Asterix and the Laurel Wreath
by Goscinny & Uderzo; trans. Anthea Bell & Derek Hockridge (Orion, 1974); from Les Lauriers de César (Pilote, 1971)
One of Goscinny’s more droll stories (a critique of Imperial Rome as witnessed when Asterix and Obelix sell themselves as slaves) done full justice by Uderzo’s distinctive illustration—exquisite attention to background detail coupled with colourful, caricatured portrayals of action and emotions.
Asterix & Obelix’s Birthday
by Albert Uderzo (Orion, 2009)
An exuberant but indulgent celebration of Asterix’s 50th anniversary, longer than other albums and yet overburdened with filler. Though Uderzo has clearly enjoyed himself drawing a mélange of vignettes and objets d’art, these pieces mostly emphasise the dearth of storytelling sans Goscinny.
Asterix and Obelix All At Sea
by Albert Uderzo (Orion, 2002)
Harmless fun, though there’s an overabundance of punning and without Goscinny the story lacks any real direction. That said, Uderzo’s illustrations remain exemplary. Along with the familiar Asterix motifs, we are presented with a whimsical Atlantis and see Obelix revert to childhood.