Tanguy et Laverdure), but soon after the first epic escapade was collected as Astérix le gaulois in 1961 it became clear that the series would demand most of his time – especially as the incredible Goscinny never seemed to require rest or run out of ideas (after the writer’s death the publication rate dropped from two books per year to one volume every three to five).

By 1967 the strip occupied all Uderzo’s time and attention. In 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation and when Goscinny passed away three years later Uderzo was convinced to continue the adventures as writer and artist, producing a further ten volumes since then.

Like all great literary classics, the premise works on two levels: for younger readers as an action-packed comedic romp of sneaky, bullying baddies regularly getting their just deserts and as a pun-filled, sly and witty satire for older, wiser heads, enhanced here by the brilliantly light touch of the translators who played such a massive part in making the indomitable Gaul so very palatable to the English tongue.

Launched in Pilote #1 (29th October 1959, with the first page appearing a week earlier in a promotional issue #0, June 1st 1959), the stories were set on the tip of Uderzo’s beloved Brittany coast in the year 50BC, where a small village of redoubtable warriors and their families resisted every effort of the all-conquering Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorted to a policy of containment and the little seaside hamlet is perpetually hemmed in by the heavily fortified garrisons of Aquarium, Laudanum, Petibonum and Barbaorum (the latter two becoming Compendium and Totorum for us Brits).

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by a magic potion provided by the resident druid and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

With these volumes a key pattern was established: the adventures would henceforth – like a football match – alternate between Home and Away, with each globe-trotting escapade balanced by an epic set in and around he happily beleaguered Gaulish village (if you’re counting, home tales were odd numbered volumes and travelling exploits even-numbered…)

Asterix the Gladiator debuted in Pilote #126-168 (1963) with the canny rebel and his increasingly show-stealing pal Obelix (who had fallen into a vat of potion as a baby and was a genial, permanently superhuman, eternally hungry foil to the smart little hero) despatched to the heart of the Roman Empire on an ill-conceived mission of mercy…

When Prefect Odius Asparagus seeks to give Julius Caesar a unique gift he decides upon one of the indomitable Gauls who had been giving his occupying forces such a hard time.

Thus, he has village Bard Cacofonix abducted and bundled off to Rome. Although in two minds about losing the raucous harpist, pride wins out and the villagers mount a rescue attempt, but after thrashing the Romans again they discover that their lost comrade is already en route for the Eternal City…

Asterix and Obelix are despatched to retrieve the missing musician and hitch a ride on a Phoenician galley operated under a bold new business plan by captain/general manager Ekonomikrisis. On the way to Italy the heroes first encounter a band of pirates who would become frequent guest-stars and perennial gadflies.

The pirates were a creative in-joke between the close-knit comics community: Barbe-Rouge or Redbeard was a buccaneering strip created by Charlier & Victor Hubinon that also ran in Pilote at the time.

As Asterix and Obelix make friends among the cosmopolitan crowds of Rome, Caesar has already received his latest gift. Underwhelmed by his new Bard, the Emperor sends Cacofonix to the Circus Maximus to be thrown to the lions just as his chief of Gladiators Caius Fatuous is “talent-spotting” two incredibly tough strangers who would make ideal arena fighters…

Since it’s the best way to get to Cacofonix, our heroes join the Imperial Gladiatorial school; promptly introducing a little Gallic intransigence to the tightly disciplined proceedings. When the great day arrives, the lions get the shock of their lives and the entertainment-starved citizens of Rome “enjoy” a show they will never forget…

As always, the good-natured, comedic situations and sheer finesse of the yarn rattles along, delivering barrages of puns, oodles of insane situations and loads of low-trauma slapstick action, marvellously rendered in Uderzo’s expansive, authentic and continually improving big-foot art-style.

Asterix and the Banquet originated in Pilote #172-213 (1963), inspired by the Tour de France cycle race.

