BD review: Killofer's "Quand faut y aller"

Adrian K Sanders writing for I V Y paris

Of all the original founders of L'Association, Killofer is probably the most artistically gifted. When it comes to drawing, he's a pure craftsman in every way.

Unlike Trondheim or Satrapi who clearly depend (and for good reason) on one particular style-set that defines their voice, Killofer understands drawing so well that he has no problems experimenting, even mid-narrative.

In his collected semi-autobiographical work Quand faut y aller Killofer's visual range is at its best showcasing styles as different as quasi-surrealist soft pencils to the hard clean lines of Ligne-claire. But as is the case with many illustrators turned cartoonist, there is often a learning curve, where it's discovered that there is something more to BD than just nicely drawn pictures.

Quand faut y aller is actually a compilation of Killofer's works starting from 1993 up until 2006, and it reads that way. It is organized and arranged as a sort of Killofer sampler. Seen this way, the spread is impressive, if not erratic. The first two stories 'Le Mot de passé" and "Romonemental cree l'humanite" are eloquent and surreal reflections on the spirit, though not particularly strong. In fact, the first six stories (with the exception of the lovely "sac a mains") are a case of "almost but not quite." There's a sense of growing pains, with Killofer struggling to find the balance between text and image. "La plaine st, denis" is so bogged down with text that the images almost seem to disappear. This is a real pity, considering the images are strong enough to stand on their own, but here, Killofer's text is overkill.

At the halfway point (in the collection, as well as in the years of publication), Killofer works in collaboration with fellow L'Asso founder David B. This appears to mark a great turning point in his command of the form. "Le combat de minuit" is a well structured BD from start to finish, with a consistent rhythm that provides the perfect environs for Killofer's drawings. David B's script creates a focus for Killofer's wide ranging styles - from soft grey toned backgrounds to hard lines in characters, even Killofer's knack for lettering is clear, as each character has a distinct font. There's a sense of harmony to all the parts in this story, and one can only assume this was on account of a very controlled and synergetic collaboration.

After "Le combat de minuit," Killofer begins the Johanna stories, which are arguably the strongest. It's as if he has taken all that he's learned in the trial and error of the early stories and put forth something very complete. Text is still a large part of these works, but they're much more thought out - it no longer appears as if the narrative is too dependent on text. Instead it is now a necessary component. Free from acting like a crutch, Killofer's narrative voice shines here as much as his drawing. 

It is unclear as to how purposefully connected the last Johanna story and "(page inedite)" are but their relationship in Quand faut y aller is the most powerful moment in the collection, and the greatest testament to Killofer's abilities as an illustrator. This moment is a sneak peak at what Killofer's BD can and should offer, where a shift in visual style can resoundingly speak with eloquence and force to so many elements of the narrative that it is impossible to ignore. While Quand faut y aller isn't necessarily a strong overall collection taken as a complete monograph, it certainly hints at such a book existing in the future.