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Coup de sang #1
Animal'z
Dans ce monde dont on ne sait trop s’il est l’émanation d’une histoire parallèle ou simplement le récit de notre futur, le dérèglement climatique s’est brutalement généralisé. La catastrophe porte un nom : le Coup de Sang. Sur la planète dévastée, martyrisée, l’eau potable est soudain devenue un trésor, et la survie individuelle l’obsession de chacun. Désormais, les transports sont rares et dangereux, les communications aléatoires. Seuls quelques Eldorados très isolés, refuges protégés par leur situation géographique particulière, ont réussi à préserver un semblant d’ordre social. On ne peut les rejoindre que par la mer, immense; l’unique milieu naturel, peut-être, qui conserve quelque chance de perdurer en ces temps d’incertitude absolue...
Tel est le décor, fascinant, qui sert d’écrin à Animal’z, le nouveau récit futuriste d’Enki Bilal. Fidèle à ses thèmes de prédilection (la fiction conjecturale, en étroite résonance avec les convulsions et les névroses collectives de notre présent), l’auteur de La Trilogie Nikopol explore les conséquences possibles des dommages infligés au climat, dans un registre graphique nerveux qui comblera les attentes de ses très nombreux fidèles. Déroutant, surprenant, passionnant : un one-shot d’une centaine de pages à savourer sans retenue. Du très grand Bilal.
Tel est le décor, fascinant, qui sert d’écrin à Animal’z, le nouveau récit futuriste d’Enki Bilal. Fidèle à ses thèmes de prédilection (la fiction conjecturale, en étroite résonance avec les convulsions et les névroses collectives de notre présent), l’auteur de La Trilogie Nikopol explore les conséquences possibles des dommages infligés au climat, dans un registre graphique nerveux qui comblera les attentes de ses très nombreux fidèles. Déroutant, surprenant, passionnant : un one-shot d’une centaine de pages à savourer sans retenue. Du très grand Bilal.
96 pages, Hardcover
First published March 11, 2009
6 people are currently reading
181 people want to read
About the author
Enki Bilal
239 books321 followersEnki Bilal (born Enes Bilal) is a French comic book creator and film director.
Bilal was born in Belgrade, then the capital of Yugoslavia, to a Czech mother, Ana, who came to Belgrade as child from Karlovy Vary, and a Bosnian Muslim father, Muhamed Hamo Bilal who had been Josip Broz Tito's tailor. When he was five years old, his father managed to take a trip and stay in Paris as a political émigré. Enki and the rest of the family followed him, four years later.
Enki Bilal has no sense of belonging to any ethnic group and religion, nor is he obsessed with soil and roots. He said in one interview: "I also feel Bosnian by my father's origin, a Serb by my place of birth and a Croat by my relationship with a certain friends, not to mention my other Czech half, who I am inherited from mother".
At age 14, he met René Goscinny and with his encouragement applied his talent to comics. He produced work for Goscinny's Franco-Belgian comics magazine Pilote in the 1970s, publishing his first story, Le Bol Maudit, in 1972.
In 1975, Bilal began working with script writer Pierre Christin on a series of dark and surreal tales, resulting in the body of work titled Légendes d'Aujourd'hui.
He is best known for the Nikopol trilogy (La Foire aux immortels, La Femme piège and Froid Équateur), which took more than a decade to complete. Bilal wrote the script and did the artwork. The final chapter, Froid Équateur, was chosen book of the year by the magazine Lire and is acknowledged by the inventor of chess boxing as the inspiration for the sport.
Quatre? (2007), the last book in the Hatzfeld tetralogy, deals with the breakup of Yugoslavia from a future viewpoint. The first installment came in 1998 in the shape of Le Sommeil du Monstre opening with the main character, Nike, remembering the war in a series of traumatic flashbacks.
In 2012, Bilal was featured in a solo exhibition at The Louvre. The exhibition, titled "The Ghosts of the Louvre", ran from 20 December 2012 to 18 March 2013. The exhibition was organized by Fabrice Douar, and featured a series of paintings of "Ghosts", done atop photographs that Bilal took of the Louvre's collection.
Bilal was born in Belgrade, then the capital of Yugoslavia, to a Czech mother, Ana, who came to Belgrade as child from Karlovy Vary, and a Bosnian Muslim father, Muhamed Hamo Bilal who had been Josip Broz Tito's tailor. When he was five years old, his father managed to take a trip and stay in Paris as a political émigré. Enki and the rest of the family followed him, four years later.
Enki Bilal has no sense of belonging to any ethnic group and religion, nor is he obsessed with soil and roots. He said in one interview: "I also feel Bosnian by my father's origin, a Serb by my place of birth and a Croat by my relationship with a certain friends, not to mention my other Czech half, who I am inherited from mother".
