(A Suivre)

Magazine Information
Title(A Suivre)
Language French
Context Information
Amnésie(A Suivre) (1978, number 11)
La visitation d'Amiens(A Suivre) (1978, number 25)
La femme de cire du musée Spitzner(A Suivre) (1978, number 30)
Le crime de la mosquée(A Suivre) (1978, number 35)
Biographie de Robert-Howard Barlow (1918-1951) et ses relations avec H.P. Lovecraft(A Suivre) (1978, number 6-7)
La gerbe noire des contes de Jean Ray(A Suivre) (1979, number 21)
Heart(A Suivre) (1979, number 21)
Civilisation television(A Suivre) (1981, number 45)
Doublures(A Suivre) (1981, number Spécial Lennon)
Changeons d'air(A Suivre) (1986, number Spécial Rythm'n bulles)
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 "Rork and the fantastic (1995)":
In March 1982 appear the last short stories of Rork in Tintin/Hello BD (fr); Kuifje (nl). In October of that same year the prepublication of Cromwell Stone starts in Le Journal Illustré (le plus grande du monde) of publisher Deligne (Michel).
Andreas: After Révélations posthumes I had prepared a new project for (A Suivre). It was a rather long story of 120 pages. They refused it at (A Suivre). I didn't continue it then. It was a somewhat fantastic story, something better suited for Tintin/Hello BD (fr); Kuifje (nl). So they were quite right for not wanting it. In the meanwhile I had left Tintin/Hello BD (fr); Kuifje (nl) and was suddenly out of work. Luckily my friend Antonio Cossu was in charge of a new series of black-and-white comics at Deligne (Michel). Then I said to him: "I want to do something for you." I knew Deligne, because he had published one of my stories from my time at Saint-Luc, four plates based on a story by Jean Ray. Deligne was interested in my offer and paid me - for that time - extremely well. He paid more than Tintin.
During the making of Cromwell Stone I moved to Brittany. I wrote it in Paris, I drew it in Bretagne.