Goscinny was not satisfied just being responsible for ‘Pilote’ and writing for it : as well as Astérix, his star series, he wrote le petit Nicolas, les Dingodossiers, le Potache est servi, les Divagations de Monsieur Sait-Tout, Tromblon et Bottaclou, Pierre et Paul, and many texts. He also worked for a number of other magazines.
Spirou magazine : Lucky Luke reached its peak with the creation of the Ran Tan Plan and Goscinny continued this series until his death in 1977.
He also created Pantoufle (drawn by Macherot) in 1966.
Tintin magazine : Oumpah-Pah, Spaghetti and Strapontin continued for a while before being stopped after the success of Astérix.
Record magazine : he created Iznogoud (drawn by Tabary) for the launch of ‘Record’ magazine in 1962.
I told Tabary ‘We are going to do a story about detectives’. Then, with the ruthless logic and smooth flow of ideas displayed by most of us in this profession, I suggested that we did Iznogoud, the wicked Grand Vizir who wants to become Caliph instead of the good Caliph Haroun El Poussah (...) Tabary invented an insane world which he embraced with his unique energy. He strictly avoided any research and invented everything : the clothes, the settings and managed to create a larger than life ‘Thousand and One Nights’ inspired world. All the characters are crazy or seedy, and are totally manic. It is the kind of world where a sumptuous banquet consists of a starter, chicken (wing or leg), cheese or dessert and a small carafe of red wine ; a world where it is perfectly normal someone to be called Wa’at Alahf *
*Example changed for the English text. The character Goscinny cites from the French version is Bêtcépouhr Lahvi who is a “cantonnier” (roadmender). This name is based on the French expression “Quand on est bête, c’est pour la vie”.
He also created Record and Véronique (drawn by Will) in 1962.
Jours de France from 1960 to 1971 Goscinny scripted approximately 500 pages for the artist Coq :
Gaudéamus, Yvette and the Fée Aveline. The last series was published in book form in 1999, but the other two series are completely unknown.
It is an interesting fact that after Uderzo and Morris, Coq is the artist who illustreted the most pages written by Goscinny.
In Le Journal de Dimanche he wrote Iznogoud Comments on the News (with Tabary and Buhler) from 1974 to 1977.
There was also La Forêt de Chênebeau (drawn by Delinx) in ‘Jacqueline’magazine, La Famille Silex (drawn by Pouzet) in ‘La Vie Française’ in 1963.
In Jours de France he wrote three Bobby stories (a sort of older Nicolas). In L’os à Moëlle he created the Facteur Rhésus (illustrated by Claire Bretécher) - another brilliant work that is totally unknown. He also wrote 20 humorous texts in 1964 (some of which were published in the book Les Interludes).
In Luxembourg Séléction magazine he wrote 17 Grand Père Victor stories in 1962 and 1963 (the first 6 were illustrated by Sempé and the rest were drawn by Dagues).
For Pariscope he wrote 11 humorous texts in 1965 (all of these were published in Les Interludes).
In Paris Match he wrote around 30 texts dealing with news events in 1970. Finally he produced some texts for Le Figaro and Réalités.
His only novel, Tous les visiteurs à terre, was published in 1969.
“Le feu de Camp de Dimanche Matin” (“The Sunday Morning Camp Fire”), hosted by Goscinny with his colleagues Fred, Gébé and Gotlib on Europe 1 in 1969, was
probably Goscinny’s only real failure during that period.
After 12 programmes he announced to his collaborators :
Well my friends, I think this is going to be a hit !
On the orders of the radio station, the programme was cancelled after the 13th programme.
After being involved in two television programmes produced by his friend Pierre Tchernia (“L’arroseur arrosé” in 1965 and “Deux romains en Gaule” in 1967) Goscinny was somewhat put off television :
Television could be the most amazing means of expression. But I get depressed by its atmosphere of a small post office that is about to close down. From the moment you arrive with your ideas you are sent a whole lot of memoranda to tell you why you are not allowed to make them reality.
He allowed himself to be persuaded to try again in 1976 and 1977 with two series of thirteen Minichroniques were he picked up the same themes that had worked so well in the Dingodossiers.
Trafalgar was a musical written by Jean-Pierre Calvi with a libretto by Goscinny. It was staged at the Théâtre Romain-Rolland in Villejuif and was shown on television in the same year.
1967 : Astérix le Gaulois (Belvision). This film was produced without the authors’ knowledge who were only told about it when it was completed. It was disappointing both technically and artistically (the film simply followed the scenario of the album). Uderzo and Goscinny allowed Dargaud to release it but put a stop to the follow-up “la Serpe d’or” that was to have been produced in the same way.
1970 : Astérix et Cléopâtre (Belvision). The authors were actively involved this time. After the story had been timed, it was found that approximately another ten minutes worth of material was required. Goscinny called in Tchernia to help overcome this problem.
1971 : Daisy Town (Belvision). The team was running smoothly by now and the purpose-written scenario was up to the job, but the authors thought that they could still improve the technical aspects of this film. They decided (with Dargaud) to invest a considerable proportion of their wealth in an animation studio. The Studio Idéfix was created.
1972 : Le Viager. René Goscinny wrote the scenario and his friend Pierre Tchernia produced the film. It had an impressive cast (Serrault, Galabru, Brasseur...), was a great success and became a classic.
1976 : Les 12 travaux d’Astérix. This was the first film released by the Studio Idéfix. It featured a purpose written script and was technically superior to any other European animated film up to that point.
1977 : La ballade des Dalton (Studio Idéfix). This film also had a script written specially for it and was in production when Goscinny died on the 5th of November.