After being continually humiliated by the intractable Gauls coming and going as they please, Roman Inspector General Overanxius instigates a policy of exclusion and builds a huge wall around the little village, determined to shut them off from their country and the world. Modern world leaders might get a clue from this book, here… if they read books. Even books with pictures…

Incensed, Asterix best the smug Prefect that Gauls can go wherever they please and to prove it invites the Romans to a magnificent feast where they can sample the culinary delights of various regions. Breaking out of the stockade and through the barricades, Asterix and Obelix gather produce from as far afield as Rotomagus (Rouen), Lutetia (Paris, where they also picked up a determined little mutt who would eventually become a star cast-member), Camaracum (Cambrai) and Durocortorum (Rheims), easily evading or overcoming the assembled patrols and legions of man-hunting soldiers. However, they don’t reckon on the corrupting power of the huge – and growing – bounty on their heads and some Gauls are apparently more greedy than patriotic…

Even with Asterix held captive and all the might of the Empire ranged against them, Gaulish honour is upheld and Overanxius, after some spectacular fights, chases and close calls, eventually is made to eat his words – and a few choice Gallic morsels – in this delightful, bombastic and exceedingly clever celebration of pride and whimsy.

Asterix and Cleopatra ran from 1963-1963 in issues #215-257 and, although deriving its title from Shakespeare’s Antony and Cleopatra, is actually a broad visual spoof of the 1963 movie blockbuster Cleopatra (the original collected album cover was patterned on the film poster).

Rome is a big empire to run but Caesar always has time to spare for the fascinating Queen of Egypt – even though she can be a little overbearing at times…

When Caesar calls her people decadent, Cleopatra announces that her Egyptians will build a magnificent palace within three months to prove their continued ingenuity and vitality.

Her architect Edifis is less confidant and subcontracts the job, recruiting his old friend Getafix the Druid to help, with Asterix, Obelix and faithful pooch Dogmatix coming along to keep him out of trouble…

After another short, sharp visit with the pirates, the voyagers reach the Black Lands only to find the building site an utter shambles. Edifis’ arch rival Artifis has stirred up unrest among the labourers and consequently sabotaged the supply-chain, entombing the visitors in a deadly tourist-trap and even frames Edifis by attempting to poison the Queen.

For all these tactics the ingenious Gauls have a ready solution and the Palace construction continues apace, but when Caesar – determined not to lose face to his tempestuous paramour – sends his Legions to destroy the almost-completed complex, it’s up to the two smallest, smartest warriors to come up with a solution to save the day, the Palace and the pride of two nations…

Outrageously fast-paced and funny and magnificently illustrated by a supreme artist at the very peak of his form, Asterix and Cleopatra is one of the very best epics from a series that has nothing but brilliant hits.

This is supremely enjoyable comics storytelling and if you’re still not au fait with these Village People you must be as Crazy as the Romans ever were…
© 1964-1965 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

Asterix and the Chariot Race


By Jean-Yves Ferri & Didier Conrad, colored by Thierry Mébarki and translated by Adriana Hunter (Orion Books)
ISBN: 978-1-5101-0401-3 (HB)                    eISBN: 978-1-5101-0402-0

Win’s Christmas Gift Recommendation: Celebrate the Season in Classical Style… 9/10

Asterix debuted in 1959 and has since become part of the fabric of French life. His exploits have touched billions of people all around the world for five and a half decades and for almost all of that time his astounding adventures were the sole preserve of originators Rene Goscinny and/or Albert Uderzo.

After nearly 15 years dissemination as weekly serials (subsequently collected into book-length compilations), in 1974 the 21st saga – Asterix and Caesar’s Gift – was the first to be released as a complete, original album prior to serialisation.

Thereafter each new tome became an eagerly anticipated, impatiently awaited treat for legions of devotees. The eager anxiety hasn’t diminished any even now that Uderzo’s handpicked replacements – scripter Jean-Yves Ferri (Fables Autonomes, La Retour à la terre) and illustrator Didier Conrad (Les Innomables, Le Piège Malais, Tatum) have taken up the creative role since his retirement in 2009.

Whether as an action-packed comedic romp with sneaky, bullying baddies getting their just deserts or as a sly and wicked satire for older-if-no-wiser heads, these new yarns are just as engrossing as the established canon.

As you already know, half of the intoxicating epics take place in various exotic locales throughout the Ancient World, whilst the alternating rest are set in and around Uderzo’s adored Brittany where, circa 50 BC, a little hamlet of cantankerous, proudly defiant warriors and their families resist every effort of the mighty Roman Empire to complete the conquest of Gaul.

Although the country is divided by the notional conquerors into provinces Celtica, Aquitania and Armorica, the very tip of the last named stubbornly refuses to be properly pacified. The otherwise dominant overlords, utterly unable to overrun this last bastion of Gallic insouciance, are reduced to a pointless policy of absolute containment – and yet the irksome Gauls come and go as they please.

