Category: Comedy

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


By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion)
ISBN: 978-0-75289-154-5(HB) 978-1-44400-423-6(TPB)

I’ve just heard the sad news about Albert Uderzo, who has just passed away after 92 amazing, gloriously productive and fun-filled years. In the current climate of horrific global crisis, it’s ultimately just one more death, no more or less important than any other, but I’m compelled to mark his end with sadness, inexpressible gratitude and this rerun of a review for his greatest work.

In a career absolutely packed with joyous invention, Uderzo brought happiness and inspiration to generations of readers across the world through Asterix and his many other creations, so I can only say “thank you” to him and urge you to revisit his works if you’re already au fait. If you have never seen his genius in action – especially in conjunction with his perfect partner René Goscinny – this collection is the ideal place to start, and you won’t be sorry…

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.

The diminutive, doughty darling was created at the close of the 1950s by two of our artform’s greatest masters…

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. He studied fine arts and graduated in 1942. Three years later, while working as junior illustrator at an ad agency, his uncle invited him to stay in America, where he worked 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 small 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).

Goscinny also met Georges Troisfontaines, head of the World Press Agency, the company that provided comics for the French magazine Le Journal de 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 also 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 spawned Bill Blanchart, Pistolet and Benjamin et Benjamine, whilst illustrated his own scripts for Le Capitaine Bibobu.

Under nom-de-plume Agostini he wrote Le Petit Nicholas (drawn by Jean-Jacques Semp̩), and in 1956 began an association with revolutionary periodical Le Journal de Tintin, writing for various illustrators including Attanasio(Signor Spagetti), Bob De Moor (Monsieur Tric), Mar̩chal (Prudence Petitpas), Berck (Strapontin), Globule le Martienand Alphonse for Tibet; as well as Modeste et Pompon for Andr̩ Franquin, and Рwith Uderzo Рthe fabulously funny adventures of inimitable Indian brave Oumpah-Pah. 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 Astérix le gaulois: 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 (with 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 Poussahfor Record and illustrated by Swedish artist Jean Tabary. A minor success, it was re-tooled as Iznogoud when it transferred to Pilote. Goscinny died far too young, 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, he showed artistic flair from an early age. Alberto became a French citizen when he was seven and dreamed of becoming an aircraft mechanic, but at 13 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 to become a successful illustrator 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 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 vertical comic strip ‘Le Crime ne Paie pas’ for France-Soir.

In 1950, he drew a few episodes of the franchised European version of Fawcett’s 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 comedy Western starring a very Red (but not so American) Indian who evolved into 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 before, in 1957 adding Charlier’s Clairette to his bulging portfolio.

The following year, he made his Tintin debut, as Oumpah-Pah finally found a home and 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 humorous historical strip about Romans…

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 serial was collected in a single volume 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 of Asterix tales 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 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. Happily, he gave in and produced a further ten volumes before retiring in 2009.

According to UNESCO’s Index Translationum, Uderzo is the 10th most-often translated French-language author in the world and 3rd most-translated French language comics author – right behind his old mate René 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 is set on the tip of Uderzo’s beloved Brittany coast in the year 50BC.

Here a small village of redoubtable warriors and their families frustrate every effort of the immense but not so irresistible Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorts to a policy of containment leaving the little seaside hamlet 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 insurgents take the infiltrator in and, soon dosed up with potion, the perfidious Roman escapes with the answer – if not the formula itself…

Soon after, wise Druid Getafix is captured by the invaders and the village seems doomed, but wily Asterix is on the case. Breaking into Compendium and determined to teach the Romans a lesson, he drives them crazy for ages by resisting all efforts at bribery and coercion, until abruptly 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 bigfoot 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 became a genial, permanently superhuman, eternally hungry foil to our little wise guy…

Asterix and the Golden Sickle was originally serialised 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 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 taverns serving traditional roast boar…

There is concurrently 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 of ongoing weekly episodes slowly building into complete and readily divisible adventures. 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 dangling 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 the empire – 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, our 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 ever-present threat of Gothic invasion – a scheme that continues successfully for almost two thousand years…

Asterix is one of the most popular comics in the world, translated into 111 languages; with a host of animated and live-action movies, assorted games and even his own theme park (Parc Astérix, near Paris). More than 380 million copies of 38 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.

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Adulthood is a Myth – A “Sarah’s Scribbles” Collection


By Sarah Andersen (Andrews McMeel)
ISBN: 978-1-44947-419-5 (PB)

Scary times need radical solutions, but in lieu of that and considering how helpless we all are, all I can suggest is burying yourself in a book (gallows pun not intended). Here’s one that both funny and incisive and is available online either in physical form or digitally. Moreover, as it’s about – and by – a millennial, all us old sods who lived through a few crises can chortle and feel smugly superior in the knowledge that problems such as these in here are transitory and shall also pass. That one was deliberate…

Sarah’s Scribbles started in 2013 as a webcomic (first on Tumblr, and latterly Facebook, Instagram and Line Webtoon) before going legit in 2016 in book from Andrews McMeel. Adulthood is a Myth was followed by Big Mushy Happy Lump in 2017 and Herding Cats in 2018. Each collection won that year’s Goodreads Choice Award. That’s because the strips and lead character are accessible, personable, relatable and fetchingly funny.

Autobiographical to a degree I’m unqualified to assess and distressed to acknowledge, what you get are pithy observational comedy gag strips with a semi-surreal undertone about the thoughts and (mostly) inactions of an arty student who lives with an exceptionally critical but ultimately supportive rabbit. Think of it as pictorial inner monologue from a very nervous and unconfident teen, roaring and giddy with hormones and expectations she can’t possibly hope to meet and indoctrinated with standards she can’t let go of…

As well as casual interactions with her peers, major causes of cartoon comment include projections of her eventual senility and decrepitude (‘Me in the Future’), social anxiety, body issues, relationships, housework, fashion, awkwardness, bingeing and attraction through episodes with such enticing titles as ‘Nightmares for Introverts’, ‘When to Change/Wash’, ‘Things I Know’, ‘Habits of the Common Bookworm’, ‘Getting Drunk (For Beginners)’, ‘Social Media in Real Life’, ‘What I Eat on a Typical Day’, ‘5 Phrases that make My Blood Run Colder than Ice’, ‘Watching Stuff’, ‘Things that make me Feel Safe’ and ‘Benefits of Stealing Boys’ Hoodies’.

On less excoriating days you’ll share her views on ‘Normal People’ versus ‘Me’, ‘How Graduating Feels’, ‘Internet Comment Threads’, ‘Folding Laundry’, ‘The Introvert’s Brain’, ‘How to know Your Partner is Serious about the Future’, and the potential of ‘The Future’, so that’s pretty much a view on everything to deal with…

Brooklyn-based Sarah Andersen was a student at the Maryland Institute College of Art before this took over her life so she knows the value of Extra Credits. That’s why this tome includes lots of strips created specifically for the collection so if you’ve been following her on the interwebs, you’ll still miss some good stuff if you don’t get this delirious delight.
© 2016 by Sarah Andersen. All rights reserved.

