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Coup de sang #2
Julia & Roem
Après le « coup de sang » environnemental dont Animal’z relatait l’impact tragique et dévastateur, la planète s’apaise et se recompose, les survivants réapprennent à s’organiser. Dans cette géographie chamboulée, des déserts ont surgi. Et c’est au cœur de l’un d’entre eux, bien improbablement situé à l’emplacement de la mer Baltique, que l’on suit la trace d’un ex-aumônier militaire énigmatique, installé au volant d’une Ferrari électrique lancée à plein régime. Trois personnages vont croiser sa route : deux jeunes hommes qu’il sauve in extremis de la mort par déshydratation, et un rapace blessé par balle, dont il répare l’aile cassée...
84 pages, Hardcover
First published May 4, 2011
1 person is currently reading
85 people want to read
About the author
Enki Bilal
243 books319 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 - 18 of 18 reviews
May 4, 2018
The art was different to all the comics I've ever read, make it with effects very artistics, not that bad at all. The story was good.
October 16, 2018
The melancholy, here, is thick. It sticks to the pages, in a very unlikely atmosphere for a revisitation of Romeo and Juliet. The color pallete is a part of the story, as meaningfull as all the rest. There is depth in each panel, everything is landscape, be it the sketchy suggestion of an horizon or the languor of bodies. Everythings blends. And the signature use of blue and red smudges is as intense as ever.
July 27, 2022
Sniffer trop de pétrole peut nuire à la santé et à la cohérence narrative
April 19, 2022
Revisitação da peça de Shakespeare "Romeu e Julieta", através do traço fabuloso do Enki Bilal.
Esta história decorre num futuro próximo, uma distopia sobre o fim da Água no planeta Terra e pós "Golpe de Sangue".
O cenário seco e desértico é bem desenhado com o que me dá ideia ser pastel seco e que dá um ambiente desidratado à história.
Com excertos da peça referida, com nomes diferentes, mas bem assinalada por um dos personagens (padre Lawrence) e com o fim que inicialmente pensamos que será idêntico, nos leva a ler quase como se de um sonho se tratassse.
Não é das melhores histórias que já li do Bilal, mas sendo um autor que eleva a fasquia, não será uma história menor, definitivamente.
Esta história decorre num futuro próximo, uma distopia sobre o fim da Água no planeta Terra e pós "Golpe de Sangue".
O cenário seco e desértico é bem desenhado com o que me dá ideia ser pastel seco e que dá um ambiente desidratado à história.
Com excertos da peça referida, com nomes diferentes, mas bem assinalada por um dos personagens (padre Lawrence) e com o fim que inicialmente pensamos que será idêntico, nos leva a ler quase como se de um sonho se tratassse.
Não é das melhores histórias que já li do Bilal, mas sendo um autor que eleva a fasquia, não será uma história menor, definitivamente.
December 27, 2019
Le Mythe de Roméo et Juliette, revisité avec la touche inimitablement déjantée et post apocalyptique de Bilal. Grandiose.
May 19, 2024
Enki Bilal is een geweldig tekenaar, maar dit verhaaltje, met zijn al te opzichtige zelfbewuste verwijzingen naar Shakespeare's Romeo and Juliet, is te dun, te oninteressant en te kunstmatig om te boeien. Gaandeweg begon ik de tekstballonnen te negeren om me meer te concentreren op de prachtige tekeningen.
April 25, 2018
the no future love !!!!
August 17, 2023
4.5/5
Génialissime. On aimerait juste qu'il fasse 100 pages de plus ... 🥺
Génialissime. On aimerait juste qu'il fasse 100 pages de plus ... 🥺
March 23, 2024
FormGrand ¦ A.I. 03/2011 ¦ D.L. 04/2011 ¦ 18€ ¦ Noo1 backside = eo
It just seemed forced and lazy.
It just seemed forced and lazy.
April 10, 2025
story coming from the dawn of time, but I'm never tired of it. the drawings are excellent. I was a bit afraid but the story got me. a must to read
September 25, 2025
crise geomorpho-climatico-littéraire ? ou pourquoi réécrire une tragédie en happy ending est metaphore du salut de l'humanité
May 18, 2013
Ma première impression a été queJulia & Roem offrait un style et une histoire plutôt similaire aux dernières oeuvres de Bilal. Mais je me suis vite rendu compte que cette nouvelle BD se déroulait dans le même univers qu'Animal’z. D'où la similitude. Mais Julia & Roem est une oeuvre indépendante qui ne nécessite pas la lecture du précédant opus. Cette fois-ci, Bilal nous présente une variation sur Roméo et Juliette où il explore les thématiques des relations humaines et, surtout, de l'amour.
