“The year is 50BC. Gaul is entirely occupied by the Romans. Well, not entirely . . . One small village of indomitable Gauls still holds out against the invaders.”

𓆸✱ ✝ ✱ ✝ ✱ ✝ ✱ ✝𓆸

The “indomitable Gauls” in question are the tribe of Astérix, pint-sized Gallic hero of the long-running eponymous French comic strip with its legion of dedicated fans. Like all classic literary modes, be they of a pop cultural kind or more highbrow, the Astérix comic can be read on more than one level. On the surface the impossible but highly comical escapades of its principal cartoon characters (Astérix and his sidekick Obélix) are much loved and savoured by aficionados across the globe. On another level some observers have detected various allegorical meanings delving within the cartoon series.

Astérix’s debut, 1959
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The Astérix comic strip (in France known as a bande dessinée – literally “drawn strip”) made its debut in 1959 in the Franco-Belgian comic magazine Pilote under the the strip title Les aventures d’astérix. The Astérix phenomenon that followed that unassuming beginning was the result of a long and harmonious collaboration between writer René Goscinny and illustrator Albert Uderzo.

Getafix, Druid & grandmaven
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What a Gaul!
The basic plot of the comic is that Astérix and his XXL-sized friend Obelix reside in the sole remaining village in Gaul which has not been conquered by the might of the Roman war machine. The reason enabling its continued freedom is that Astérix has access to a magic potion supplied by the village’s Druid Panoramix (in English translations: Getafix) which gives him temporary, superhuman strength (Obelix is already endowed with extraordinary strength courtesy of having fallen into the cauldron of magic potion as a baby). The two companions, usually accompanied by Obelix’s little dog, Idéfix (English: Dogmatix), spend their time roaming around the countryside of Armorica (modern-day Brittany) bashing countless numbers of heads, mostly of the hapless and unsuspecting Roman legionnaires. In many of the books the magic potion-fuelled duo venture out on escapades to lands both far and near from Gaul.

Dubbleosix in ‘The Black Gold’
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Undisguised punnery
Much of the humour in Astérix revolves around Goscinny’s and translator Bell’s (see below) use of puns and in-jokes which abound in the character names, Astérix, the comic’s central protagonist is of course “the star” (for which “asterisk” is another word); the monolithic-like Obelix is a carter and shaper of menhirs which are also known as “obelisks”; Bell translated Obelix’s dog’s name as…Dogmatix – what else! A spy Druid in Astérix and the Black Gold with more than a passing resemblance to Sean Connery is given the name Dubbelosix.

Nomenclature of the dramatis personae
When sketching out the framework of their fictional First century BC Gaul Goscinny and Uderzo decided on a formula for the names of each of the groups of characters. The Gauls’ men’s names would end in -ix (the inspiration for this was the real-life Gallic chieftain Vercingetorix who revolted against Julius Caesar’s Rome in 52BC), so we have Vitalstatistix (chief of Astérix’s tribe) and his brother Doublehelix; Assurancetourixൠ (English: Cacofonix) (bard and scapegoat of the village); Geriatrix (oldest member of the village); Unhygienix (village fishmonger); Cétautomatix (village smith) (Eng: Fulliautomatix); Saingésix (wine merchant) (Eng: Alcoholix), etc. etc. The Romans mostly are identified by names with the suffix “-us” (although “Julius Caesar” (Fr: Jules César) appears as a fictional character under his own name)…as the “bad guys” the Romans all tend to have derogatory or demeaning names, eg, Pamplemus (Arteriosclerosus); Cadaverus; Caius Fatuous; Caius Flebitus …you get the idea!

‘Astérix and the Normans’

Goscinny employed suffix-identifiers for other national groups in the books. For instance, the names of the fearsome Norman tribesmen were all given -af endings, so we get lots of joke names like Psychopaf, Riffraf, Autograf, Nescaf and Toocleverbyhaf, ad tedium…basically anything preposterous enough Goscinny and Bell could think of that would raise a laugh. The device extends to Britons (-ax)(usually puns on taxation, eg, “Valueaddedtax”), Germans (-ic), Greeks (-os) and Egyptians (-is).