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Madame Cat


By Nancy Peña, translated by Mark Bence (Life Drawn/Humanoids)
ISBN: 978-1-59465- 813-6 (PB Album)

Churlish men have joked about women with cats for eternity. Here’s a superbly irrepressible cartoon collection BY a woman about her own cat. It’s hilarious, extremely addictive and among the top five strips about feline companions ever. Laugh that off, guys…

Toulouse-born Nancy Peña probably caught the comics bug off her father: a dedicated comics collector. She studied Applied Arts and became a teacher while carving out a sideline as a prolific creator of magazine strips and graphic novels such as her Medea series, Le Cabinet Chinois, Mamohtobo and many more.

Hectic as all that sounds, she still found time to invite a companion animal to share her life…

Madame is a cute little kitty who shares her house and converses with her. The bewhiskered treasure (Madame, right) has a vivid interior life – probably swiped from a number of deranged mad scientists and would-be world conquerors – and is the mischievous stuff of nightmares all those legally responsible for a pet know and dread. There is nothing the tiny tyke won’t attempt, from drinking artists ink to exorcising the artist’s long-suffering and utterly unwelcome boyfriend.

Madame knows what she is and what she wants and will baulk at nothing – not even the laws of physics – to achieve her aims…

The engaging bombshell bursts of manic mirth are rendered in engaging duotone (black and blue, but I’m sure that’s not symbolic of anything) with titles such as ‘Madame flirts’, ‘Madame suggests’, ‘Madame insists’, and ‘Madame smells’ as the wee beast moves in, makes allies of the other felines in the area and promptly takes charge: wrecking the life and house of her carer and only giving in return permission to be adored. Every cat person alive will identify with that…

Available in paperback and digital editions, Madame Cat is a sparking example of domestic comedy. Mixing recognisably real events with potent imagination and debilitating whimsy, Peña has introduced a classic cartoon character who is charming, appalling and laugh-out-loud funny. If you’ve been thinking of getting a cat, along with all the medical and pet-care books, get this too. You won’t be sorry. Well, not with the book, at least…
“Madame” © 2015-2016 La Boîte à Bulles & Nancy Peña. All rights reserved.

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Cat & Cat volume 1: Girl Meets Cat


By Christophe Cazenove, Hervé Richez & Yrgane Ramon, translated by Joe Johnson (Papercutz)
ISBN: 978-1-54580-427-8 (HB) 978-1-54580-428-5 (TPB)

There’s an amazing abundance of comics about cats being sent to me these days, so – in anticipation of our furry feline overlords finally taking full possession of the planet – I’m thinking of an imminent solid week of cat-themed coverage. Until then though, let’s make do with this recent addition to the genre, courtesy of those fine folk at Papercutz and pray that it’s enough to hold the cute little brutes at bay (the cats, I mean, not the all-ages readership)…

Debuting in Europe as Cath et son chat in 2012’s in initial volume Virus au bahut (they’re up to 8 books by now), the series details the grudging accommodations made by a single-parent father, his naively optimistic daughter and a rather strong-willed, painfully adventurous cat they name Sushi…

Girl Meets Cat sees young Catherine gradually getting to know the newest addition to the household, although dad isn’t really acclimatising that well to the hairy third wheel. In this delightful paperback or digital catalogue (tee hee) of short strips, you’ll see the hapless humans discover Tomcat Sushi’s darling little tricks – such as shredding carpets, wallpaper, drapes and furniture (“broderie de chat” as actor Leslie Phillips once dubbed it), shunning expensive cat-toys, sleeping for eons and utterly failing to understand the principles of cat doors or the off-limits sanctity of Christmas trees and decorations…

Enthralling episodes cover where cats sleep, opening the fridge, food, litter trays, learning to use pet-carriers, professional cat groomers, holiday provision, fishbowls, what cats do to tech – especially computers – the joy of cardboard boxes, hiding, marking territory and presenting prey (generally garden gnomes in this case).

These commonplace activities are often complicated by the fact that Sushi has a rich and imaginative dream life which frequently has painful real-world repercussions. He’s been an astronaut cat, polar explorer, pirate, ghost and Victorian detective Catlock Holmes and is particularly partial to those five-hour long sessions of vigorous violent exercise cats compress into six minutes – generally known as “the Rips”. Most importantly, he is implacable in the never-ending war that ensues over who gets to sit in the best spot in the house…

In this tome you will also learn of Sushi’s nine lives through the length of human history from Jurassic times to WWII, and understand humanity’s true place in the Grand Scheme of Things.

Rendered by Yrgane Ramon in a frantic and frenetic modern animation style, and scripted – probably from painful personal experience – by veteran comedy scripters Christophe Cazenove (Les Pompiers; Les Fondus; Les Petits Mythos) and Hervé Richez (Buzzi; L’Effaceur; Les Poulets du Kentucky), this a wonderfully bright and breezy sitcom cat lovers and cartoon connoisseurs will adore.
© 2012-2020 Bamboo Édition. All other material © 2020 Papercutz. All rights reserved.

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Liberty Meadows: Sundays Book One


By Frank Cho (Image/Monkey Boy Press)
ISBN: 978-1-60706-564-7 (HB)

It’s ALMOST too late to concoct a suitable St Valentine’s Day extravaganza worthy of the one who puts up with you, so let todays review serve to remind you that not only is love strange but it can also tolerate an incredible amount of unsavoury behaviour – it just shouldn’t have to…

Like many wonderful modern comics strips, Liberty Meadows grew out of a prototype college newspaper incarnation: specifically, the University of Maryland (College Park) student periodical The Diamondback.

Back then the strip was called University² but it still revealed the warped genius and stunning graphic virtuosity of native Marylander Frank Cho. As a syndicated strip Liberty Meadows launched on March 31st 1997, running until December 30th 2001. It also enjoyed a respectable run as a comic book released through Insight Studios.

The strip which won a hoard of awards before going on hiatus (hey, if Bloom County can come back after decades, so long as the artist’s still alive, I’m keeping the faith for this and Calvin & Hobbes), is a whimsical masterpiece of comedy appealing to anyone afflicted with a love of pop culture, wistfulness, slacker-ness and unrequited passions. This first hardcover (or digital) compilation of full-colour Sunday strips cover the first three years and is saucily appreciated by Cho’s great pal and confederate Mike McSwiggin in his Introduction.