At age 14, he met René Goscinny and with his encouragement applied his talent to comics. He produced work for Goscinny's Franco-Belgian comics magazine Pilote in the 1970s, publishing his first story, Le Bol Maudit, in 1972.
In 1975, Bilal began working with script writer Pierre Christin on a series of dark and surreal tales, resulting in the body of work titled Légendes d'Aujourd'hui.
He is best known for the Nikopol trilogy (La Foire aux immortels, La Femme piège and Froid Équateur), which took more than a decade to complete. Bilal wrote the script and did the artwork. The final chapter, Froid Équateur, was chosen book of the year by the magazine Lire and is acknowledged by the inventor of chess boxing as the inspiration for the sport.
Quatre? (2007), the last book in the Hatzfeld tetralogy, deals with the breakup of Yugoslavia from a future viewpoint. The first installment came in 1998 in the shape of Le Sommeil du Monstre opening with the main character, Nike, remembering the war in a series of traumatic flashbacks.
In 2012, Bilal was featured in a solo exhibition at The Louvre. The exhibition, titled "The Ghosts of the Louvre", ran from 20 December 2012 to 18 March 2013. The exhibition was organized by Fabrice Douar, and featured a series of paintings of "Ghosts", done atop photographs that Bilal took of the Louvre's collection.
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Displaying 1 - 30 of 33 reviews
October 26, 2019
Une Terre dévastée par une catastrophe écologique majeure (le « coup de sang » de la Nature). Un détroit maritime censé mener quelques survivants vers un lieu sûr. Plusieurs bateaux se croisent sur ce bras de mer. Un duelliste adepte de citations littéraires traverse le paysage gelé sur une monture mi-cheval, mi-zèbre et affronte un autre duelliste chevauchant un zèbre à-moitié cheval. Les hommes eux-mêmes subissent des mutations : l'un d'eux traine un pied à l’allure de nageoire ; un autre se transforme en dauphin grâce à un mystérieux pack de congélation...
L’obsession de Bilal pour les être hybrides (cf. : Nikopol) se trouve donc exprimée dans cette BD magnifique, aux dessins crayonnés, exclusivement quadrichromes, où se mêlent le rouge, le noir et quelques touches de blanc sur fond d'un papier vert-nuit. Leur destination finale reste mystérieuse.
Reste l’amusante citation de Baudrillard : « L’eau en poudre : il suffit de rajouter de l'eau pour obtenir de l'eau. »
L’obsession de Bilal pour les être hybrides (cf. : Nikopol) se trouve donc exprimée dans cette BD magnifique, aux dessins crayonnés, exclusivement quadrichromes, où se mêlent le rouge, le noir et quelques touches de blanc sur fond d'un papier vert-nuit. Leur destination finale reste mystérieuse.
Reste l’amusante citation de Baudrillard : « L’eau en poudre : il suffit de rajouter de l'eau pour obtenir de l'eau. »
October 2, 2022
Un futuro apocalittico, il Mondo è in una catastrofe continua, i pochi esseri umani rimasti si dividono ciò che resta, ma qualcosa pare cambiato, l'essere umano tornerà alle origini con quel rapporto e simbiosi unici con la Natura tutta e specialmente con gli altri animali? Oppure...
Graphic novel molto d'impatto: primo per il formato gigante dell'albo, secondo per le illustrazioni molto particolari con un'infinità di toni di grigio che rendono alla perfezione l'atmosfera apocalittica ed il testo con ottimi spunti riflessivi, dove...
"La prospettiva della morte certa dovrebbe dare alla vita un pizzico di leggerezza, ma voi, anime complicate, avete trasformato questa goccia in una pozione infetta che rende ripugnante l'intera vita" (Nietzsche)
Graphic novel molto d'impatto: primo per il formato gigante dell'albo, secondo per le illustrazioni molto particolari con un'infinità di toni di grigio che rendono alla perfezione l'atmosfera apocalittica ed il testo con ottimi spunti riflessivi, dove...
"La prospettiva della morte certa dovrebbe dare alla vita un pizzico di leggerezza, ma voi, anime complicate, avete trasformato questa goccia in una pozione infetta che rende ripugnante l'intera vita" (Nietzsche)
May 22, 2020
2/5 καθαρά για το ατμοσφαιρικό (σουρεαλιστικό τόσο-όσο) post-apocalyptic σχέδιο του Μπιλάλ με τις έντονες μολυβογραμμές. Η ιστορία από την άλλη...θα λεγόταν σουρεάλ τελείως καταχρηστικά, ένας αχταρμάς απροσδιορίστου με τσιτάτους και κούφιους διαλόγους ίσως θα το περιέγραφε καλύτερα. Τι ωραία όταν ο Μπιλάλ μένει στο σχέδιο και αναλαμβάνουν άλλοι (γκουχ γκουχ Κριστίν) τα σενάρια. :D
July 2, 2011
It's a reread, it was a gift from my other half two years ago when it came out in 2009, and, knowing my love for bilal's drawings, he just bought me "Julia & Roem" so I'm rereading this one first and then will move on to "Julia & Roem".