Thus, a tiny seaside hamlet is permanently hemmed in by heavily fortified garrisons Totorum, Aquarium, Laudanum and Compendium, filled with veteran fighters who would rather be anywhere else on earth than there…

Their “prisoners” couldn’t care less; daily defying and frustrating the world’s greatest military machine by uncaringly going about their everyday affairs, bolstered by magic potion brewed by resident druid Getafix and the shrewd wits and strategic aplomb of diminutive dynamo Asterix and his simplistic, supercharged best friend Obelix

Astérix et la Transitalique was released on October 17th 2017, and simultaneously or soon after hurtled off the shelves of many nations as Asterix and the Chariot Race – or whatever the local language equivalent of the many nations addicted to these epics might be…

This time the narrative horsepower comes from sport, and as always there is a healthy helping of satirical lampooning of current affairs, administrative, political and regional and nationalistic…

Before this away game eventually takes in all of Italy it opens bombastically in the Roman Senate where shifty political chancer Lactus Bifidus is fiercely challenged about the appalling state of the Empire’s roads. Yes, they all still lead to Rome, but their maintenance is a major issue riddled with potholes that are a public disgrace and hazard to safe navigation…

Roused from a sneaky slumber and thinking too fast, the overly-defensive corrupt bureaucrat instantly declares a grand chariot race to span all of Italy and thereby prove the perfection of the byways under his management.

His big mistake is publicly declaring his magnificent trans-Italian rally open to “all the peoples of the known world”…

As a seething Julius Caesar is quick to point out in private, a competition spanning the entire Italic Peninsula is liable to stir up subject races and even other Italian cities if it’s won by anyone but a purebred Roman Citizen.

The Emperors then advises Lactus that it’s now the Senator’s sole responsibility to guarantee no barbarian crosses the finish line first…

In Gaul, the residents of a certain indomitable village are rowdily enjoying themselves at a huge market festival. Amidst the tooth pullers, weapons-sellers, fortune tellers and other vendors, one canny salesman spies an easy mark and lumbers gullible giant Obelix with a flashy racing chariot.

The superhuman simpleton’s friends soon cease their good-natured teasing at his foolish purchase after the announcement of the great Trans-Italic Race is read out and Chief Vitalstatistix agrees that it would be nice to bother the Romans on their own turf for a change…

Soon Asterix, Obelix and canine companion Dogmatix are off on those bumpy deplorable roads and heading for the border. From Modica they will pit themselves against a horde of teams hungry for victory as they chase down to the “boot of Italy” to the finish line at Neapolis under the grumbling fire mountain Vesuvius…

Most of their competitors seem decent enough folk, but amongst the racers from Breton, Lusitania, Kush, Liguria, Calabria and other desolate points of the Empire, Asterix notes a few teams to watch closely: the devious Cimbri, the rowdy Normans and Sarmatians but most especially the Roman squad and their always-masked, unbeaten charioteer Coronavirus…

There’s something not quite right about him…

And then, with wealthy sponsors Lupus Garum (the Fermented Fish-gut Sauce of Champions!) adjudicating every stage of the contest the valiant Aurigae (you know that means charioteers, right?) are off!

Spoofing sporting corruption, the ephemeral venalities of corporate sponsorship and the sordid power of petty nationalism, this rocket-paced rollercoaster ride is awash with sneaky plots, dirty tricks and rapid switches of allegiance; providing plenty of thrills and spills to garnish the madcap chase to the finish line, and even incorporates spacious room for plenty of twists, turns and deliciously doled-out just deserts.

With Asterix and Obelix at their most disingenuously heroic and charming, this unbeatable Race of the Century is furiously funny and hilariously jam-packed with and timeless jibes and cracking contemporary swipes, plus an enchanting double-surprise ending. Asterix and the Chariot Race is a sure win and another triumphant addition to the mythic canon for laugh-seekers in general and all devotees of comics.
© 2017 Les Éditions Albert René. English translation: © 2017 Les Éditions Albert René. All rights reserved.

Asterix Omnibus volume 1: Asterix the Gaul, Asterix and the Golden Sickle and Asterix and the Goths

By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion/Hodder-Darguad/Brockhampton)

Omnibus ISBN: 978-1-44400-423-6

Individual Orion ISBNs: 978-0-75286-605-5: 978-0-75286-613-0 & 978-0-75286-615-4

Sorry, Baudelaire, Balzac Proust, Sartre, Voltaire, Zola and all you other worthy contenders; Asterix the Gaul is probably France’s greatest literary export.

