These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Germans Love David Hasselhoff: Despite being Belgian, the series is far more popular in The Netherlands nowadays than in their homecountry. Of course, this is mainly because most of the Belgian references have been replaced by Dutch ones. The characters all speak standard Dutch now, use the Dutch airlines KLM and spent more time in Dutch locations then in Belgian ones.
They Changed It, Now It Sucks: The series started out whimsical, funny, exciting and original, with many fantastical elements in the stories. Over the course of the series, the art and stories got more realistic over time, with heavy layers of aesops on top.
From the 1960s on the stories became increasingly moralistic, even ending each story with a literally explained heavy handed message or ethical life lesson.
Since the 1990s too many storylines revolve around Wiske being jealous of Suske whenever he gets attention from other girls.
Ever since the death of the original author many stories have lacked any form of suspense, comedy, inspiration or charm. It got to the point that the newer stories are almost unrecognizable, compared to the classics. Even the studio itself felt it had to fire one of its employees, because his eccentric ideas became too obnoxiously awful and stupid.
Re-releasing older albums and "updating" them (read: removing old gags, refreshing the text etc.) does not sit well with old time fans and collectors.
The main characters briefly received an update to their clothing style, which was dropped after a few issues due to a huge amount of complaints coming from the fanbase.
The stories are being driven by the side characters at this point in time, as both Suske and Wiske come off as rather bland compared to any other character. They are little more than walking/talking moral compasses for other characters and the reader at this point.
To be fair, Wiske is slighly less bland than Suske, due to her personality quirks.
One could also make a point that aside from the background art and stories, very little does actually change. Character poses and expressions seem to be little more than templates being used page after page, album after album.
What Do You Mean, It's Not Political?: Especially the early black-and-white albums often had Take That references to Belgian politics, often from a conservative Christian, Flemish nationalistic viewpoint. In later albums and the reprints many of these jokes were removed. Today the comic strip is mostly a-political. Occasionally jokes about dishonest politicians will be made, but almost never with specific targets in mind.
The album "De Stalen Bloempot"note "The Steel Flowerpot" (1950) is a thinly disguised conservative satire at the "Koningskwestie"note King Problem in Belgium at that time. Because of his Nazi sympathies during World War II many Belgians felt that their king, Leopold III, should abdicate. Other, more conservative Belgians were against this decision. The debate become so heated that Leopold III decided to abdicate to prevent a civil war. In "De Stalen Bloempot" Suske returns to the isle of Amoras, because he is the rightful king to the country. A villainous cult tries to prevent Suske from becoming king and wants a Tower of Babel on the isle instead of a cathedral. The people want "the king" to return, but the cult is against it.
In "De Charmante Koffiepot"note "The Charming Coffeepot" Lambik and a talking coffee pot hitch a ride with a Maoist driver, who is revealed to be a hypocritical communist zealot.
The album "De Koeiencommissie"note "The Cow Commision" and "De Rebelse Reynaert"note "The Rebel Reynaert" both have very direct and nowadays incredibly outdated references to Belgian politics and scandals of the 1990s.