I love Bilal's drawings, I love how you can distinguish the pencil strokes... I feel in love with his work with the first instalment of the "Nokopol trilogy" which was in color (even though it shows a particular relation to color, but that's another story). I wasn't surprised a few years later when I found galleries selling some of his drawings. ...but these two last ones, they're in tones of grey (everything from white to black) with a burst of red here and there. I've been flipping through them all week, looking at the drawings, delaying the reading as I use to do as I child when I was served something I really liked, lingering to taste it, making it last, saving the best for last.
I hate that they're called comic books in English, this sounds so derogatory... Bilal's work is art, nothing less. Whether someone likes the stories he writes or not is a matter of taste and to each his own, I respect that, and frankly I find the stories secondary to the art, they "support" the drawing. ...but the drawings... They are amazing, and they are unique, altough they are dark and bold, and daring... And I'm not dark, but for having drawn once, for knowing what it's like to hold a pen and to create from nothing, I can't help but love and respect what he creates, and my other half who is a true "BD" (comics) fan and who has perhaps even more culture than I have (LOL I can definitely hold my own) says that Bilal is not about the stories, each drawing being a work of art, I agree... Once you know his work you can spot it anywhere, you can spot his influence so often. But here I am going on and on and I haven't even started to reread Animal'z... Let me read and feast my eyes a little... I'll be back, but expect me to take my time, this is not something I want to rush through! ;)
If it is possible I loved it even more this time..., the drawings, the nearly end of the world, the surreal dialogues filled with quotations (Nietzche, Camus, Beckett, etc.), the animalistic side of the hybrids. It fully deserves the five stars I'm giving it!
I love Bilal's drawings, I love how you can distinguish the pencil strokes... I feel in love with his work with the first instalment of the "Nokopol trilogy" which was in color (even though it shows a particular relation to color, but that's another story). I wasn't surprised a few years later when I found galleries selling some of his drawings. ...but these two last ones, they're in tones of grey (everything from white to black) with a burst of red here and there. I've been flipping through them all week, looking at the drawings, delaying the reading as I use to do as I child when I was served something I really liked, lingering to taste it, making it last, saving the best for last.
I hate that they're called comic books in English, this sounds so derogatory... Bilal's work is art, nothing less. Whether someone likes the stories he writes or not is a matter of taste and to each his own, I respect that, and frankly I find the stories secondary to the art, they "support" the drawing. ...but the drawings... They are amazing, and they are unique, altough they are dark and bold, and daring... And I'm not dark, but for having drawn once, for knowing what it's like to hold a pen and to create from nothing, I can't help but love and respect what he creates, and my other half who is a true "BD" (comics) fan and who has perhaps even more culture than I have (LOL I can definitely hold my own) says that Bilal is not about the stories, each drawing being a work of art, I agree... Once you know his work you can spot it anywhere, you can spot his influence so often. But here I am going on and on and I haven't even started to reread Animal'z... Let me read and feast my eyes a little... I'll be back, but expect me to take my time, this is not something I want to rush through! ;)
If it is possible I loved it even more this time..., the drawings, the nearly end of the world, the surreal dialogues filled with quotations (Nietzche, Camus, Beckett, etc.), the animalistic side of the hybrids. It fully deserves the five stars I'm giving it!
September 4, 2016
Here Bilal fuses the tone of his drawings with the atmosphere of his narrative perfectly.
The opening of the trilogy is astonishing. The french author's themes come to us with a fresh new style. Enki Bilal usually seems to draw from cinema a lot of his inspiration, and has created for the 7th art too, with 4 titles already in his filmography.
But here it seems like theatre was the inspiration.
All the setting, what would be the movie set, was removed, and characters seem to move in a simplified place. His style is refined into what seems at the same time a sketchy look and a very sophisticated stylized approached. Colors are first removed into a monochromatic-ish palete and then used (mostly red and blue) to make objects and details stand out.
We have, most of all, dialogue and characters. Like we would have in a theatre, with a play.
And not, like other work from Bilal, large scale representations, complex architecture, cityscapes, with urban elements, the degradation and technology being a huge part of the plot and being there visually.
Here, there is a melancholy that arises from the narrative, that fuses elements of western, post-apocalyptic, drama dialogue, and that is as much represented in the flow of the words as in the drawings, in the poses of the characters, in the fine irony of how technology and ecology are introduced.
Bilal's art is at its finest.