What’s it About, I hear you enquire? Easier asked than answered…

Exhibiting elements of the aforementioned Berkely Breathed’s magnum about Opus, and cheekily pilfering and channelling every comicbook, TV, movie and trash culture icon you might imagine, the episodes occur in and around the animal sanctuary of Liberty Meadows and generally revolve around the ever-so-patient animal psychologist Brandy Carter as she blithely tries to circumvent her innate hottie-ness and get on with her job.

The major obstacles to this simple ambition include not just human impediments such as shyly adoring vet Frank Melisch, clumsily dangerous janitor Tony, sanctuary owner Julius, and Brandy’s super sexy roommate Jen (she’s a rocket scientist who loves to toy with men…) but also the scene-stealing frequently obnoxious smart alec talking animals such as midget circus bear Ralph, literally sexist pig Dean, hypochondriac frog Leslie, innocent waif – and duck – Truman, mute dachshund Oscar, OCD-suffering raccoon Mike, Khan the catfish and an evil cow dubbed The Cow…

Further turning this small word upside down are conspiracy-theorist and local barkeep Al, Brandy’s ex Roger, her parents (say no more), and a couple of duplicates from a mirror universe: Evil Brandy and Alternate Frank…

You’ll thank me for not giving away any of the 138 beautifully rendered, seditiously surreal gags, but I will push my luck by stating Cho insinuates himself into proceedings on a regular basis (as forth-wall busting chimpanzee Monkey Boy) and warning you to watch out for low flying dinosaurs, wandering daydreams, outbursts of 3-D, and constant outbreaks of strip and movie spoofs such as Prince Valium, Mighty Shmoe Pong, Jungle Gym and Flush Gordon…

Frank Cho is a very funny guy and also one of the best dramatic illustrators in the business, so you’ll also appreciate the spiffy Sketch Gallery featuring pencils, inks, roughs and some delicious images of Brandy as your favourite female superheroes.

Magnificently redolent of (and proudly swiping from) Walt Kelly, Dave Stevens, Frank Frazetta, Barry Windsor-Smith, Michelangelo (not the turtle), and others of their prestigious ilk as the gag demands, Cho’s blend of anthropomorphic anarchy, sublimely lavish glamour illustration and devilish wit means this is a timeless treat and treatise on love you simply must see…
™ and © 2012 Frank Cho, Monkey Boy Press. All rights reserved.

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Spirou & Fantasio volume 2: In New York


By Tome & Janry, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-054-2 (Album PB)

For most English-speaking comic fans and collectors Spirou is probably Europe’s biggest secret. The character is a rough contemporary – and calculated commercial response – to Hergé’s iconic Tintin, whilst the comic he has headlined for decades is only beaten in sheer longevity and manic creativity by our own Beano and America’s Detective Comics.

Conceived at Belgian Printing House by Jean Dupuis in 1936, this anthological magazine targeting a juvenile audience debuted on April 21st 1938; neatly bracketed by DC Thomson’s The Dandy which launched on 4th December 1937 and The Beano on July 30th 1938. It was edited by Charles Dupuis (a mere tadpole, only 19 years old, himself) and took its name from its lead feature, which recounted the improbable adventures of a plucky Bellboy/lift operator employed by the Moustique Hotel (a reference to the publisher’s premier periodical Le Moustique).

Joined on June 8th 1939 by a pet squirrel, Spip (the longest running character in the strip after Spirou himself) the series was visually realised by French artist Robert Velter (who signed himself Rob-Vel).

A Dutch language edition – Robbedoes – debuted a few weeks later and ran more-or-less in tandem with the French parent comic until it was cancelled in 2005.

The bulk of the periodical was taken up with cheap American imports – such as Fred Harman’s Red Ryder, William Ritt & Clarence Gray’s Brick Bradford and Siegel & Shuster’s landmark Superman – although home-grown product crept in too. Most prominent were Tif et Tondu by Fernand Dineur (which ran until the1990s) and L’Epervier Blue by Sirius (Max Mayeu), latterly accompanied by comic-strip wunderkind Joseph Gillain – “Jijé”.

Legendarily, during World War II Jijé drew the entire comic by himself, including home grown versions of banned US imports, simultaneously assuming production of the Spirou strip where he created current co-star and partner Fantasio).

Except for a brief period when the Nazis closed the comic down (September 1943 to October 1944) Spirou and its boyish star – now a globe-trotting journalist – have continued their weekly exploits in unbroken four-colour glory.

Among the other myriad major features that began within those hallowed pages are Jean Valhardi (by Jean Doisy & Jije), Blondin et Cirage (Victor Hubinon), Buck Danny, ‘Jerry Spring , Les Schtroumpfs (The Smurfs to you and me), Gaston Lagaffe and a certain laconic cowboy named Lucky Luke.

Spirou the character (whose name translates as both “squirrel” and “mischievous”) has starred in the magazine for most of its life, evolving under a series of creators into an urbane yet raucous fantasy/adventure hero with the accent heavily on light humour. With comrade and rival Fantasio and crackpot inventor the Count of Champignac, Spirou voyages to exotic locales, uncovering crimes, revealing the fantastic and garnering a coterie of exotic arch-enemies.

During WWII when Velter went off to fight, his wife Blanche Dumoulin took over the strip using the name Davine, assisted by Luc Lafnet. Publisher Dupuis assumed control of and rights to the strip in 1943, assigning it to Jijé who then handed it to his assistant André Franquin in 1946. It was the start of a golden age.

Among Franquin’s innovations were the villains Zorglub and Zantafio, Champignac and one of the first strong female characters in European comics, rival journalist Seccotine (renamed Cellophine for these current English translations), but his greatest creation – one he retained on his own departure in 1969 – was the incredible magic animal Marsupilami. The miracle beast was first seen in Spirou et les héritiers (1952), and is now a star of screen, plush toy store, console and albums too.

From 1959, writer Greg and background artist Jidéhem assisted Franquin, but by 1969 the artist had reached his Spirou limit and resigned, taking his mystic yellow monkey with him. He was succeeded by Jean-Claude Fournier who updated the feature over the course of 9 rousing yarns tapping into the rebellious, relevant zeitgeist of the times, telling tales of environmental concern, nuclear energy, drug cartels and repressive regimes.

By the 1980s the series seemed to stall: three different creative teams alternated on the serial: Raoul Cauvin & Nic Broca, Yves Chaland and the author of the adventure under review here: Philippe Vandevelde writing as Tome and artist Jean-Richard Geurts AKA Janry. These last adapted and referenced the still-beloved Franquin era and revived the feature’s fortunes, producing 14 wonderful albums between 1984-1998. This one from 1987, originally entitled Spirou à New-York, was their 7th and the 39th collection of the venerable comedy sagas.

Since their departure Lewis Trondheim and the teams of Jean-Davide Morvan & Jose-Luis Munuera and Fabien Vehlmann & Yoann have brought the official album count to 55 (there also dozens of specials, spin-offs series and one-shots, official and otherwise)…

Right here, right now, however, we’re off to the New World…

In the Big Apple there is war between two criminal factions. The Mafia are steadily losing ground and men to the insidiously encroaching Chinese Triad of the mysterious Mandarin.