The feisty, wily little warrior who fought the iniquities and viewed the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and – whenever necessary – a magical potion imbuing the imbiber with incredible strength, speed and vitality, is the go-to reference all us non-Gallic gallants when we think of France…

In eager anticipation of the publication of the 37th Asterix volume next month, here a little refresher course for the classicist cognoscenti and a gentle but urgent plea to the uninitiated to get their collective fingers out and get au fait with one of Earth’s genuine comics phenomenons…

The diminutive, doughty hero was created at the very end of the 1950s by two of the art-forms greatest masters, René Goscinny & Albert Uderzo, and even though the perfect partnership ended in 1977, and Uderzo no longer crafts the comedic chaos, the creative wonderment still continues – albeit at a slightly reduced rate of rapidity.

René Goscinny is arguably the most prolific and remains one of the most-read writers of comic strips the world has ever known. Born in Paris in 1926, he grew up in Argentina where his father taught mathematics. From an early age René showed artistic promise, and studied fine arts, graduating in 1942.

In 1945 while working as junior illustrator in an ad agency his uncle invited him to stay in America, where he found work as a translator. After National Service in France he returned to the States and settled in Brooklyn, pursuing an artistic career and becoming in 1948 an assistant for a little studio which included Harvey Kurtzman, Will Elder, Jack Davis and John Severin as well as European giants-in-waiting Maurice de Bévère (Morris, with whom from 1955-1977 Goscinny produced Lucky Luke) and Joseph Gillain (Jijé).

He also met Georges Troisfontaines, head of the World Press Agency, the company that provided comics for the French magazine Spirou.

After contributing scripts to Belles Histoires de l’Oncle Paul and Jerry Spring Goscinny was promoted to head of World Press’ Paris office where he met his ultimate creative collaborator Albert Uderzo. In his spare time Rene created Sylvie and Alain et Christine with Martial Durand (Martial) and Fanfan et Polo, drawn by Dino Attanasio.

In 1955 Goscinny, Uderzo, Charlier and Jean Hébrard formed the independent syndicate Édipress/Édifrance, creating magazines for business and general industry (Clairon for the factory union and Pistolin for a chocolate factory). With Uderzo René generated Bill Blanchart, Pistolet and Benjamin et Benjamine, and even illustrated his own scripts for Le Capitaine Bibobu.

Goscinny clearly patented the 40-hour day. Using the nom-de-plume Agostini he wrote Le Petit Nicholas (drawn by Jean-Jacques Sempé) and in 1956 began an association with the revolutionary magazine Tintin, writing for various illustrators including Attanasio (Signor Spagetti), Bob De Moor (Monsieur Tric), Maréchal (Prudence Petitpas), Berck (Strapontin), Globule le Martien and Alphonse for Tibet, Modeste et Pompon for André Franquin, as well as the fabulous and funny adventures of the inimitable Indian brave Oumpah-Pah with Uderzo. He also wrote for the magazines Paris-Flirt and Vaillant.

In 1959 Édipress/Édifrance launched Pilote, and Goscinny went into overdrive. The first issue featured re-launched versions of Le Petit Nicolas, Jehan Pistolet/Jehan Soupolet, new serials Jacquot le Mousse and Tromblon et Bottaclou (drawn by Godard) plus a little something called Asterix the Gaul, inarguably the greatest achievement of his partnership with Uderzo.

When Georges Dargaud bought Pilote in 1960, Goscinny became Editor-in-Chief, but still found time to add new series Les Divagations de Monsieur Sait-Tout (Martial), La Potachologie Illustrée (Cabu), Les Dingodossiers (Gotlib) and La Forêt de Chênebeau (Mic Delinx).

He also wrote frequently for television but never stopped creating strips such Les Aventures du Calife Haroun el Poussah for Record illustrated by Swedish artist Jean Tabary. A minor success, it was re-tooled as Iznogoud when it transferred to Pilote.

Goscinny died – probably of well-deserved pride and severe exhaustion – in November 1977.

