Reading the first issue of FML was a surprise, but in a good way. While I knew that it would reunite Kelly Sue DeConnick and David Lopez after their character-defining run on Captain Marvel, and that it would take place in Portland (which is close to where I live), the details were fairly scarce. That works in FML‘s favor; it takes 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/coming-of-age approach this book takes.
FML is the story of Riley Maloney, a 16 year old who either finds solace in the pages of his sketchbook or with his metal band STFU, consisting of his best friend Savvy (short for ‘Savage Slaughter’); Glory Holgate, who may or may not be an actual witch; and overachiever Lydia. It provides a sharp contrast to his interactions with his mother, who used to be a former rock star named Pattycake, and his sister who’s grown obsessed with true crime podcasts. Throw in a arcane ritual gone wrong, and puberty is the least of his problems.
DeConnick’s script is a riot, at least in a storytelling sense. It’s chock full of hilarious moments like Savvy jumping on the top of Riley’s mother’s car, and proceeding to flip off the inhabitants of said car. That’s only topped by a moment where Lydia freaks out when she thinks she’s been given drugs. What keeps FML from tipping into pure comedy is the look inside Riley’s head; this is a kid struggling to connect with his family, and a world that apart from a few people doesn’t understand him. It’s that kind of character work that makes DeConnick such a great writer.
Dark Horse
The other half of what makes FML great is Lopez’s artwork, especially the way he experiments with different styles. Throughout the book, whole panels are dedicated to Riley’s artwork, and it looks like what you’d expect a teenager’s art to look like. Caricatures of adults/authority figures, demonic figures that look like they belong in heavy metal, adolescent angst… it’s all here, and it pops up where you least expect it.
Topping it all off is the color work from Cris Peter and lettering from Clayton Cowles. Peter blends together various palettes, particularly in a trippy sequence that goes heavy on blues and pinks. But the color that’s the most prominent is the reddish orange of the Portland sky; it highlights the apocalyptic wildfires plaguing Riley’s town. Cowles peppers the page with bold letters that skew towards creepy (see a story Riley and his friends make up about the Tooth Fairy) or the heavy metal, with a unique touch of making Riley’s captions feel like he’s writing them down in a journal.
FML #1 blends comedy, magic, and a deep appreciation for heavy metal into a one-of-a-kind reading experience. It’s one of the more unique comics that’s made it onto my radar, and I’m glad it did.
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