Don Vito “Lucky” Cortizone is advised that it’s due to an incredible run of bad luck and sensibly undertakes to find and “recruit” the luckiest person on Earth to turn his gang’s fortunes around…

Meanwhile in Paris Spirou and Fantasio are broke again. Starving with days until payday, they scrape just enough coins together from beneath the sofa cushions for one last frozen pizza…

The tasteless American import has a key inside which almost chokes Fantasio but also claims that they’ve won a million dollars. All they have to do is collect it in person from Lucky’s Bank in New York City. Their fortunes are rapidly changing: an assignment from the unscrupulous editor of Turbine Magazine gives them airplane tickets and the promise of work covering a car-ball match in NYC – but only if they leave immediately…

The world seems full of offers they simply cannot refuse…

Once they are in the New York Groove, the story shifts into lavishly ludicrous high gear: Cortizone – permanently stuck under a rain cloud which follows him everywhere – hides nothing from the continental kids but appeals to their greed and fellow feeling to help him out of his tight spot. The implacable, insidious Chinese are beating him at every turn. It’s almost like magic…

But as his made men continue to fall around him and Triad assassins keep getting closer and closer, The Don wants to carry out a few tests first – just to see how lucky Fantasio actually is…

Meanwhile, the Mandarin and his reluctant but particularly effective wizard stooge have gotten wind of the scheme and move to negate the Europeans’ influence by kidnapping Spip. Even if it doesn’t forestall their interference, at least the enigmatic mastermind will have something new and exotic to eat…

The diabolical cut-and-thrust shenanigans lead to a daring rescue mission on the Mandarin’s skyscraper citadel and an inevitably spectacular showdown in the skies over Manhattan…

With outrageous and improbable supernatural overtones, hilariously clever criminal capers, sly digs at American movies-as-culture and daring dabblings with racial and cultural stereotypes and archetypes, all leavened with witty in-jokes, spoofs, lampoons and visual puns, this fast-paced, riotous rollercoaster romp is sheer comic poetry that it would be a crime to miss.

Available in paperback and assorted digital formats, this blend of thrilling mystery, weird science, light adventure and broad slapstick is a refreshingly reinvigorating joy in a market far too full of adults-only carnage and testosterone-fuelled breast-beating. Easily accessible to readers of all ages and drawn with all the welcoming style and panache that make Asterix, Lucky Luke and Iznogoud so compelling, this is another cracking read from a long line of superb exploits which should soon be as much a household name as those series – and even Tintin himself…
Original edition © Dupuis, 1987 by Tome & Janry. All rights reserved. English translation 2010 © Cinebook Ltd.

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Chicken Fat: Drawings, Sketches, Cartoons and Doodles


By Will Elder (Fantagraphics Books)
ISBN: 978-1-56097-704-9 (PB)

Wolf William Eisenberg was born in The Bronx on September 22nd 1921, and you probably have never heard of him. He became a cartoonist, illustrator and commercial artist after changing his name to Will Elder.

Tragically, for many of you, that name won’t ring any bells either, even though he was one of the funniest and most influential cartoonists of the 20th century. Another of those slum kids who changed comics, “Wolfie” studied at New York’s High School of Music and Art – as did future comrades in comedy Al Jaffee, Al Feldstein, John Severin & Harvey Kurtzman.

An artist of astounding versatility, he served in WWII as part of the 668th Engineer Company (Topographical) of the US First Army, instrumental in assuring the success of the Normandy landings. After returning to America, he changed his name and set up the Charles William Harvey Studio with Charles Stern and Kurtzman, operating as a comics shop providing strips and other material for Prize Comics and other publishers.

Elder inked old pal John Severin at EC, and in 1952 when Kurtzman created satire comic Mad, he became a regular contributor of pencils and inks. The spoofs and parodies he crafted for the landmark comic book and sister publication Panic were jam-packed with a host of eye-popping background gags and off-camera shtick, all contributing to the manic energy of the work. He called those extras “chicken fat” and to learn why you should pick up this slim yet satisfying companion collection to comprehensive bio-tome Will Elder: The Mad Playboy of Art. On offer here is a delightful peek at his working process (and outrageous, never-suppressed sense of humour) through roughs, sketches, architectural studies, test runs and abortive strip projects (such as The Inspector, Luke Warm and Adverse Anthony) for numerous clients over the decades, rendered in every medium from loose pencils to charcoal portraits to fully painted finished works, all supplemented by a fulsome Foreword from his son-in-law Gary Vandenbergh and even art from his grandson and successor Jesse Vandenbergh.

A certified touchstone for budding artists, here you’ll see technical illustrations and colour studies, landscapes and murals, as well as candid photos. There are EC model sheets, pop studies confirming Elder’s status as a cultural sponge and perfect mimic of other artist’s styles – a gift Jaffe claimed could have made the cartoonist the “world’s greatest forger”…

Straight magazine illustration lies with a host of sketch research on hundreds of subjects but what most comes out is a never-ending parade of gags and jests, many of which turned up in general interest magazines such as Pageant or Playboy. Elder loved to laugh and he had a very broad and earthy sense of humour so be careful to always swallow what you’re drinking before turning pages here…

As a jobbing cartoonist, Elder was always looking for the next gig and included here are a wonderful assortment of mock – and racy – sci fi pulp covers, star caricatures, political portraits, Time and Newsweek cover roughs and a section devoted to his and Kurtzman’s Goodman Beaver and scathing satirical masterpiece Little Annie Fanny – which Elder limned for 24 years, as well  as wealth of spoofs starring the great and good of comics and the media from Dick Tracy to Popeye to Prince Charles and Lady Diana…

A visual tour de force, this is a perfect illustration of how and why cartoonists are and why we’re so lucky to have them.

All material, unless otherwise noted, is © 2006 Will Elder. Little Annie Fanny © 2006 Playboy Enterprises, Inc. Text © 2006 Gary Vandenbergh. All rights reserved.

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Lucky Luke volume 18: The Escort


By Morris & Goscinny, translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-98-4 (PB Album)

Doughty, Dashing and Dependable cowboy champion Lucky Luke is a rangy, implacably even-tempered do-gooder able to “draw faster than his own shadow”. He amiably roams the fabulously mythic Old West, enjoying light-hearted adventures on his rather sarcastic wonder-horse Jolly Jumper. The taciturn nomad regularly interacts with a host of historical and legendary figures as well as even odder folk in tales drawn from key themes of classic cowboy films – as well as some uniquely European ideas…

His unceasing exploits over 7 decades have made him one of the top-ranking comic characters in Europe – if not the world – generating upwards of 85 individual albums and sales totalling in excess of 300 million in 30 languages… thus far. That renown has led to a mountain of spin-off albums and toys, computer games, animated cartoons, a plethora of TV shows and live-action movies and even commemorative exhibitions. No theme park yet but who knows when…?

