Asterix and Obelix ride a scooter, or more precisely a car, trying to outrun the traffic of Lutetia, the Paris of the future. The narrative follows the unveiling of Viciovirtus, a fictional personal development guru sent by Caesar. This figure leans into the newest trends of positive thinking, good vibes, empathy, dieting, and wellness to charm and mislead both unmotivated Roman legions and the village of the Gauls. Created in 1959 by Goscinny and Uderzo, the Asterix comics have sold an astonishing 393 million albums to this day. The current arc centers on the collaboration between cartoonist Didier Conrad and screenwriter Fabcaro, who together introduce Madonna Lily (Salvat) as Asterix’s fortieth album. The book has just reached bookstores with an initial print run of five million copies across twenty languages, including Spanish, Catalan, Asturian, Galician, and Basque.
In a Barcelona interview, both Conrad and Fabcaro discuss Viciovirtus as largely a visually inspired creation, while drawing attention to the controversial charisma and influence of public figures such as Dominique de Villepin and Bernard-Henri Lévy. The character is described by Asterix as a man who “talks wildly to say nothing” and who fills his speech with attractive but ultimately trivial phrasing. The creator notes that Viciovirtus is manipulative and two-faced, presenting a seemingly kind exterior while pursuing a secret strategy. The intention of the comic is not to critique positive thinking itself but to critique gurus who weaponize these philosophies to trap vulnerable people for their own gain.
In 2013, Conrad (born 1959) and screenwriter Jean Yves Ferri took on the challenge of continuing Asterix’s adventures with the blessing of the late Albert Uderzo, who had survived the loss of his longtime collaborator Goscinny in 1977. After five albums—’Asterix and the Picts’, ’Caesar’s Papyrus’, ’Asterix in Italy’, ’Vercingetorix’s Daughter’, and ’In the Footsteps of the Griffin’—Ferris was briefly joined by Fabcaro (born 1973), the grandson of a family rooted in political leftism, whose childhood summers were spent in Santa Coloma de Gramenet where his mother was born.
Some readers may interpret the tale as a clash between confrontation and dialogue. The village’s balance leans on conflict and chaos, with problems solved through action. When a new character introduces disruption, the Gauls respond by seeking a calmer path that, while bringing peace, unsettles their unity and nudges them toward changes in their diet. The question remains: can Obélix, who thrives on hearty meals of wild boar, be persuaded to enjoy lighter fare and perhaps experiment with nouvelle cuisine, all while still enjoying a robust appetite? The suggestion is playful but pointed—even a long-standing appetite can adapt to new choices.
Concluding thoughts from Conrad emphasize resilience as a defense against any form of attack, whether it is a plague or a predator. He argues that society always bears some violence, and shielding children from every risk can deprive them of the tools needed to defend themselves. The goal is to nurture a functioning sense of autonomy and critical thinking that helps people weigh ideas instead of accepting any movement as the sole truth. The question of free will remains central, a theme echoed by scientists like Robert Sapolsky, who acknowledges that contemporary society often curtails decision-making power, with broad implications for collective action and responsibility.
One notable figure in the narrative arc is Karabella, the wife of Abraracúrcix. Her relationship with the chief is portrayed as an old-fashion dynamic that surfaces when it comes to fair distribution and daily duties. The writer frames this as a critique of lingering machismo and patriarchal culture, yet also as an opportunity to reveal a more nuanced, emotionally open side of their bond. The aim is to reflect authentic human relationships rather than caricature, and to invite readers to notice evolving social norms.
Fabcaro, who learned to read with Asterix, crafts multiple reading levels to engage both teenagers and adults, sprinkling the dialogue with playful anachronisms much like Goscinny did. The story features scooters, RENFE-style trains, demonstrations, and traffic jams, poking fun at clichés while still celebrating the city’s culture. The intent is to parody the stereotypes of Paris as a bohemian epicenter and to highlight how Parisian snobbery can be both piercing and affectionate. When Karabella arrives in Lutetia, she moves among a crowd that appreciates humor and art, creating a vivid, tongue-in-cheek portrait of modern life.