When I read the first issue of FML, I was pleasantly surprised. I knew that Kelly Sue DeConnick and David Lopez, who defined the characters in Captain Marvel, would be reuniting, and that it would be set in Portland (close to where I live), but I didn’t know the details. It was quite scarce. That works in FML’s favor. There’s a unique twist at the end of the book that no one would expect, but it’s a twist that also fits with the punk rock/youth approach the book takes.
FML is the story of 16-year-old Riley Maroney, who finds solace either in the pages of her sketchbook or in the metal band STFU, made up of her best friend Savvy (short for “Savage Slaughter”). Glorious Holgate, who may or may not be an actual witch. And Lydia, who has excellent grades. This is in sharp contrast to his interactions with his mother, a former rock star named Patty Cake, and his younger sister, who is obsessed with true crime podcasts. An arcane ritual goes awry, and puberty becomes the least of his problems.
DeConnick’s script is a riot, at least in terms of storytelling. It’s full of hilarious moments, like Savvy jumping on top of Riley’s mom’s car and flipping off its occupants. On top of that, there’s a moment where Lydia panics because she thinks she’s been drugged. What keeps FML from leaning into pure comedy is what’s going on inside Riley’s head. This is a child who is struggling to connect with his family, and the world does not understand him except for a few people. It’s character work like that that makes DeConnick a great writer.
dark horse
The other half of FML’s brilliance lies in Lopez’s artwork, especially the way he experiments with different styles. Throughout the book, entire panels are dedicated to Riley’s artwork, which looks like what you would expect a teenager’s art to look like. Caricatures of adults and authority figures, demonic figures that seem to belong to heavy metal, the anxieties of youth… it’s all here, appearing in unexpected places.
Color work by Cris Peter and lettering by Clayton Cowles complete the look. Peter blends different palettes, especially in the trippy sequences with heavy use of blues and pinks. But the most striking color is the reddish-orange color of Portland’s sky. It highlights the apocalyptic wildfires that are hitting the town of Riley. Cowles sprinkles the pages with bold text that leans toward the macabre (see the story Riley and his friends made up about the Tooth Fairy) or heavy metal, with a distinctive style that makes Riley’s captions feel like they’re being written down in a diary. Adding a touch.
FML #1 blends comedy, magic, and a deep appreciation for heavy metal into a unique reading experience. This is one of the most unique comics that caught my attention, and I’m glad about that.
“FML” #1 is fiercely funny and punk AF
FML #1
FML #1 blends comedy, magic, and a deep appreciation for heavy metal into a unique reading experience. This is one of the most unique comics that caught my attention, and I’m glad about that.
Kelly Sue DeConnick perfectly captures the ups and downs of adolescence while also providing wicked humor.
David Lopez’s artwork is very expressive, especially when depicting Riley’s artwork.
Chris Peter’s vibrant colors and Clayton Cowles’ bold lettering enhance the book’s unique identity.
A surprise on the last page that makes you want the next issue.