The brainchild of Belgian animator, illustrator and cartoonist Maurice de Bévère (“Morris”) and first seen in Le Journal de Spirou‘s seasonal Annual L’Almanach Spirou 1947, Luke sprang to laconic life in 1946, before inevitably ambling into his first weekly adventure ‘Arizona 1880’ on December 7th 1946.

Working solo until 1955, Morris produced nine albums of affectionate sagebrush spoofery before teaming with old pal and fellow trans-American tourist Rene Goscinny. When he became regular wordsmith, Luke attained dizzying, legendary, heights starting with Des rails sur la Prairie (Rails on the Prairie) which began serialisation in Spirou on August 25th 1955.

In 1967, the six-gun straight-shooter switched sides, joining Goscinny’s own magazine Pilote with La Diligence (The Stagecoach).

Goscinny co-created 45 albums with Morris before his untimely death, from whence Morris soldiered on both singly and with fresh collaborators. The artist died in 2001, having drawn fully 70 adventures, plus numerous sidebar sagebrush sagas crafted with Achdé, Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and others, all taking their own shot at the venerable vigilante…

Lucky Luke has history in Britain too, having first pseudonymously amused and enthralled young readers during the late 1950s, syndicated to weekly anthology Film Fun. He later rode back into comics-town in 1967 for comedy paper Giggle, using the nom de plume Buck Bingo.

In each of these venues – as well as many attempts to follow the English-language album successes of Tintin and Asterix– Luke laconically puffed on a trademark roll-up cigarette which hung insouciantly and almost permanently from his lip. However, in 1983 Morris – amidst pained howls and muted mutterings of “political correctness gone mad” – deftly substituted a piece of straw for the much-travelled dog-end, thereby garnering for himself an official tip of the hat from the World Health Organization.

Strictly for the sake of historical veracity, that tatty dog-end has been assiduously restored for this particular tale and indeed all of Cinebook’s fare – at least on interior pages. The Canterbury-based publisher is the most successful in bringing Lucky Luke to our shores and shelves, and it’s clearly no big deal for today’s readership as we’re beyond 75 translated books and still going strong. That’s not even considering the hefty compilations of early adventures and the inclusion of spin-offs such as Kid Lucky…

L’escorte was Morris & Goscinny’s 19th collaboration, originally serialised in 1966 before becoming the 28th album release in the same year: a wittily hilarious outing incorporating a little in-story continuity as the dutiful volunteer lawman is called upon to deal with a troublesome old acquaintance…

In the very first Cinebook translation, Lucky ended the shameful depredations of juvenile delinquent and legend in the making Billy the Kid. The young offender was sentenced to 1247 years at hard labour and our hero thought the matter ended.

Now, two years later, as Lucky and Jolly Jumper show their mettle in a rodeo competition, word comes of a judicial crisis which compels the gentle gunman to take the Kid from penal servitude in Texas to stand trial for further crimes in in New Mexico…

The usually cheery champion’s patience is tested to the limits as he rides with the smug thug who takes every opportunity to terrify the populace, rile his guard and, of course, escape…

While locked up overnight in the Gun Gulch jail, Billy even gulls petty thief Bert Malloy into following them and attempt to free him on numerous occasions…

The ongoing instances of ineptitude and accidental hilarity all ultimately fail – even when Malloy recruits real outlaws to help – and eventually Billy is handed over to the authorities in Bronco Pueblo, NM and that when the real surprises begin…

Trigger-fast pacing and amply packed with set-piece slapstick and pun routines, The Escort is a potent blend of daft wit and rapid action heavy on satire and absurdity, with a brilliant sub-plot and plenty of canny twists to keeps readers guessing… and giggling.

This is another wildly entertaining all-ages confection by unparalleled comics masters, affording an enticing glimpse into a unique genre for today’s readers who might well have missed the romantic allure of an all-pervasive Wild West that never was…
© Dargaud Editeur Paris 1971 by Goscinny & Morris. © Lucky Comics. English translation © 2009 Cinebook Ltd.

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The Terror of St Trinian’s and Other Drawings


By Ronald Searle with Geoffrey Willans, Timothy Shy & others (Penguin Modern Classics)
ISBN: 978-0-141-91285-1 (PB)

Britain has a fantastic and enviable history and tradition of excellence in the arts of graphic narrative and cartooning. Whether telling a complete story or simply making a point; much of the modern world’s most innovative, inspirational and trenchantly acerbic drawing has come from British pens powered by British hearts and minds.

If you’re quietly humming Rule Britannia or Jerusalem right now, and or heavy breathing and fingering a flag, pack it in. This is not the tone we want. I’m just stating a few facts.

3 March 1920 Ronald William Fordham Searle was one of a very gifted few (in modern times I’d number Ken Reid, Leo Baxendale, Murray Ball and Hunt Emerson among them) who can actually draw funny lines. No matter how little or how much they need to say, they can imbue the merest blot or scratch of ink with character, intent and wicked, wicked will.

Born in Cambridge on March 3rd 1920, Searle studied at Cambridge School of Art before enlisting in the Royal Engineers when WWII broke out. When he was captured by the Japanese in 1942 he ended up in the infamous Changi Prison. The second St Trinian‘s cartoon was drawn in that hell-hole in 1944 and it survived – along with his incredible war sketches – to see print once peace broke out. Searle was a worker on the Siam-Burma Railroad (a story for another time and place) and risked his life daily both by making pictures and by keeping them.

He became a jobbing freelance cartoonist when he got home, acerbically detailing British life. Perhaps that why he moved to France in 1961 and became a globe-girdling citizen of the wider world.

By the 1980s he was established – everywhere but here – as not only a cartoonist and satirist but as a film-maker, sculptor, designer, travel-writer and creator of fascinating reportage. This man was a capital “A” Artist in the manner of Picasso or Hockney, and Scarfe and Steadman notwithstanding, he was the last great British commentator to use cartooning and caricature as weapons of social change in the caustic manner of his heroes Hogarth, Gillray, Rowlandson, Cruikshank and the rest.

This volume includes selections from assorted previous collections and includes political illustration, social commentary, arcane mordant whimsy and some of the most surreal, sardonic and grotesque funny pictures of the 20th century.

I won’t spend too much time on his other achievements as his work should be seen and his thoughts and opinions should be understood in his chosen language: Art. At least, he still has enough fans to fill the internet with all the information you could need, so go search-engining after you read this if you wish.

Why his creations are so under-appreciated I do not know. Why this book is out of print: Ditto. That he will remain a relative unknown despite the clutch of movies about his St Trinian’s girls… Not if I can help it.

