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.

Andreas: Yes, it was a trilogy. But if it's up to me Cyrrus is independent. In Mil I 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, Philippe Foerster and Philippe Berthet.