Alberto Aleandro Uderzo was born on April 25th 1927, in Fismes, on the Marne, a child of Italian immigrants. As a boy reading Mickey Mouse in Le Pétit Parisien Alberto dreamed of becoming an aircraft mechanic. He showed artistic flair from an early age and became a French citizen when he was seven. At 13 years old he became an apprentice of the Paris Publishing Society, learning design, typography, calligraphy and photo retouching.

When WWII broke out he spent time with farming relatives in Brittany, joining his father’s furniture-making business. Brittany beguiled Uderzo: when a location for Asterix’s idyllic village was being decided upon the region was the only choice.

In the post-war rebuilding of France Uderzo returned to Paris and became a successful artist in the country’s burgeoning comics industry. His first published work, a pastiche of Aesop’s Fables, appeared in Junior and in 1945 he was introduced to industry giant Edmond-François Calvo (whose masterpiece The Beast is Dead is long overdue for the world’s closer attention…).

Young Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist, as an illustrator for France Dimanche, and created the vertical comic strip ‘Le Crime ne Paie pas’ for France-Soir. In 1950 he illustrated a few episodes of the franchised European version of Captain Marvel Jr. for Bravo!

Another inveterate traveller, the young artist met Goscinny in 1951. Soon fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or gracious living) for women’s weekly Bonnes Soirée, after which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they produced a Western starring a very Red (but not so American) Indian who evolved into the delightful and (eventually) popular Oumpah-Pah. In 1955 with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replacing Christian Godard on Benjamin et Benjamine and in 1957 added Charlier’s Clairette to his portfolio.

The following year later, he made his Tintin debut, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also illuminated Poussin et Poussif, La Famille Moutonet and La Famille Cokalane

When Pilote launched in 1959 Uderzo was the major creative force for the new magazine, limning Charlier’s Tanguy et Laverdure and a little something called Asterix

Although Asterix was a massive hit from the start, Uderzo continued working with Charlier on Michel Tanguy, (subsequently Les Aventures de Tanguy et Laverdure), but soon after the first ancient world adventure was collected as Astérix le gaulois in 1961 it became clear that the series would demand most of his time – especially as the incredible Goscinny never seemed to require rest or run out of ideas (after the writer’s death, the publication rate dropped from two per year to one volume every three to five).

By 1967 Asterix occupied all Uderzo’s time and attention. In 1974 the perfect partners formed Idéfix Studios to fully exploit their inimitable creation and when Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes.

According to UNESCO’s Index Translationum, Uderzo is the tenth most-often translated French-language author in the world and the third most-translated French language comics author – after his old mate René Goscinny and the grand master Hergé.

So what’s it all about?

Like all entertainments the premise works on two levels: as an action-packed comedic romp of sneaky and bullying baddies coming a-cropper for younger readers and as a pun-filled, sly and witty satire for older, wiser heads, transformed here by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge (who played no small part in making the indomitable little Gaul so very palatable to the English tongue).

Originally published in Pilote #1-38 (29th October 1959-4th July 1960, with the first page appearing a week earlier in a promotional issue #0, distributed on June 1st 1959), the story was set on the tip of Uderzo’s beloved Brittany coast in the year 50BC. Here a small village of redoubtable warriors and their families resisted every effort of the world-beating Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorts to a policy of containment and the little seaside hamlet is hemmed in by the heavily fortified permanent garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by a magic potion provided by the resident druid and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

In Asterix the Gaul this immaculate comedy-drama scenario is hilariously demonstrated when Centurion Crismus Bonus, fed up with his soldiers being casually beaten up by the fiercely free Frenchmen, sends reluctant spy Caligula Minus to ferret out the secret of their incredible strength.

The affable resistors take the infiltrator in and, dosed up with potion, the perfidious Roman escapes with the answer – if not the formula itself…

Soon after, the Druid Getafix is captured by the invaders and the village seems doomed, but wily Asterix is on the case and breaks into Compendium determined to teach the Romans a lesson. After driving them crazy for ages by resisting all efforts at bribery and coercion, wizard and warrior seemingly capitulate and make the Romans a magic potion – but not the one the rapacious oppressors were hoping for…

Although comparatively raw and unpolished, the good-natured, adventurous humour and sheer energy of the yarn barrels along, delivering barrages of puns, oodles of insane situations and loads of low-trauma slapstick action, all marvellously rendered in Uderzo’s seductively stylish art-style.