His characters are gorgeous. Not because he just tries to draw beautiful people. And I don't know if I can explain myself. There is a way he draws the bones of the face, the shades, the glow of the eyes, in a dark panel, the tilt of the head. He must observe people a lot. By looking at his humans, I can only love people more. His art is a tribute to our species. Even, or specially writing a story about how humans have put the planet, not on the brink of disaster, but over it.
We are animals.
Beautiful, dangerous animals.
May we listen to cautionary tales more.
The opening of the trilogy is astonishing. The french author's themes come to us with a fresh new style. Enki Bilal usually seems to draw from cinema a lot of his inspiration, and has created for the 7th art too, with 4 titles already in his filmography.
But here it seems like theatre was the inspiration.
All the setting, what would be the movie set, was removed, and characters seem to move in a simplified place. His style is refined into what seems at the same time a sketchy look and a very sophisticated stylized approached. Colors are first removed into a monochromatic-ish palete and then used (mostly red and blue) to make objects and details stand out.
We have, most of all, dialogue and characters. Like we would have in a theatre, with a play.
And not, like other work from Bilal, large scale representations, complex architecture, cityscapes, with urban elements, the degradation and technology being a huge part of the plot and being there visually.
Here, there is a melancholy that arises from the narrative, that fuses elements of western, post-apocalyptic, drama dialogue, and that is as much represented in the flow of the words as in the drawings, in the poses of the characters, in the fine irony of how technology and ecology are introduced.
Bilal's art is at its finest.
His characters are gorgeous. Not because he just tries to draw beautiful people. And I don't know if I can explain myself. There is a way he draws the bones of the face, the shades, the glow of the eyes, in a dark panel, the tilt of the head. He must observe people a lot. By looking at his humans, I can only love people more. His art is a tribute to our species. Even, or specially writing a story about how humans have put the planet, not on the brink of disaster, but over it.
We are animals.
Beautiful, dangerous animals.
May we listen to cautionary tales more.
March 19, 2023
Jedynym problem tej świetnie narysowanej i bardzo ciekawie wymyślonej historii jest to, że początkowo czytelnik skacze między postaciami, które w zasadzie wizualnie są bardzo podobne, więc może zdarzyć się chwila zagubienia. Po krótkiej rozkminie wszystko zaczyna układać się w sensowną i chyba nawet oryginalną całość jak na wyeksploatowany do granic temat postapokaliptycznej przyszłości po klęsce ekologicznej. Dodatkowo sprawnie to rozpisano nie atakując czytelnika nadmiarem testu, co przy ciężarze samej fabuły mogłoby tę opowieść po prostu zabić. Zdecydowanie warto
September 24, 2016
Mahvoldum ama bitti. Bilen bilir, Enki Bilal çizgi dünyasının acayip sanatçılarından biridir. Filmleri de ayrıca görülmeye değer benzersiz yapımlardır. Ama bu Mahlukk'ta ben mahvoldum. Tek renk (gri) odaklı çizimleri, atmosfer yaratma becerisi yine olağanüstü ancak ben sanki Kapital okuyormuşçasına zorlandım. Hikayeyi algılamam ve çizgilerle bunalmadan takip etmem çok zor oldu. Birkaç kere başlayıp bırakmıştım, bitirmek sonunda nasip oldu.
Çizgiler her zaman olduğu gibi yine efsane. Söz söylenmez, o derece yani. Ama bu kez hikayeyi sevmedim ben. Çevirisi de kötü olabilir bilmiyorum ama her baloncuğu iki üç kere okuma ihtiyacı hissettim.
Enki Bilal'e başlayacaksanız Mahlukk'tan başlamayın.
Çizgiler her zaman olduğu gibi yine efsane. Söz söylenmez, o derece yani. Ama bu kez hikayeyi sevmedim ben. Çevirisi de kötü olabilir bilmiyorum ama her baloncuğu iki üç kere okuma ihtiyacı hissettim.
Enki Bilal'e başlayacaksanız Mahlukk'tan başlamayın.
July 27, 2022
Ah la la, la BD française et sa passion pour dessiner des boobs. On s’en lasse pas hein ?
Sinon c’était cryptique, mais prenant. Un trait superbe au graphite et une ronde de personnages qui se croisent et se recroisent, tout en tentant d’aller vers une même destination. C’est très théâtral finalement : un même lieu, une même action, les mêmes personnages.
Pas sûr d’avoir tout compris à l’histoire, au système d’hybridation et au contexte. C’est un peu décousu par moments avec le passage d’un point de vue d’un personnage à un autre. A voir. Ce qui m’attire et m’engage plus pour le moment est le dessin.
Sinon c’était cryptique, mais prenant. Un trait superbe au graphite et une ronde de personnages qui se croisent et se recroisent, tout en tentant d’aller vers une même destination. C’est très théâtral finalement : un même lieu, une même action, les mêmes personnages.
