An article from the New York Times reveals his storylines as a decadent dystopia, overwhelming and baroque, inspired by directors like Andrei Tarkovsky of Solaris.
Enki Bilal’s stories are set in a magically orientated but realistic future after the Yugoslavian civil wars, giving Bilal the perfect setting against which to illustrate his fears. He further reinforces his views by his dark and shadowy style of drawing, in which color features largely for evoking emotions. The result of Enki Bilal’s efforts is a growing catalog of intense and atmospheric graphic novels.
His plotting is dense, unpredictable, and really repays close attention. There is also a dark, absurdist humour, from the freakish make-up of politicians and the stripped alien cat Gogol to the world chess-boxing championships.
His latest publication has been Rendez-vous a Paris (2006), the third book in tetralogy (the Hatzfeld), this time dealing with the breakup of former Yugoslavia but from the future. 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. The third chapter of the tetralogy is titled Rendez-vous a Paris (2006).