The Pages of Asterix Comic Book Series.

My familiarity with adventures of Asterix and Obelix was through cartoons. I loved screenplays and a banter on contemporary elements that were embedded in narratives through a period’s presentation. I wanted to see how all that looks in the original material, which is the comics that were created by Rene Goscinny, who was a scriptwriter, and Albert Uderzo, who illustrated them. I realized through learning that Goscinny made a shaped contribution by creating stories because after he died of a heart attack in 1977, Udenzo accepted both roles, which he wasn’t supposed to take that he doesn’t belong, and the comics lost their spirit by just seeing drawings. Twenty-four issues were made under the original team, and it was from 1961 to 1979.

It started not bad with Asterix the Gaul (1961), and the continuing Asterix and the Golden Sickle (1962) turned out to be a finest hour in which adorable that a rough recklessness of heroes causes additional difficulties for them. This comic book had an intricate script, and that adventure deserved to have an animated adaptation, which was in production, but authors halted it and left unfinished, and concentrated on implementation of their book Asterix and Cleopatra (1965). Afterward, the finest hour has over. The humor never was explosive in series, but that bantering and comparison with contemporary times were alright in these couple of albums.

The followed Asterix and the Goths (1963) was a meteoric hit to the bottom. The series became a brainless regularity, which doesn’t ask about sense and repeats itself. A village’s druid Getafix makes his potion that increases physical power tenfold for dozens of years, but presents this recipe on druids’ annual convention, and wins a prize for that. Later, Getafix was getting kidnapped by Goths, and one of them forgets his helmet, which he couldn’t have left because there hadn’t been a brawl and he would have noticed an absence, but Goscinny didn’t resolve better how protagonists could identify their adversaries, as well as, the author doesn’t explain why Asterix keeps this headdress in his hands because the comic writer wanted Romans to perceive him and his friend for Goths. And no helmet will after that scuffle. A nonsense carries on in that some two Romans accept a couple of tied-up, gagged and lost their armor co-warriors for Goths. After the truth reveals by simple saying of affected men, but this duo of Romans still asks for a reward from their commander despite on revelation. That absurdity was unstoppable. Asterix and Obelix are wanted persons by the Romans who stopped to caring about stopping Goths. Romans searching “criminals” and ask about them Goths who carry melee weapons and tied-up and wrapped into a blanket druid Getafix. A disguise of main heroes as Roman soldiers leads to that all Romans beginning to catch each other. I would accepted that occurring tone if it had been initial, but the beginning was in earnest. I didn’t want to finish reading and looking at this comics.

If the second issue was saved by a splendid script, whereas that element in druid’s potion making Asterix undefeatable while Obelix is unlimited in that power due to falling into a cauldron in childhood started to bore much in the third adventure. I hadn’t like to such constant invincible fights in the fourth, Asterix the Gladiator (1964). Cartoons knew how to use that element in narration right because they took best pieces from the original sources. Furthermore, if hysteria acts of characters doesn’t make a comedy, that thing doesn’t present in cartoons. Anyway, the fourth album does nothing inventive in a script. Some boy just walked to a right place in the forest for witness a kidnapping of a village’s bard Cacophonix. Goscinny became loose and far-fetched in elaboration of screenplay. No idea why the Romans wanted Cacophonix. It brings that a pair of personages moving to Rome and having too many fights with obvious endings. The whole capital of an empire would raise up after their acts. However, they walk and beat everybody there without consequences. I didn’t need to read more.

I looked at and paged through the seventeenth issue, The Mansions of the Gods (1971), which was familiar through its spectacular adaptation, and this one became the last great cartoon about Asterix and Obelix. A comic book and animated feature are drastically different. An initial material leads to a series generic and hackneyed resolution in that the villagers get the potion, beat up Romans, and celebrate, though Cacophonix wasn’t gagged that time, which was one original aspect. It had none of that in the animated adaptation, which contains many invented and striking jokes and elaborated story’s twists.

The fifth comic story, Asterix and the Banquet (1965), didn’t hold my attention long because that regularity and use formed patterns stick to there. Asterix and Obelix go to the forest at the exact right moment to have an accidental overhearing of Romans about attack. Another many fights with Romans, and I hopped to the last pages, which had a same conclusion. Cartoon also had that a round table celebration, but they lead to there correctly.

I like a plot conception of Asterix and Cleopatra, but it is not the best in animated film because involves the authors and almost repeats the original with inclusion of all nonsense. It launches in that. Cleopatra chooses Edifis whom she calls the best architect in Alexandria, but then contradicts herself, confirming that his buildings are flimsy, neighbors hear every word through the walls and ceilings fall in, but she wants him to build a palace in three months, which originated from made a deal with Caesar. In the next meeting with her, she speaks about the assignment, but warns about a rival who will act against the architect. She gave an order and wants to win a bet with Caesar but doesn’t care that Edifis’ enemy can ruin it. Before reading, I resolved for myself if this book will in an identical commonplace, which is an absence of art value, I’ll make over. I did it on this one.

However, I glanced at Goscinny’s penultimate Obelix and Co. (1976) because the writer derided capitalism there. I paged through it and found out that he didn’t understand a mechanism of the market, did interweaving his dislike and believed that this thing only makes people greedy. It was by a man who collected a good money by selling multiple comics.