Anyone who considers themselves a devotee of the arts of graphic narrative should know of Searle’s work, even if not necessarily love – although how could you not? Just be aware of the tremendous debt we all owe to his vision, dedication and gifts.

This compilation traces the rise of his star following his POW years. Post-war, his mordantly funny cartoons appeared in venues such as Punch, Lilliput and The Sunday Express, and in hugely successful collections like Hurrah for St. Trinian’s!, The Female Approach, Back to the Slaughterhouse, The St. Trinian’s Story, Which Way Did He Go?,Pardong m’sieur, In Perspective and The Non Sexist Dictionary.

Searle’s work has influenced an uncountable number of other cartoonists too. His unique visualisation and darkly comic satirical cynicism in the St. Trinian’s drawings as well as his utterly captivating vision of boarding school life as embodied in the classically grotesque Nigel Molesworth quartet: influencing generations of children and adults, and even playing its part in shaping our modern national character and language.

And have I mentioned yet that his drawings are really, really funny?

This superb collection of monochrome cartoons samples choice cuts from a number of his book collections, all delivered with stunning absurdist candour and the peculiarly tragic passive panic and understated warmth that only Searle could instil with his seemingly wild yet clearly-considered linework.

Fronted by an impassioned Introduction from fan and proper grown up journalist/columnist Nicholas Lezard, this paperback and digital collection offers a sweet taste of dark design in haunting and hilarious images culled from a number of sources, opening (un)naturally with macabre treats from St Trinian’s: blending the comforting traditional bonhomie of a girl’s boarding school with the accoutrements of a sex dungeon, the atavists of a charnel house and the fragrant atmosphere of The Somme two days after all the shooting stopped…

Having proved that for some crime Does pay, focus shifts to Merry England, etc., where class, toil, occupations, hobbies, and the ardours of life are ferociously scrutinised before diverting into mirthful metaphysics with a damning disembodied judge dubbed The Hand of Authority…

Mare satirical body-blows from Souls in Torment lead delightfully to a montage of misspelled madcap moments of terror-tinged nostalgia as Molesworth extracts snippets of sheer genius from the books he co-created with Geoffrey Willans for Punch and which were subsequently released to enormous success as Down With Skool!, How to be Topp!, Whizz For Atomms! and Back in the Jug Agane.

As I said, Searle was a devotee of satirist William Hogarth and in 1956 adapted the old master’s series of condemnatory cartoons (painted in 1732-34 and released as staggeringly popular engraved prints in 1735) to modern usage and characterisation. Included here in its entirety to conclude our fun, The Rake’s Progress follows the rise and fall of a number of contemporary figures – The Athlete, The Girlfriend, The Soldier, The Poet, The Trade Union Leader, The Actor, The Painter (he based this one on himself), The Don (an English academic, not an American gangster but such confusion is easy to understand), The Dramatic Critic, The Doctor, The MP, The Clergyman, The Novelist, The Humourist, The Master of Foxhounds and The Great Lover – with all the excoriating venom and wit you’d expect from a master of people watching…

Brilliant, Brilliant, Brilliant stuff! See for yourself, whatever side of the battle lines you cower behind…
© 1948, 1951, 1952, 1953, 1954, 1955, 1956, 1959 by Ronald Searle.

This selection © Ronald Searle 2000, 2006. Introduction © Nicholas Lezard, 2000. All rights reserved.

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Asterix Omnibus volume 11: Asterix and the Actress, Asterix and the Class Act, Asterix and the Falling Sky


By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens’ Books)
ISBNs: 978-0-75289-156-9 (HB Album) 978-1-44400-426-7 (PB Album)

A son of Italian immigrants, Alberto Aleandro Uderzo was born on April 25th 1927 in Fismes, on the Marn. Showing great artistic flair as a child reading Mickey Mouse in Le Pétit Parisien, the lad dreamed of becoming an aircraft mechanic one day.

After becoming a French citizen at age seven, Uderzo found employment at 13, apprenticed to the Paris Publishing Society where he learned design, typography, calligraphy and photo retouching. When WWII broke out, Albert 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 still long overdue for a new edition and, if you follow current events, sorely needed as a timely warning shot in these frighteningly familiar-feeling times…).

Indefatigable Uderzo’s subsequent creations included indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, and as a journalist and illustrator for France Dimanche. He created vertical comic strip Le Crime ne Paie pas for France-Soir and in 1950, even 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 from their fevered brows.

Jehan Pistolet and Luc Junior were created for La Libre Junior before they devised a wry western with 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 and, in 1957, added Charlier’s Clairette to his bulging portfolio.

The following year he made his debut in Le Journal de Tintin, as Oumpah-Pah finally found a permanent home and rapturous audience. In his quieter moments, 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 onTanguy et Laverdure whilst producing 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 hit album Ast̩rix le gaulois in 1961, it became clear that the series would demand most of his time Рespecially 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 book 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 10th 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 grand master Hergé.

Global sales will soon top 380 million copies of the 38 canonical Asterix books, 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)…

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

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 almost a quarter of a century and Uderzo had found his own authorial voice, whilst keeping the immortal characters rock steady in their natures…

Uderzo’s seventh session as sole auteur was Astèrix et Latraviata: released in 2001 as the 30th volume of the ever-unfolding saga. The English language version was released that same year as Asterix and the Actress.

The revelatory epic opens with romance in the air as Obelix and his lifelong pal return to the village, laden down with boars and more battered keepsakes of the ongoing contretemps with the woefully-outmatched Romans.

They amiably amble into a huge surprise party. The heroes coincidentally share the same birthday and their garrulous Gaulish friends have arranged the event to commemorate the occasion. Even their respective mothers have come down for a visit from fashionable regional capital Condatum…

Soon a feast is in full swing but after handing over their spectacular gifts (culled from the parents’ fashionable souvenir shop) – a fabulous jewelled sword for Asterix and an equally splendid Roman helmet for Obelix to add to his huge collection – the mothers begin a battle of their own with their sons.

