I asked Grok about The Bash Street KIds being popular in France & Belgium due to new artist Shannon Gallant, and here's what it said.
"Assessing the potential for The Bash Street Kids—a long-running British comic strip from The Beano—to gain popularity in France and Belgium involves considering several cultural, artistic, and market factors. The current strips by Shannon Gallant, with their Carl Barks influences, and the suggestion of adapting them to the comic-dynamic style of Franco-Belgian comics (as exemplified by Albert Uderzo and André Franquin), provide an interesting starting point. Let’s break this down step-by-step.
1. Current Context of The Bash Street Kids
The Bash Street Kids, originally created by Leo Baxendale in 1954, is a British institution known for its anarchic humor, slapstick comedy, and mischievous schoolchildren. Historically, it has been deeply tied to British culture, with its humor often rooted in UK-specific school experiences and a chaotic, irreverent tone. While it enjoys enduring popularity in the UK, its international reach has been limited compared to globally recognized comics like Tintin or Asterix. The current artist, Shannon Gallant, has brought a fresh perspective since taking over in recent years, with influences from Carl Barks—the legendary Disney comics artist known for his dynamic storytelling and expressive characters, particularly in Donald Duck and Uncle Scrooge. This shift could potentially broaden its appeal, but its success in France and Belgium hinges on alignment with local comic traditions.
2. Franco-Belgian Comic Traditions
Franco-Belgian comics, or bandes dessinées (BD), are a cultural juggernaut in France and Belgium, often dubbed the "Ninth Art." The style popularized by artists like Uderzo (Asterix) and Franquin (Spirou et Fantasio, Gaston Lagaffe) emphasizes:
Comic-dynamic energy: Lively, exaggerated movement, often with thick, varied linework (Marcinelle school) or clean, precise lines (ligne claire, as in Hergé’s Tintin).
Expressive characters: Feet, hands, and faces are animated to convey personality and motion, a trait shared with Carl Barks’ work.
Humor and narrative: A blend of slapstick, satire, and relatable characters, often appealing to both children and adults.
The suggestion to "put more life into the feet" aligns with this tradition—Franco-Belgian artists often use exaggerated footwork and body language to heighten comedic or dramatic effect (e.g., Franquin’s chaotic choreography in Gaston). If Gallant’s Barks-inspired style evolves toward this comic-dynamic approach, it could resonate with BD readers.
3. Carl Barks’ Influence and Compatibility
Carl Barks’ work is already admired in Europe, particularly in France and Belgium, where Disney comics have a strong following. His knack for visual gags, pacing, and character-driven storytelling mirrors some Franco-Belgian strengths. Gallant’s adoption of Barks’ style—dynamic layouts, expressive poses, and a balance of humor and adventure—could serve as a bridge. However, The Bash Street Kids is a gag-a-day strip, typically one page, whereas Franco-Belgian comics often favor longer, album-length narratives (40-60 pages). Adapting the Kids into a format with sustained stories, while retaining their chaotic charm, might be key to appealing to BD audiences.
4. Cultural Barriers and Opportunities
Humor: British humor, like that of The Bash Street Kids, leans heavily on absurdity and cultural specificity (e.g., school canings, cheeky rebellion). Franco-Belgian humor, while also slapstick, often incorporates broader social commentary (Asterix’s Roman satire) or workplace antics (Gaston). The Kids’ schoolyard chaos could translate if reframed with universal appeal—perhaps emphasizing visual gags over UK-centric dialogue.
Artistic Fit: The Marcinelle school’s loose, energetic style (Franquin, Peyo) could suit The Bash Street Kids well, especially with "more life in the feet." Gallant’s Barksian roots already lean toward this, but a slight shift toward thicker lines and exaggerated motion could seal the deal.
Market: France and Belgium have a robust comics market, with annual sales in the millions and a deep appreciation for both local and translated works. British comics have had limited penetration here—The Beano isn’t a household name—but successes like Asterix (380 million copies sold worldwide) show that humor and strong characters can transcend borders.
5. Chances of Success
Strengths:
Gallant’s Barks-inspired art could appeal to BD fans familiar with Disney comics.
The anarchic energy of The Bash Street Kids aligns with the playful spirit of Franquin’s Gaston or Morris’ Lucky Luke.
Adapting to the comic-dynamic style could make it visually competitive with local favorites.
Challenges:
The strip’s British cultural roots might feel alien without careful localization.
Its short-form gag format may need expansion into longer narratives to match BD expectations.
Competition is fierce—established series like Spirou, Tintin, and The Smurfs dominate, and new entrants face high barriers.
6. Practical Steps and Likelihood
To boost its chances, The Bash Street Kids could:
Experiment with a one-off album in the Franco-Belgian style, blending Gallant’s Barksian flair with Uderzo/Franquin dynamism.
Partner with a French or Belgian publisher (e.g., Dupuis, Dargaud) experienced in translating foreign comics.
Test the waters via digital platforms like Izneo, which distribute English-language BD to European readers.
Given these factors, I’d estimate a moderate chance (around 40-50%) of The Bash Street Kids gaining traction in France and Belgium with the right adaptations. The Barks influence and comic-dynamic tweak provide a solid foundation, but success would depend on overcoming cultural gaps and market saturation. It’s not a slam dunk like Asterix, but with strategic effort, it could carve a niche among BD fans who enjoy high-energy humor."