‘Astérix and Cleopatra‘
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Stereotyping and racial tropes
One of the preoccupations of the Astérix comics and the source of much of its humour is ethnic stereotyping. Uderzo and Goscinny delight in lampooning the perceived national traits of different groups of Europeans. The English are depicted as phlegmatic, love to drink lukewarm beer and tend to speak in a chipper, upper-class way. The Iberians (Spanish) are displayed as being full of pride and tend to have choleric tempers. The Normans (Vikings) drink endlessly and fear nothing. Goths (the Germanic tribes) are disciplined and militaristic, but are not unified and fight among themselves. This all reads as a bit problematic especially in this age of political correctness. In the case of the Spanish the generalisations are compounded by Uderzo’s unflattering drawings of them. But the most disturbing element of the books’ stereotyping of races exposing the creators to considerable criticism relates to the bigoted portrayal of Black Africans. Slaves in the series are always Black and sometimes they have have bones through their hair and other cliches (eg, Astérix and Cleopatra). Uderzo also introduced the character of a caricatured Black pirate (Baba)—notoriously depicted with exaggerated racial features, enormous, full red lips—who appears in several books including Astérix in Corsica and Astérix and Obélix All At Sea. For this reason American cartoonist Ronald Wimberly has described the Astérix comics as “blatantly white supremacist” in nature and thus unsuitable for children (’Race and Representation: Relaunching Astérix in America’, Brigid Alverson & Calvin Reid, PW, 19-Aug-2020, www.publishersweekly.com). In recent versions of the comic edited for the US market the overt racialist profiling has been toned down a bit (‘Asterix Comes to America‘, Jo Livingstone, Critical Mass, 17-Jun-2020, www.newrepublic.com).

Black pirate lookout in ‘Astérix in Corsica’

Bravura and the village women in revolt
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Uderzo v feminism
Similarly, Astérix has attracted criticism for its negative portrayal of women in the strips. Asterix and the Secret Weapon for instance introduces a female bard Bravura from Lutetia (Paris) who incites the women of the village to revolt against their husbands and the patriarchy. ’Secret Weapon’ unsubtly parodies feminism and gender equality. By 1991 when the album was published it might have been hoped that Uderzo would have expressed a more enlightened and nuanced perspective on sexual politics, but he and Goscinny were very much products of their time so it probably shouldn’t surprise that the artist/storyteller was still implacably fastened on to his old ideals of male chauvinism and hegemony.

The ludicrous amount of violence dished out in Astérix—the heroic Gallic duo are constantly bashing Roman skulls senselessდ—has also opened the comic strips up to criticism from some quarters. In 2007 the Swiss-based organisation Defence for Children International echoed Wimberly’s sentiments, saying that Astérix, Obélix & Co set a bad example for the young by constantly fighting with everyone, never at peace with their neighbours…adding that the comic series was “too monocultural” in its obsession with “invaders” (The Guardian).

‘Astérix and the Great Crossing’: Astérix & Obélix tango with native Americans – more sterotyping of ”the other”࿏ ࿏ ࿏

With Goscinny’s untimely early death in 1977 Uderzo took on responsibility for the Astérix scripts as well as the artwork. Uderzo solo added another nine comic books to the Asterix oeuvre, although he retained the late M Goscinny’s name on the covers as co-creator. The Astérix‘s scripts written by Uderzo were not in the same class of storytelling as Goscinny’s—lacking René’s incisive wit and punchiness—but even so, the Uderzo-penned comic albums still proved bestsellers, such was the lustre of the Astérix brand.

Enter the new generation of Astérix comic artists
By 2011 Uderzo in his eighties was ready to pass the Astérix baton on to two cartoonists who he had been mentoring. The new team, Jean-Yves Ferri (writer) and Didier Conrad (illustrator), having got the master’s nod of approval, produced Astérix and the Picts in 2013, followed by four more Astérix albums thus far. Ferri and Conrad have even introduced new characters with contemporary and topical resonance, eg, Confoundtheirpolitix, a muckraking journalist, spoofing Julian Assange (Astérix and the Missing Scroll). Unfortunately, since becoming custodians of the world’s most famous cartoon Gaul, Messieurs Conrad and Ferri have missed the opportunity to redress the earlier derogatory depiction of Africans drawn by Uderzo. Instead Conrad tactlessly reprised Uderzo’s Black pirate lookout character in 2015 in ‘Missing Scroll’) with the same racist depiction of Baba with bulbous red lips.