Fed up with waiting for their hardworking husbands to arrive from the Big City, the impatient matrons start in on the birthday boys with lectures about settling down and providing some grandchildren…

Overruling Asterix and Obelix’s complaints, the insistent Sarsaparilla and Vanilla conduct acutely embarrassing interviews with the village’s contingent of eligible females and their potential mothers-in-law. They even organise a formal dance to show off their sons’ matrimonial potential, but the matchmaking is a succession of fiascos since the oafish louts just don’t want to play ball…

Fathers Astronomix and Obeliscoidix are now long overdue. Unknown to all, they have been arrested by Prefect Bogus Genius. The wily official has a problem which needs some clever and extremely delicate handling…

Already in custody is dipsomaniac former legionary Tremensdelirious (from Asterix and Caesar’s Gift), who sold the aforementioned sword and helmet to the Gaulish souvenir traders. Sadly, the items’ true owner is Caesar’s greatest enemy Pompey and incontrovertible proof positive that the usurping former tribune is back in Europe. The items must be quietly recovered before Rome realises…

Well aware of the ferocious reputation of the sons of his Gaulish captives, the Prefect enacts a devious scheme suggested by his spies. Mighty Obelix turns to jelly whenever he sees the beautiful Panacea (another village émigré now living in Condatum with her husband Tragicomix – as first seen in Asterix the Legionary) so the devilish plotter has hired the Empire’s greatest actress Latraviata to impersonate her and steal back the incriminating evidence…

As the despondent dads tire of waiting for rescue by their doughty boys and strike a deal with their cellmate Tremensdelirious, Decurion Fastandfurius is pretending to be a merchant escorting “Panacea” back to her home village. Apparently, the poor thing has a very selective case of amnesia…

In that certain Gaulish village on the coast of Armorica the actress is readily accepted with only Getafix in the least suspicious. Soon, her fawning attention to besotted Obelix wins her the helmet but Asterix is not so easily wooed. That changes when a spat with his now-jealous bosom buddy results in a mighty blow to the head which deprives him of his usually superior wits…

If not for overprotective mother Vanilla the plot would have succeeded then and there, but she stops the ingénue making off with the sword and calls in Getafix to cure her addled son. Unfortunately, the magic potion has a bizarre effect on the little zombie and Asterix goes wild, acting like an animal and scrapping with Obelix before hurtling out to sea like a torpedo…

He regains his senses on a rock in the middle of nowhere just as a massive storm erupts about him and only survives due to the intervention of old frenemies The Pirates and a particularly accommodating dolphin…

In the meantime, Latraviata and Fastandfurius have secretly secured the sword and started back for Condatum. Still unaware of their true nature, freshly reconciled Asterix and Obelix – who are heading in the same direction to find out what has delayed their dads – cadge a lift on the infiltrators’ cart.

Elsewhere, other agents are coming into play. A certain spy has already informed Caesar of trouble brewing and the real Panacea, having seen Astronomix and Obeliscoidix’s wrecked shop, has rushed off with Tragicomix to warn the village…

As our heroes head for the city, they are baffled to see Romans so busy fighting each other that they don’t even notice their usual nemeses, and everything comes to a startling head when Panacea apparently meets herself on the road…

After explanations, apologies and a surprising change of heart on behalf of one of the conspirators, Asterix and Obelix dash on to Condatum to rescue their fathers, only to stride straight into a major melee as Caesar and Pompey’s forces furiously clash…

Of course, it all works out in the end and cartoon dog-lovers everywhere will rejoice in the last moment arrival of the missing wonder mutt Dogmatix…and the introduction of his new “wife” and family. Apparently, some heroes cansuccessfully combine romance and duty…

Packed with outrageous action, good-natured joshing, cleverly applied raucous family humour, bombastic spectacle and a torrent of punishing puns to astound and bemuse youngsters of all ages, this rollicking affirmation of life’s eternal verities further confirmed Uderzo’s reputation as a storyteller whilst his stunning illustrative ability affords glimpses of sheer magic to lovers of cartoon art.

Diminutive, doughty daredevil Asterix is one of the Ninth Art’s greatest achievements, and by the mid-1960s had become a global brand and premium French export. He 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. As such prominent and ever-ascending stars, their presence was often requested in other places, as varied as fashion magazine Elle, global icon National Geographic and even a part of Paris’ 1992 Olympic Bid…

In 2013 new yarn Asterix and the Picts opened a fresh chapter in the annals as Jean-Yves Ferri & Didier Conrad began a much-anticipated continuation of the franchise. Before that, however, Uderzo was convinced to gather and – in many instances – artistically re-master some of the historical oddments and pictorial asides which had incrementally accrued over the glory-filled decades: features by the perfect partners which just didn’t fit into major album arcs, tales done for Specials, guest publications and commercial projects starring the indomitable Gaul. To cap off the new-old package Albert crafted an all-original vignette from that halcyon world of immortal heroes…

This intriguing compilation first appeared in France as Ast̩rix et la rentr̩e gauloise in 1993 Рand a decade later in English Рgathering those long-forgotten side-pieces and spin-off material starring the Gallant Gauls and frequently their minor-celebrity creators too.

Following an expansive and explanatory ‘French Publisher’s Note’ – and the traditional background maps and cast list – a press conference from Chief Vitalstatistix leads directly into the eponymous ‘Asterix and the Class Act’ (originally seen in Pilote #363 October 6th, 1966) wherein the first day of school finds the little legend and his big buddy sadly miscast as truant inspectors and kid catchers for headmaster Getafix…

Each little gem is preceded by an introductory explanatory piece, and following the hard facts comes ‘The Birth of Asterix’. Taken from October 1994’s Le Journal exceptionnel d’Astérix, the tale is set ‘In the Year 35 BC (Before Caesar)’ and finds a certain village in high dudgeon as two young women go into labour. Their distraught husbands soon find a way to distract themselves – and everybody else – with a mass punch-up that quickly becomes the hamlet’s preferred means of airing issues and passing the time…

‘In 50 BC’ comes from May 1977 and re-presents newspaper-style strips produced at the request of an American publisher hoping to break the European stalwarts in the USA. The endeavour inevitably stalled but the panels – introducing and reprising the unique world of the Gallic goliaths – wound up being published in National Geographic.

Apparently Uderzo loves chickens and, especially for the original August 2003 release, he concocted the tale of ‘Chanticleerix the Gaulish Cockerel’, detailing the struggle between the village’s ruling rooster and a marauding Roman Eagle. It sounds pretty one-sided, but faithful mutt Dogmatix knows where the magic portion is kept…

Pilote #424 (7th December 1967) was full of Seasonal festive fun so ‘For Gaul Lang Syne’ saw Obelix attempting to use druidic mistletoe to snaffle a kiss from beautiful Panacea. He soon comes to regret the notion…

‘Mini, Midi, Maxi’ was produced for fashion magazine Elle (#1337 2nd August 1971) but the discussion of ancient Gaulish couture soon devolves into the kind of scraps you’d expect, after which ‘Asterix As You Have Never Seen Him Before…’ (Pilote #527, 11th December 1969) displays Uderzo’s practised visual versatility as our heroes are realised in various popular art styles from gritty superhero to Flash Gordon, a Charles Schulz pastiche and even as an underground psychedelic trip…

Approached to contribute a strip to Paris’ bid, the partners produced ‘The Lutetia Olympics’ which was later published in Jours de France #1660 (25th October 1986) and depicts how Caesar’s attempts to scotch a similar attempt to hold the great games in Gaul fails because of a certain doughty duo, whilst ‘Springtime in Gaul’ (from Pilote #334, 17th March 1966) is an early all-Albert affair wherein our heroes help the mystic herald of changing seasons give pernicious winter the boot…

‘The Mascot’ originated in first digest-sized Super Pocket Pilote (#1, 13th June 1968), revealing how the constantly-thrashed Romans decide to acquire a lucky animal totem, but chose the wrong-est dog in the world to confiscate, after which ‘Latinomania’ (crafted in March 1973 and re-mastered for the first Astérix et la rentrée gauloise in 1993) takes a sly poke at the fragile mutability of language.