Pas sûr d’avoir tout compris à l’histoire, au système d’hybridation et au contexte. C’est un peu décousu par moments avec le passage d’un point de vue d’un personnage à un autre. A voir. Ce qui m’attire et m’engage plus pour le moment est le dessin.
February 12, 2017
Pourquoi "Animal'z" ? Parce que, dans le futur, une technologie permet de se métamorphoser en animal (principalement en dauphin visiblement). Pourquoi ? Aucune idée. La population humaine a l'air très réduite, mais on n'a aucune explication. Le félin de la couverture n’apparaît même pas. J'ai eu l'impression d'avoir raté un tome précédent, mais la bd est apparemment un one shot...
En gros, je n'ai rien compris ! Mais je ne me formalise pas et j'essaierai un autre titre de l'auteur.
En gros, je n'ai rien compris ! Mais je ne me formalise pas et j'essaierai un autre titre de l'auteur.
October 3, 2017
Too wordy and boring.
Might be the result of poor translation.
Might be the result of poor translation.
September 27, 2022
D.L. March 2009 = N001 = code prix CA64
This is tome 1 of 3
Narrative: *
Typical Bilal- he's never original with his choice of themes.
Predictably, it's an annoyingly confusing plot with dire, "rag-tag" and highly strange characters in a dreary, dangerous, degenerating and desperate dystopia which is all permeated with hopelessness and disillusionment.
Why do I keep subjecting myself to his oeuvre of preachy downers? Usually, it trust in a publisher but this time it was the cheap price and it's English availability online. I would never have spent the time to camera-translate this disaster. I will acquire the next tome- but only when I can score a sweet deal and also because that work is also done for me.
I would have GREATLY appreciated a few pages at the beginning that explained how and/or why the world changed and what that new state of things actually is. None of his hints throughout answered anything to me about what I was not seeing- which is just as important to the meaning of the story!
Art: ***
I regard this as top-notch Bilal because of it's relative precision clarity since I usually don't like his sloppy paint jobs where his expressiveness becomes cluttered and only semi-legible. I say that because in this tome I always knew what I was looking at and the way he stroked his lines horizontally gave all of the moving subjects a necessary kineticism to aesthetically entertain in the completely barren backgrounds instead of the blobbed-masses effect that I see typically.
BUT I disliked the color scheme of strictly blue, gray and accents of red, which made everything look to similar, to the point of removing a full star out of five. Sure, he aimed to create an atmosphere of vagueness, while intensifying the cold and bleakness of the settings, but I saw it as overkill that made me dislike looking at it in totality despite liking the rest.
This is tome 1 of 3
Narrative: *
Typical Bilal- he's never original with his choice of themes.
Predictably, it's an annoyingly confusing plot with dire, "rag-tag" and highly strange characters in a dreary, dangerous, degenerating and desperate dystopia which is all permeated with hopelessness and disillusionment.
Why do I keep subjecting myself to his oeuvre of preachy downers? Usually, it trust in a publisher but this time it was the cheap price and it's English availability online. I would never have spent the time to camera-translate this disaster. I will acquire the next tome- but only when I can score a sweet deal and also because that work is also done for me.
I would have GREATLY appreciated a few pages at the beginning that explained how and/or why the world changed and what that new state of things actually is. None of his hints throughout answered anything to me about what I was not seeing- which is just as important to the meaning of the story!
Art: ***
I regard this as top-notch Bilal because of it's relative precision clarity since I usually don't like his sloppy paint jobs where his expressiveness becomes cluttered and only semi-legible. I say that because in this tome I always knew what I was looking at and the way he stroked his lines horizontally gave all of the moving subjects a necessary kineticism to aesthetically entertain in the completely barren backgrounds instead of the blobbed-masses effect that I see typically.
BUT I disliked the color scheme of strictly blue, gray and accents of red, which made everything look to similar, to the point of removing a full star out of five. Sure, he aimed to create an atmosphere of vagueness, while intensifying the cold and bleakness of the settings, but I saw it as overkill that made me dislike looking at it in totality despite liking the rest.
November 27, 2020
I read this book for the second time in October 2016, when I got the next part in the trilogy Julia & Roem and liked it much better than the first time. The multiple layers in the story are simple amazing, once you overcome the initial puzzlement, the physical similarity between the characters and the post-modern western motives.
Amazing novel.
Reread the third time in order to read the third part and bumped up the stars. It grew on me more and more in the mean time. One has to accept the fragmentary nature of Bilal's storytelling and pay attention to the immense achievement of the world building through details and spaces between the main story. There is no real resolution, it is a part of the bigger picture that is left to our imagination.
And there is a cowboy rider that could have been the inspiration for Tarantino's Django.
Amazing novel.
Reread the third time in order to read the third part and bumped up the stars. It grew on me more and more in the mean time. One has to accept the fragmentary nature of Bilal's storytelling and pay attention to the immense achievement of the world building through details and spaces between the main story. There is no real resolution, it is a part of the bigger picture that is left to our imagination.
