Dominic Bliss charts how a plucky Gaul from a 1959 magazine became a 400-million-selling cultural force, spawning films, games and a theme park, while poking fun at history, empire and modern-day France in 120 languages…
The year is 50 BC. Gaul is entirely occupied by the Romans. Well, not entirely… One small village of indomitable Gauls still holds out against the invaders.” These are the lines that set the scene at the start of the Astérix comic books, each adventure starring two of the best-known cartoon characters in French literature. The small chap is, of course, Astérix himself – diminutive in size but valiant and spirited thanks to a secret potion that arms him with superhuman strength. His sidekick is the big fat one, Obélix, who, when he’s not loyally assisting his friend in bashing the invading Romans, is found delivering menhir stones or feasting on wild boar.
With global sales of 400m copies and translations into 120 languages and dialects, Astérix is the best-selling European comic book series of all time. Others don’t even come close: not Lucky Luke, not the Smurfs, not 2000 AD… not even Tintin..
There have been 41 Astérix books in all, the latest, Astérix en Lusitanie, published in October 2025. This time our two intrepid heroes travel to Lusitania-modern-day Portugal – where, as Astérix says, they plan to “try out the delicious local specialities, beat up a few fresh Romans and, who knows, perhaps meet some charming young ladies”. Since he first appeared in the late 1950s, Astérix has grown far beyond the confines of the comic strip. As well as all the books, there have been films – both live action and animated-board games, video games and, most recently, a new Netflix cartoon series. And just north of Paris, in Plailly, there’s Parc Astérix, a theme park dedicated to the characters which, since 1989, has offered a distinctly French alternative to the more Americanised Disneyland Paris nearby, welcoming 2.8m visitors a year.
It was 66 years ago, in 1959, that Astérix and Obélix first saw the light of day, appearing in the launch issue of a French magazine called Pilote. Two of the magazine’s founders were writer René Goscinny and illustrator Albert Uderzo. The two plucky Gauls they created went on to conquer the world. The first comic book, Astérix le Gaulois (Astérix the Gaul), was published in French in 1961, followed by regular sequels. Sales increased exponentially with each adventure and English-language versions started in 1969.
During that post-Second World War period, Astérix was in many ways a personification of his nation. Having been occupied by Nazi Germany and attempting to redefine itself as its colonial empire declined, France needed a hero. With his winged helmet and handlebar moustache, the small but fearless Gaulish tribesman stepped up to fill the role. From their tiny little enclave in Armorica (modern-day Brittany), the friends’ struggle against the occupying Romans was an obvious metaphor for French resistance during the war. Others have suggested it represents French anxiety at post-war American-led globalisation. Although the hilarious slapstick of Goscinny and Uderzo’s stories appealed to younger readers, the ingenious word play, the political satire and the mockery of European national stereotypes meant adult readers were hooked too.
No country, not even France itself, was immune from playful ridicule. In Astérix chez les Bretons (Astérix in Britain), the locals are portrayed as overly polite and preoccupied with drinking tea. In Astérix chez les Helvètes (Astérix in Switzerland), they are obsessed with fondue, cuckoo clocks, neutrality and yodelling. In Astérix chez les Belges (Astérix in Belgium), there are comic references to Belgian celebrities, the Battle of Waterloo and mussels and chips.
The books served a historical function, too, giving youngsters and adults alike a popular reference for aspects of the Roman Empire such as gladiators, legionaries, banquets and slavery. Many volumes were even translated into Latin and Greek, with accompanying teachers’ guides.
UNIVERSAL APPEAL
When Goscinny died of a heart attack in 1977, readers implored Uderzo to continue the series and he duly obliged, although later there were legal battles, buyouts and a revolving door of new writers and illustrators. The last two editions were created by writer Fabcaro and illustrator Didier Conrad.
Uderzo, who died in 2020, always struggled to explain the enduring appeal of his and Goscinny’s creation. “We are like magicians who don’t know how they do a trick,” he once said. Another time he suggested: “It’s David against Goliath. Everyone can identify with the image of retribution against things that are bigger than us.”
Didier Conrad © Christophe Guibbaud
Céleste Surugue, chief executive at the current publishers, Les Éditions Albert-René, says the stories work on multiple levels. “They combine visual gags, wordplay, historical references and cultural nods,” he says. “They appeal to both children and adults. Astérix gently pokes fun at everyone through a series of national and international clichés. It all shows that, beyond our apparent differences, we are united by the same humanity.” Surugue highlights the universal human values in the comic books. “Our indomitable Gauls embody laughter, freedom, solidarity and friendship. Also, Astérix’s Gaulish village is a symbol of resistance against oppression, of David against Goliath, which resonates in many cultural contexts and in all eras.” He also pays homage to the inventiveness of the many translators who have rewritten the books in other languages. “For humour to work abroad, translators often have to adapt rather than translate literally,” he says.
Fabcaro © Christophe Guibbaud
BRINGING HISTORY TO LIFE
Two translators who deserve special mention are Anthea Bell and Derek Hockridge who worked on the first 36 albums, brilliantly transposing the original French wordplay, cultural references and quirky humour for the English-speaking world. Most memorable were their genius alternatives to the characters’ names, so that Obélix’s dog Idéfix becomes Dogmatix; the village chief Abraracourcix becomes Vitalstatistix; the village elder Agecanonix becomes Geriatrix; the bard Assurancetourix becomes Cacofonix; and the fishmonger Ordralfabétix becomes Unhygienix. Without Bell and Hockridge’s ingenious work, it’s possible Astérix would not have won such global acclaim.
Without Astérix, it’s also possible children worldwide would never have learned so much about the Roman Empire and Ancient Gaul’s place within it. “For many foreign readers, Astérix is indeed the main gateway to the Gallo-Roman era, but this is also true for many children in France,” Surugue adds. “We laugh with Astérix but we also learn. The quality of the writing allows French history and culture to shine through globally with a smile. Astérix is a very good cultural ambassador for France. He embodies his nation – he is rebellious, attached to its traditions, but also capable of self-mockery.”
PLANCHE ANNONCE T41 – Ceci n’est pas une planche de l’album !
At 66 years old, if Astérix inhabited modern-day France, he would be ready for retirement. In fact, he’d probably be donning a gilet jaune and protesting at President Macron’s pension reforms. Which leads us to wonder where our diminutive hero will be in another 66 years’ time. “He’s in better shape than ever,” Surugue insists. “Whether that’s in the French or the foreign editions of the books, or with the theme park, or with Alain Chabat’s wonderful Netflix series.”
While Surugue and his colleagues are currently concentrating on the latest Astérix book, they naturally have an eye on the future. “Yes, of course, we’re thinking about new exciting projects,” he says. “But we always want to look after our famous character with both ambition and prudence. With 66 years of history behind him and a very long future in front, Astérix deserves the very best.”
The latest Astérix comic book, Astérix in Lusitania, was published in French and English on October 23, 2025.
From France Today Magazine
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