From the second saga on the unique and expanding cast would encroach on events, especially the unique and expanded, show-stealing sidekick Obelix who had fallen into a vat of potion as a baby and was a genial, permanently superhuman, eternally hungry foil to the smart little hero…

These albums are available in a wealth of differing formats, and earlier translated editions going all the way back to the first Brockhampton editions in 1969 are still readily available from a variety of retail and internet vendors – or even your local charity shop and jumble sale.

Be warned, however, that if pure continuity matters to you, only most recent British publisher Orion has released 36 albums in chronological order – and in Omnibus editions; three tales per tome.

Also, on a purely artistic note, some of the Hodder-Dargaud editions have a rather unconventional approach to colour that might require you to wear sunglasses and put blinkers on your pets and staff…

Asterix and the Golden Sickle originated in Pilote #42-74 and recounts the disastrous consequences of Getafix losing his ceremonial gold sickle just before the grand Annual Conference of Gaulish Druids. Since time is passing and no ordinary replacement will suffice to cut ingredients for magic potion, Asterix offers to go all the way to Lutetia (you can call it Paris if you want to) to find another.

As Obelix has a cousin there, Metallurgix the Smith, he also volunteers for the trip and the punning pair are swiftly off, barely stopping to teach assorted bandits the errors of their pilfering ways but still finding a little time to visit many roadside inns and tavern serving roast boar…

There is a crisis in Lutetia: a mysterious gang is stealing all the Golden Sickles and forcing prices up. The druid community is deeply distressed and, more worrying still, master sickle-maker Metallurgix has gone missing…

Asterix and Obelix investigate the dastardly doings in their own bombastic manner and discover a nefarious plot that seems to go all the way to the office of the local Roman Prefect…

The early creative experiment was quickly crystallizing into a supremely winning format and the next epic cemented the strip’s status as a popular icon of Gallic excellence.

Asterix and the Goths ran from 1962-1963 and followed the plot-thread of the Druid Conference as Getafix, brand new sickle in hand, sets off for the Forest of the Carnutes to compete. However on the Gaul’s Eastern border savage Goths – barbarians who remained unconquered by the might of Rome – crossed into pacified Roman territory. The barbarians are intent on capturing the mightiest Druid and turning his magic against the rule of Julius Caesar.

Although non-Druids aren’t allowed into the forest, Asterix and Obelix had accompanied Getafix to its edge and as the competition round of the Conference ends in victory for him and his power-potion, the Goths strike, abducting him in his moment of triumph…

Alerted by fellow Druid Prefix, the heroic duo track the kidnappers but are mistaken for Visigoths by Roman patrols, allowing the Goths to cross the border into Germania.

Although Romans are no threat, they can be a time-wasting hindrance so Asterix and Obelix disguise themselves as Romans to invade the Barbarian lands…

Well-used to being held prisoner by now, Getafix is making himself a nuisance to his bellicose captors and a genuine threat to the wellbeing of his long-suffering translator. When Asterix and Obelix are captured dressed as Goths, the wily Gauls conceive a cunning plan to end the permanent and imposing threat of Gothic invasion – a scheme that continues successfully for almost two thousand years…

If, like me, you’re particularly interested (my wife calls it “obsessive”) in absolutely all the iterations you might also want to seek out back issues of British comic weekly Ranger (1965-1966 and every one a gem!) plus early issues of Look and Learn immediately after the two titles merged (beginning with #232: 25th June 1966).

Among the many splendid strips in the glossy, oversized photogravure weekly was a quirky comedy feature entitled ‘Britons Never, Never, Never, Shall Be Slaves!’ which featured the first appearance of Goscinny & Uderzo’s masterpiece – albeit in a rather radically altered state.

In these translations Asterix was “Beric”, Getafix the Druid “Doric” and Obelix was dubbed “Son of Boadicea”. More jingoistically, the entire village was editorially transported to England where a valiant population of True Brits never ever surrendered to the Roman Occupation!

Similar intellectual travesties occurred during two abortive early attempts to introduce the gutsy Gauls to America as a heavily re-edited family newspaper strip…

Asterix is one of the most popular comics in the world, translated into more than 100 languages; with a host of animated and live-action movies, assorted games and even his own theme park (Parc Astérix, near Paris). More than 325 million copies of 34 Asterix books have been sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

This is sublime comics storytelling and you’d be as Crazy as the Romans not to increase that statistic by finally getting around to acquiring your own copies of this fabulous, frolicsome French Folly.
© 1961-1963 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.