And there is a cowboy rider that could have been the inspiration for Tarantino's Django.
August 14, 2023
Un dérèglement climatique brutal et généralisé (appelé ici Coup de sang) s’est abattu sur la Terre : planète dévastée, eau potable rare, « la nature a craché sa colère ». Les survivants cherchent à rejoindre , par la mer, quelques Eldorados préservés.
Ça , c’est ce qu’on apprend dans le prologue..après, ça se complique ! Vont se succéder au fil des pages une série de personnages , humains ou mi-humains mi-animaux que des « packs d'hybridation » peuvent transformer en dauphins notamment, des robots volants, une espèce de savant fou et sa famille qui ont testé sur eux-mêmes ces hybridations et ont acquis des capacités extra- ordinaires (la fille voit comme si ses yeux étaient des jumelles et elle comprend le langage des animaux..) , deux types sur des montures mi-cheval mi-zèbre qui ne parlent que par citations, des espèces de monstres anthropophages….Bref, y a du monde sur l’eau et sur la glace ! Le prologue laissait espérer une science fiction sympathique. Le problème c’est qu’il n’y a pas d’histoire, pas d’explications et quasiment pas d’interactions entre tous ces personnages.
Au départ, je me suis dit que c’était normal qu’on ne comprenne rien, que l’auteur installait le décor , qu’on allait en savoir plus sur tout ce petit monde , d’où il venait, comment ils en étaient arrivés là .. Mais je suis arrivée à la fin sans en savoir vraiment davantage et en fait je m’en fichais un peu parce que je n’avais pas du tout accroché à cette aventure !
Alors reste le dessin bien sûr : un fonds gris/bleu qui traduit bien l’ambiance apocalyptique et glaciale, rehaussé par quelques rares touches de rouge et des personnages crayonnés qui se ressemblent un peu trop à mon goût . Ça a de la gueule mais c’est pas trop mon truc…
C’était mon premier Enki Bilal, lu pour un Challenge : j’ai comblé une lacune mais ce n’est clairement pas pour moi !
Ça , c’est ce qu’on apprend dans le prologue..après, ça se complique ! Vont se succéder au fil des pages une série de personnages , humains ou mi-humains mi-animaux que des « packs d'hybridation » peuvent transformer en dauphins notamment, des robots volants, une espèce de savant fou et sa famille qui ont testé sur eux-mêmes ces hybridations et ont acquis des capacités extra- ordinaires (la fille voit comme si ses yeux étaient des jumelles et elle comprend le langage des animaux..) , deux types sur des montures mi-cheval mi-zèbre qui ne parlent que par citations, des espèces de monstres anthropophages….Bref, y a du monde sur l’eau et sur la glace ! Le prologue laissait espérer une science fiction sympathique. Le problème c’est qu’il n’y a pas d’histoire, pas d’explications et quasiment pas d’interactions entre tous ces personnages.
Au départ, je me suis dit que c’était normal qu’on ne comprenne rien, que l’auteur installait le décor , qu’on allait en savoir plus sur tout ce petit monde , d’où il venait, comment ils en étaient arrivés là .. Mais je suis arrivée à la fin sans en savoir vraiment davantage et en fait je m’en fichais un peu parce que je n’avais pas du tout accroché à cette aventure !
Alors reste le dessin bien sûr : un fonds gris/bleu qui traduit bien l’ambiance apocalyptique et glaciale, rehaussé par quelques rares touches de rouge et des personnages crayonnés qui se ressemblent un peu trop à mon goût . Ça a de la gueule mais c’est pas trop mon truc…
C’était mon premier Enki Bilal, lu pour un Challenge : j’ai comblé une lacune mais ce n’est clairement pas pour moi !
March 27, 2023
Ready for a ridiculous, pseudo-philosophical sci-fi babble? Let's go!
A dolphin swims into a boat through a turbine.. A man comes out of the dolphin. He kills a woman on the boat. The woman is dropped out of the boat.. through a turbine.. aaand.. is reborn through a - you guessed it - dolphin!!!
Their identity is stored in a box.
Together with a couple of other people (all of them looking almost the same) they swim on an iceberg, casually clothed in trenchcoats and hats...
In the meantime, they are assaulted by some men dressed as polar bears. Oh, and a girl talks to regular polar bears, as well.
Two men duel with guns, their bullets colliding mid-air.
There is a horse-zebra.
And a man with a fin instead of a foot.
Elephants and turtles fly in the air.
There's a dolphin named Owles.
The cat/panther from the cover doesn't appear in the novel at all. The hat does, though ;)
A dolphin swims into a boat through a turbine.. A man comes out of the dolphin. He kills a woman on the boat. The woman is dropped out of the boat.. through a turbine.. aaand.. is reborn through a - you guessed it - dolphin!!!
