Asterix the Gaul, which kicks off the first volume of Papercutz' new Asterix reissues, doesn't feel like the genesis of an international juggernaut. Sure, the 1959 cartoon is funny: Diminutive-but-crafty Asterix and his towering sidekick Obelix are Laurel and Hardy transplanted to 50 B.C., delivering gonzo comeuppance to the Roman soldiers who hope to bring all of France under Caesar's rule. But nothing about René Goscinny's goofy narrative or Albert Uderzo's hyperactive, deliberately lowbrow drawings portend what the Asterix series became: a half-century-spanning, globally-bestselling, nation-defining phenomenon. Asterix's enduring popularity has puzzled critics for decades, even as the series has racked up sales of 380 million books, been translated into 111 languages and spawned dozens of adaptations in various media. In France, Asterix is a treasured icon, the series' worldwide success a source of national pride. "Asterix is our ego," a Frenchwoman told The New York Times in 1996.

His character Asterix captured the spirit of the French of the 1960s and grew into a worldwide phenomenon.

The pint-sized, mustachioed Gaul immortalized in the French cartoon has spawned films, a theme park and many other spin-offs

Uderzo created Les Éditions Albert Rene two years after Goscinny's death, after a conflict with Dargaud, the pair's original publishing house