Magazine
Métal Hurlant

Magazine Information
TitleMétal Hurlant
Language French
Context Information
PublisherHumanoïdes Associés
Publications
CyrrusMétal Hurlant (1984, number 101)
CyrrusMétal Hurlant (1984, number 101-104)
VoyageurMétal Hurlant (1985, number 112)
Border - An illustration with a text of José-Luis BocquetMétal Hurlant (1985, number 113)
ExtinctionMétal Hurlant (1986, number 119)
Espace vital - An illustration with a text of Rudy RuckerMétal Hurlant (1986, number 120)
MilMétal Hurlant (1986, number 123-; 1987, number -127)
TouristeMétal Hurlant (1987, number 133)
Comments
from the article "The first publications (1995)":
About the same time the first episodes of Révélations posthumes appear in (A Suivre). Where your collaboration with François Rivière originate?
Andreas: The first episode of Révélations posthumes I made in 1977 and these were published the year after in (A Suivre). The contact with François Rivière comes from that famous day when Jijé visited the Saint-Luc. I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only one of which Jijé had said:""That's good! Look, that is good, elegant..." Rivière was there as well. He was looking for someone to do the cover of a Jules Verne book and approached me. Later I asked him to write a story for me. I believe he didn't feel like it at first, but I persisted, so eventually he came up with a text on H.P. Lovecraft. After he had seen the first plates, he became more interested. At first we worked for Métal Hurlant, for a Lovecraft special. But when I was finished, Riviere told me: "Métal Hurlant isn't doing well these days, they don't pay well. Maybe it would be better to go to (A Suivre)." I must say I didn't feel good about this thing with Métal Hurlant. That also led to some arguments. Later I understood that it was really something for (A Suivre). They were looking exactly for this mixture of comics and literature. After that we continued working for them. Métal Hurlant was a lost case in all respects.
from the article "Cyrrus (1995)":
After La caverne du souvenir you switched to Métal Hurlant where Cyrrus and Mil were published. How did Cyrrus originate?
Andreas: The occasion for Cyrrus was a request of the brothers Pasamonik if I could do an album for publisher Magic-Strip. From that moment it started in my mind. When later Dionnet (chief editor of Métal Hurlant) saw the first plates of Cromwell Stone and asked me to do something for Humanoïdes Associés, I already had something.
It is the beginning of your cooperation with Métal Hurlant and Humanoïdes Associés. How was your relationship with the publisher?
Andreas: I thought myself absolutely unfit for the level of Métal Hurlant. There was a kind of aura around Métal Hurlant. There had been so many things in it I admired. Furthermore Humanoïdes made absolutely no limitations. I made Cyrrus with a feeling of total freedom. It is kind of the reward for what I did in Rork, without the limitations of Tintin/Hello BD (fr); Kuifje (nl). Not that you hád to do Tintin-like things for Tintin, but you couldn't do just anything either. Cromwell Stone gave me the possibility to create Cyrrus in full freedom. Making Cromwell Stone I didn't have the right state of mind, for that I had left Tintin too shortly. With Cyrrus I could really do what I wanted, without any concessions to the reader. I a sense Cyrrus is thus the first real Andreas album, in which I didn't feel influenced, like I was influenced by H.P. Lovecraft in Cromwell Stone and Rork.
from the article "Dérives and Fantalia (1995)":
It's also the time of Dérives. This album appeared only long after the stories were published in Métal Hurlant. How did that go?
Andreas: The prepublication in Métal Hurlant was interrupted after TouristeTouriste, the third story of Dérives after a scenario of my German friend Ferdinand Scholz. Later, when I was at Delcourt, he said to me: "He, we could publish those short stories you did for Métal." Then I added three more.