Their identity is stored in a box.
Together with a couple of other people (all of them looking almost the same) they swim on an iceberg, casually clothed in trenchcoats and hats...
In the meantime, they are assaulted by some men dressed as polar bears. Oh, and a girl talks to regular polar bears, as well.
Two men duel with guns, their bullets colliding mid-air.
There is a horse-zebra.
And a man with a fin instead of a foot.
Elephants and turtles fly in the air.
There's a dolphin named Owles.
The cat/panther from the cover doesn't appear in the novel at all. The hat does, though ;)
This entire review has been hidden because of spoilers.
August 21, 2022
Du Bilal "pur jus" : des cases qui pourraient être des tableaux, un foisonnement d'idées mêlant génétique et technologie: les cyborgs sont ici remplacés par des hybridations animales. Fidèle à ses habitudes l'auteur multiplie les personnages et varie allègrement les arcs narratifs d'une planche à l'autre. En résulte un scénario cryptique et confus traversé par des rebondissements trop standards des aventures post apocalyptiques (la famille de rescapés consanguins et anthropophages) et des personnages peu originaux (l'homme aux citations) qui disparaissent avant qu'on ait eu le temps de s'y attacher.
January 5, 2023
« Le coup de sang » est le nom du dérèglement climatique brutal et généralisé qui s’est abattu sur la Terre.
Une terre post-apocalyptique robotisée et trans-espèces où les ressources (eau et nourriture) sont devenues quasi introuvables et où les rares survivants tentent de trouver refuge dans quelques eldorados.
Un chaos planétaire qui semble causé par la terre elle-même. Théâtre d’une humanité individualiste luttant pour sa survie.
Une trilogie mer-terre-air étouffante aux sombres (et splendides) dessins, une narration déroutante à l’imaginaire débridé qui m’a bien souvent laissé hésitant
https://www.noid.ch/coup-de-sang/
Une terre post-apocalyptique robotisée et trans-espèces où les ressources (eau et nourriture) sont devenues quasi introuvables et où les rares survivants tentent de trouver refuge dans quelques eldorados.
Un chaos planétaire qui semble causé par la terre elle-même. Théâtre d’une humanité individualiste luttant pour sa survie.
Une trilogie mer-terre-air étouffante aux sombres (et splendides) dessins, une narration déroutante à l’imaginaire débridé qui m’a bien souvent laissé hésitant
https://www.noid.ch/coup-de-sang/
January 28, 2018
Beautiful artwork.
April 25, 2018
dark amazing no future !!!
October 27, 2021
Doideeeeeeira.
Estamos num futuro distópico sobre o qual não se explica muita coisa, e nem é preciso explicar muito. Alguns personagens, resultado de experiências genéticas, são híbridos humano-animal. E todos estão sempre recriando suas identidades, inventando (ou roubando) um passado, ou omitindo partes dele. É tudo muito sombrio, talvez fantasmagórico. Há uma esperança no fim.
Estamos num futuro distópico sobre o qual não se explica muita coisa, e nem é preciso explicar muito. Alguns personagens, resultado de experiências genéticas, são híbridos humano-animal. E todos estão sempre recriando suas identidades, inventando (ou roubando) um passado, ou omitindo partes dele. É tudo muito sombrio, talvez fantasmagórico. Há uma esperança no fim.
April 17, 2023
Je n'ai pas tout compris
March 16, 2025
Bu sefer Enki Bilal çizgileri ile daha çok sevdirdi kendini. Hikaye kalbimden vurmasa da fena değil. Serinin dğer kitaplarında sıra.
March 20, 2025
A strange, surreal dystopia. Beautifully drawn, intriguingly written, very imaginative but unsettling. I might read it again. Currently available on Kindle Unlimited.
September 25, 2025
homme-machine vs homme-animal vs homme monstre ; l'humanité qui se balance au bord du vide
November 29, 2020
Iniciado el presente el año tuve la oportunidad de conocer a Bilal con su trilogía: La feria de los inmortales. La cual disfruté con cada uno de sus respectivos títulos, destacando el denominado: La mujer trampa.
Pasaron los meses, y ahora concluyendo el año cuando las lecturas de novelas quedan relegadas por la falta de concentración que generan las festividades y algarabía producto de fin de año. Me encuentro con las que serian sus primeras historias, así que fue inevitable no sentarme y disfrutar con su ingenio.
La presente historia, irradia de maestría e ingenio, bases fundamentales en el sello Enki Bilal. Diré que aunque sea una de sus primeras obras, es así como con el escritor con sus cuentos, cuando se da a conocer un buen autor que mas adelante desborde con novelas. En este caso, series de cómics.