‘Astérix en Bretagne‘
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Astérix for Anglos
Translations into English of the iconic comic books began in 1969. Anthea Bell, in collaboration with Derek Hockridge, was the gifted translator who worked with the full sequence of Astérix creators. Bell’s distinctly English expressions and puns as translated won much praise “for keeping the original French spirit intact” (‘Anthea Bell’, Wikipedia, http://en.m.wikipedia.org). Bell also shared with Goscinny a delight in the humour of historical anachronisms which filter through the various books.

The Astérix industry
As at 2021, with the publication of the 38th Astérix comic book Astérix and the Griffin, the books have sold a staggering combined total of 385 million copies worldwide. They have been translated into 111 languages and dialects including Afrikaans, Welsh, Hebrew, Occitan, Arabic, Urdu and even Latin. Astérix adaptation to the screen comprise 10 animated films and four live action films (of which only Mission Cleopatra merits any accolades at all). There’s the usual accompaniment of merchandising of course and even a theme park, Le Parc Astérix, north of Paris. The comic books’ following spans the globe, in their heartland, France and Belgium, in Germany, Britain, just about everywhere they have been in vogue with the notable exception of the US.

What’s the secret of the Asterix comics’ success?
To M Uderzo the endearing nature of Astérix’s popularity remained a puzzle that he couldn’t fathom, best left to others of which there has been no shortage of opinions aired over the years. Clearly, the character of Astérix is deeply rooted in French popular culture. Two-thirds of the French population had read at least one Astérix books according to a 1969 national survey (‘Going for Gaul: Mary Beard on 40 years of Astérix’, The Guardian, 15-Feb-2002, www.amp.theguardian.com . Some observers put the appeal down to the escapism the comics represented – providing “a world of joyful innocence born in the aftermath of (world) war” ‘My hero: Asterix by Tom Holland‘, The Guardian, 26-Oct-2013, www.amp.theguardian.com . This sentiment is echoed by those who have called the series ”the most brilliant antidote to (the catastrophe of) Vichy in French literature”. Many French people identify with the petit Gaul as a symbol of rebellion, standing up for the “little guy“ against Goliath. To them Astérix’s steely determination to defy the juggernaut of Roman power mirrors the impulse in the hearts of many modern-day French citizens to hold out and not succumb to the all-conquering globalisation driven by the United States⚘. While the French feel an inextinguishable pride in Astérix (“simply French”), to many outsiders the comics personify what they take to be the French character, such as the trait of “infuriating, occasionally endearing contradictions” (John Thornhill, Lunch with the FT: Asterix the national treasure’, Financial Times, 24-Dec-2005, www.financialtimes.com). Another take on Astérix’s popularity beyond the borders of France is that the idea of an heroic “native freedom-fighter” defying Rome struck a resonant tone in countries which had once been subjected to the tyranny of the Roman Empire (Beard).

Footnote: In Astérix in Belgium, the 24th volume in the series໒꒰, village chief Vitalstatistix, Astérix and Obélix head off to Belgae to tangle with an equally fierce tribe of Belgian Gauls. As usual, the comic is saturated with cultural references, Goscinny weaves in a series of gently digs at the Belgians, spoofing famous national celebrities like Walloon actress/singer Annie Cordy and cyclist Eddie Merckx. The comic’s battle scene is a riff on the historical Battle of Waterloo and Uderzo draws in a cameo appearance by fictional detectives Thomson and Thompson from Belgium’s most honoured cartoon strip Tintin (‘Asterix v24: “ Asterix in Belgium”’, Augie De Blieck Jr, Pipeline Comics , 25-Jul-2018, www.pipelinecomics.com).

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ൠ some sort of pun on “insurance”
დ although it should be noted that no one is actually killed in the comics
⚘ shared by Uderzo himself who said in 2005, “the more we are under the sway of globalisation, the more people feel the need to rediscover their roots”, which is what he hoped connecting with France’s ancient Gallic past via his cartoon creation might help achieve
໒꒰ Goscinny died during the comic’s production and this was also the last Astérix that Albert Uderzo’s artist brother, Marcel, worked on