I thought myself absolutely unfit for the level of
. 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)
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
in which I didn't feel influenced, like I was influenced
by H.P. Lovecraft
in Cromwell Stone and Rork.
You appear to have set it up as a trilogy originally.
Yes, it was a trilogy. But if it's up to
is independent. In Mil
revert to a character that I use in a different way.
I didn't finish the trilogy for the simple reason that I
left Humanoïdes Associés
. The third story was another
complex construction: everytime Cyrrus disappeared
in the first album, he would appear in the third. I wanted
to make it with draftsmen like Antonio Cossu
and Philippe Berthet