Sobre el genero en sí, el cual aborda en el presente titulo, un genero deslucido que acá irradia por el como es empleado. Una trama que arriesgaría a decir que es original(corríjanme si me equivoco). Para concluir: El genero post-apocalíptico es como un campo lleno de minas, en el cual se debe saber pisar, y así evitar caer en el cliché u plagio. Y en eso el autor(Bilal en éste) consigue dar vida a su propia historia, con personajes mas que construidos e interesantes y un trasfondo caótico, pesimista y desolador.
Pasaron los meses, y ahora concluyendo el año cuando las lecturas de novelas quedan relegadas por la falta de concentración que generan las festividades y algarabía producto de fin de año. Me encuentro con las que serian sus primeras historias, así que fue inevitable no sentarme y disfrutar con su ingenio.
La presente historia, irradia de maestría e ingenio, bases fundamentales en el sello Enki Bilal. Diré que aunque sea una de sus primeras obras, es así como con el escritor con sus cuentos, cuando se da a conocer un buen autor que mas adelante desborde con novelas. En este caso, series de cómics.
Sobre el genero en sí, el cual aborda en el presente titulo, un genero deslucido que acá irradia por el como es empleado. Una trama que arriesgaría a decir que es original(corríjanme si me equivoco). Para concluir: El genero post-apocalíptico es como un campo lleno de minas, en el cual se debe saber pisar, y así evitar caer en el cliché u plagio. Y en eso el autor(Bilal en éste) consigue dar vida a su propia historia, con personajes mas que construidos e interesantes y un trasfondo caótico, pesimista y desolador.
Read
May 10, 2023A escrita é mais hermética do que o convencional em gibis. À medida que a história avança, é bem tranquila a imersão nas ideias que permeiam a trama, humanos em busca de humanidade, ou em busca de um religamento ao absoluto (com o que resta do mundo natural), mesmo que por processos sintéticos, drones que agem e pensam como crianças, etc.
Enki Bilal é um desses monstrões do desenho que tornam a técnica e cada traço, nesse caso, com lápis à base de graxa e pastel, a favor da comunicação de um sentido que é harmônico com a escrita e a atmosfera que ele se propõe a criar.
Enki Bilal é um desses monstrões do desenho que tornam a técnica e cada traço, nesse caso, com lápis à base de graxa e pastel, a favor da comunicação de um sentido que é harmônico com a escrita e a atmosfera que ele se propõe a criar.
May 21, 2012
Oulala
J'ai bien l'impression que Bilal a complètement lâché la rampe !
Entre les personnages tous très ressemblants, les cases traités dans une espèce de décor de rocialle ou je ne sais quelle autre technique rendant tout gris, froid, triste, et le récit confus mettant en scène les survivants d'une espèce de fin du monde louche, on n'y comprend pas grand chose.
Bien sûr, l'art du maître est grand, mais je ne suis pas convaincu que ça suffise à rendre ce récit crédible.
J'ai bien l'impression que Bilal a complètement lâché la rampe !
Entre les personnages tous très ressemblants, les cases traités dans une espèce de décor de rocialle ou je ne sais quelle autre technique rendant tout gris, froid, triste, et le récit confus mettant en scène les survivants d'une espèce de fin du monde louche, on n'y comprend pas grand chose.
Bien sûr, l'art du maître est grand, mais je ne suis pas convaincu que ça suffise à rendre ce récit crédible.
January 12, 2016
Les basiques sont là : dessin magnifique, et scénar qui, initialement déroutant, se met peu à peu en place, révélant un dessein d'ensemble prenant. Reste que des facilités, des moments où les clichés du post-apocalypse nous sont servis sans aucune distance, des recours à des rebondissements mélodramatiques, font régulièrement irruption dans un album qui pourrait être exceptionnel, et en sont d’autant moins pardonnables.
October 11, 2009
SF. Na een zware klimaatverstoring ('Infarct') zoeken enkele overlevenden (waaronder een aantal boeiende 'kruisingsexperimenten') zich via Straat S17 een weg naar een resterend 'Eldorado'.
Sluit van thematiek een beetje aan bij 'The road' (McCarthy).
Prachtige tekeningen in grijs-tinten, met nuanceringen & accenten in rood en blauw!
Sluit van thematiek een beetje aan bij 'The road' (McCarthy).
Prachtige tekeningen in grijs-tinten, met nuanceringen & accenten in rood en blauw!
June 9, 2012
J'ai failli lire une bande dessinée d'Enki Bilal, Animal-z (Casterman, 2009) qui s'ouvre sur une citation ridicule de Jean Baudrillard et se poursuit par une histoire qui ne m'intéressait pas. Je trouvais les dessins talentueux mais insipides, et il manquait peut-être un scénariste. (29 XII 2011)
May 27, 2013
great, creating an incredibly smeared surealistic postapocaliptic atmosphere!
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