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H.P. Lovecraft

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NameH.P. Lovecraft
H.P. Lovecraft
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from the article "The fantastic worlds of Rork (1984)":
Lovecraft
H.P. Lovecraft (1890-1937), an American writer of pulp fiction, is loved by some adepts of the fantastic story. His stories assume a self-developed Cthulhu-mythology: "All my stories assume the fundamental knowledge or legend that this world once was inhabited by another race, that lost its support by practicing black art, yet lives on elsewhere, perpetually prepared to take over the earth once again" (Wordt Vervolgd I).
The stories of Lovecraft are full of the threat of the Unnamable, the Terrible. They are full of damned, occult knowledge, cursed books and the insanity of those that once have been in contact with what is to remain asleep, forever hidden. Lovecraft has written succesful stories, like 'the Shadow over Insmouth', 'The haunter of the dark', 'The outsider' and 'The thing on the doorstep'. In the Netherlands, several bundles have been published, mainly by Bruna. Lovecrafts horror is not subtle, and many of his stories are boring and grotesque, but he has inspired many people, amongst whom Philippe Druillet and Alberto Breccía, who have each in their own way tried to express the Unimaginable.
H.P. Lovecraft's influence returns in Rork in the visible or invisible presence of that which cannot be comprehended: Bernard Wright who suddenly starts to write in an unknown handwriting (Un siècle pour une maison), the impression that remains after Neels' house is destroyed by something of outer space (Point fatal), the inhumanly great structure and the presence of something that leaves large footprints, yet remains (luckily) unseen in Low Valley, the unavoidable theat of an approaching death that leaves the writer just the time to commit his terrible discovery to paper (Le prisonnier du désespoir), and the monster in Les oubliés, that inspires the people to express their feelings of hatred towards eachother, resulting in killing eachother. Lovecraft himself appears in the first episode of Révélations posthumes, a series of stories that Andreas made together with François Rivière for (A Suivre), in the same period the first 'Rork' stories were made.
from the article "Andreas prefers not to explain everything (1995)":
Both worlds are dominated by the threat of a civilization that existed before mankind.
Andreas: That's a theme from H.P. Lovecraft. I used to read his books a lot at the time I started with Rork. In the first parts you will find many of his influences. It is indeed true that this theme returns in Cromwell Stone, and that's because it fascinates me very much.
I used to read many fantasy books. When I discovered Lovecraft I knew it was that I wanted to make. Since then I read everything of him and haven't touched a fantasy book since. In Lovecraft I found a theme that appealed to me, what I was looking for, a theme with a lot of horror.
from the article "Another idea behind Rork (1995)":
Rorks world is filled with mystery and unearthly matters. Thus the human race appears in Fragments to be not the only intelligent race on this earth [2) This horror-element originates with H.P. Lovecraft Lovecraft, an American writer that had a great influence on Andreas. This horror-author outlines in his 'Chtulhu'-saga a higher intelligence, that lived on this earth before man did. Just like in Rork the creatures awake to regain their place. By the way, this motive we find in Andreas' Cromwell Stone as well] and do some people possess supernatural gifts.
from the article "The first publications (1995)":
Was the collaboration with François Rivière for you the first acquintance with H.P. Lovecraft's work? Or did you know it already?
Andreas: I already knew it. For a long time I read fantastic literature, until I discovered H.P. Lovecraft. Then I had found what I was looking for.
from the article "Cyrrus (1995)":
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 "The mystery Andreas (1996)":
In Andreas' strips people are always looking for something, the detection of a murder-offender, a key of the entrance to another world. Andreas calls them mysteries and suspects that he won't make different kinds of strips any time soon. "All my projects have the same base: people are looking for solutions. I love mysteries and fantastic tales. I have read many books in these genres, and I have sought intensely for literature that I didn't know yet. Until I discovered H.P. Lovecraft, then I stopped, that was the top for me. The mystery, the greatness, the dark forces of his stories, that has influenced me. Almost simultanuously, and it probably wasn't a coincidence, I started the Rork-cycle."