‘The Authors Take the Stage’ describes how usually-invisible creators became characters in their own work and ‘The Obelix Family Tree’ collects a continuing panel strip which began in Pilote #172 (7th February 1963) and ran until #186, wherein Mssrs. Goscinny & Uderzo encounter a modern day Gaulish giant and track his ancestors back through history.

Everything ends with ‘How Do They Think It All Up?’ (Pilote #157, 25th October 1962) as two cartoonists in a café experience ‘The Birth of an Idea’…

Adding extra lustre to an already stellar canon, these quirky sidebars and secret views thankfully collect just a few more precious gags and wry capers to augment if not complete the long and glorious career of two of France’s greatest heroes – both the real ones and their fictive masterpieces. Not to be missed…

Uderzo’s controversial eighth solo outing (originally entitled Le Ciel lui tombe sur la tête) was released in 2005 as the 31st volume of the ever-unfolding saga. The English language edition was released that same year as Asterix and the Falling Sky. Apart from unlikely thematic content and quicker pacing, the critics’ main problem seemed to stem from a sleeker, slicker, less busy style of illustration – almost a classical animation look – but that’s actually the point of the tale. The entire book is a self-admitted tribute to the Walt Disney cartoons of the artist’s formative years, as well as a sneakily good-natured critique of modern comics as then typified by American superheroes and Japanese manga…

The contentious iconoclasm opens with the doughty little Gaul and affable pal Obelix in the midst of a relaxing boar hunt when they notice that their quarry has frozen into petrified solidity.

Perplexed, they head back through the eerily silent forest to the village, only to discover that all their friends have been similarly stupefied and rendered rigidly inert…

Somehow faithful canine companion Dogmatix and aged Getafix have some life in them, but only when Obelix admits to giving the pooch the occasional tipple of Magic Potion does Asterix deduce that it’s because they all have the potent brew currently flowing though their systems…

With one mystery solved they debate how to cure everybody else and all the woodland creatures – especially the wild boars – but are soon distracted by the arrival of an immense golden sphere floating above and eclipsing the village…

Out of if drifts a strange but friendly creature who introduces himself as “Toon” from the distant star Tadsilweny (it’s an anagram, but don’t expect any help from me), accompanied by a mightily powered being in a tight-fitting blue-and-red costume with a cape. Toon calls him Superclone…

The mighty minion casually insults Obelix and promptly learns that he’s not completely invulnerable, but otherwise the visitors are generally benevolent. The paralysis plague is an accidental effect of Toon’s vessel, but a quick adjustment by the strange visitor soon brings the surroundings back to frenetic life.

That’s when the trouble really starts as the villagers – and especially Chief Vitalstatistix – see the giant globe floating overhead as a portent that at long last the sky is falling…

After another good-spirited, strenuously physical debate, things calm down and Toon explains he’s come from the Galactic Council to confiscate an earthly super-weapon and prevent it falling into the hands of belligerent alien conquerors the Nagmas (that’s another anagram) and there’s nothing the baffled Earthlings can do about it…

At the Roman camp of Compendium Centurion Polyanthus is especially baffled and quite angry. His men have already had a painful encounter with Superclone but the commander refuses to believe their wild stories about floating balls and strangers even weirder than the Gauls, but he’s soon forced to change his mind when a gigantic metal totem pole lands in a blaze of flame right in his courtyard.

Out of it flies an incredible, bizarre, insectoid, oriental-seeming warrior demanding the whereabouts of a powerful wonder-weapon. Extremely cowed and slightly charred, Polyanthus tells him about the Magic Potion the Gauls always use to make his life miserable…

The Nagma immediately hurries off and encounters Obelix, but the rotund terrestrial is immune to all the invader’s armaments and martial arts attacks. He responds by demonstrating with devastating efficacy how Gauls fight…

After zapping Dogmatix, the Nagma retreats. When Obelix dashes back to the village it follows. No sooner has Toon cured the wonder mutt than the colossal Nagma robot-ship arrives, forcing the friendly alien to fly off and intercept it in his golden globe…

The Nagma tries to trade high-tech ordnance for the Gauls’ “secret weapon” but Asterix is having none of it, instead treating the invader to a dose of potion-infused punishment.

Stalemated, the Nagma then unleashes an army of automatons dubbed Cyberats and Toon responds by deploying a legion of Superclones. The battle is short and pointless and a truce finds both visitors deciding to share the weapon…

Vitalstatistix is outraged but Getafix is surprisingly sanguine, opting to let both Toon and Nagma sample the heady brew for themselves. The effects are not what the visitors could have hoped for and the enraged alien oriental unleashes more Cyberats in a sneak attack.

Responding quickly, Asterix and Obelix have two Superclones fly them up to the marauding robots, dealing with them in time-honoured Gaulish fashion.

The distraction has unfortunately allowed the Nagma to kidnap Getafix and Toon returns to his globe-ship to engage his robotic foe in a deadly game of brinksmanship whilst a Superclone liberates the incensed Druid. None too soon, furious, frustrated Nagma decides enough is enough and blasts off, determined never to come back to this crazy planet…

Down below Polyanthus has taken advantage of the chaos and confusion to rally his legions for a surprise attack, arriving just as the Gauls are enjoying a victory feast with their new alien ally. The assault goes extremely badly for the Romans, particularly after a delayed effect of the potion transforms affable Toon into something monstrous and uncanny…

Eventually all ends well and, thanks to technological wizardry, all the earthly participants are returned to their safely uncomplicated lives, once again oblivious to the dangers and wonders of a greater universe…

Fast, funny, stuffed with action and hilarious, tongue-in-cheek hi-jinks, this is a joyous rocket-paced rollercoaster for lovers of laughs and all open-minded devotees of comics. This still-controversial award-winning (Eagle 2006 winner for Best European Comic) yarn only confirmed Uderzo’s reputation as a storyteller willing to take risks and change things up, whilst his stunning ability to pace a tale was never better demonstrated. Asterix and the Falling Sky proves that the potion-powered paragons of Gallic Pride will never lose their potent punch.

If you still haven’t experienced the sublime example of graphic élan that is Asterix, it’s never too late…
© 2001, 2003, 2005 Les Éditions Albert René, Goscinny-Uderzo. English translation: © 2001, 2003, 2005 Les Éditions Albert René, Goscinny/Uderzo. All rights reserved.