Julia & Roem présente une histoire plus sobre et plus accessible, ainsi qu'un style beaucoup plus sombre et flou que ses ouvrages précédents. Pourtant il utilise une technique (crayon de bois) et une palette de couleurs (noir, blanc, bleu et rouge) beaucoup plus simples. C'est très beau mais cela me donne l'impression de dessins inachevés. Dans l'ensemble, cette bande-dessinée nous offre une petite lecture rapide mais qui laisse un petit arrière goût d'insatisfaction. On aimerait toujours en voir plus... Mais c'est quand même du Bilal, alors c'est une lecture incontournable.
Voir mon commentaire complet sur : http://clodjee.blogspot.ca/2011/10/ju...
Julia & Roem présente une histoire plus sobre et plus accessible, ainsi qu'un style beaucoup plus sombre et flou que ses ouvrages précédents. Pourtant il utilise une technique (crayon de bois) et une palette de couleurs (noir, blanc, bleu et rouge) beaucoup plus simples. C'est très beau mais cela me donne l'impression de dessins inachevés. Dans l'ensemble, cette bande-dessinée nous offre une petite lecture rapide mais qui laisse un petit arrière goût d'insatisfaction. On aimerait toujours en voir plus... Mais c'est quand même du Bilal, alors c'est une lecture incontournable.
Voir mon commentaire complet sur : http://clodjee.blogspot.ca/2011/10/ju...
November 27, 2020
After reading the Animal'z, I expected more wonders from Bilal. Set in the same universe, this time on the land instead on the water (done completely in brown and red hues), this is quite a bit less packed installment. Instead, Bilal opted to retell Shakespeare in a post-apocalyptic setting. I can not help but compare it with the Luhrmann's Romeo+Juliet which is insanely attractive (and overcrowded) visually. Julia & Roem, on the other hand, is much more austere, the world suffered a catastrophe and not much survived. Bilal tries to make that bleak background work as a contrast to the emotion, yet it feels a bit underdeveloped. The nuances are stripped too. I guess, Bilal expected us to know the story already and to fill in the necessary details, while he played with the world he created. In that sense, it is a bit too high a goal.
All in all, as there is a third installment too, I am wondering if there is a grander scheme for Julia and Roem that would make this work even better. Looking forward to it.
All in all, as there is a third installment too, I am wondering if there is a grander scheme for Julia and Roem that would make this work even better. Looking forward to it.
July 15, 2011
De toute beauté! Encore une fois Bilal ne me déçoit pas. Son coup de crayons est magnifique. Les touches de bleu et de rouge ont un effet superbe, à noter que pour "Animal'z" il n'y avait que des touches de rouges, il a donc ajouté une seconde couleur au second tome. La fameuse eau en poudre, présente dans ce tome également, m'a fait sourire, décidément Bilal a un sens de l'humour que j'apprécie! Cette nature qui serait vivante est curieuse, et c'est sans aucune réticence que je laisse Bilal me conduire là où il veut bien mener son lecteur. L'ours polaire et les pingouins qui s'empare du corps de celui qui regrettait de ne pas avoir vu le Pôle Nord suggère un aspect cognitif à la nature déréglée, le rôle que prend Roméo et Juliette dans l'histoire également! Tout ça me plaît, les questions que le scénario suscite, ce qu'il laisse entrevoir, les liens possibles entre les deux tomes. La nature est-elle amie ou ennemie? Contribue-t-elle à exhaucer les souhaits où faut-il la déjouer pour pouvoir espérer le dénouement souhaité?
June 9, 2013
Dans un monde bouleversé par l'apocalypse climatique la survie, la rencontre et la renaissance de deux amis. Beau et noir...
July 5, 2014
J'ai bien aimé le paralèle avec Roméo & Juliette.
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January 7, 2015great graphics, déjà vu though
August 28, 2012
Une expérience mémorable pour tous les fans de Roméo et Juliette (et du style d'Enki Bilal) !
Displaying 1 - 18 of 18 reviews