Runaways Vol. 1: Pride & Joy DISCUSSION GUIDE

Total Page:16

File Type:pdf, Size:1020Kb

Runaways Vol. 1: Pride & Joy DISCUSSION GUIDE GRAPHIC NOVEL Runaways Vol. 1: Pride & Joy DISCUSSION GUIDE BOOK CLUB The writing for Runaways was praised for breaking down conventional superhero clichés. 1 Discuss examples of this throughout the story. What emotions did you feel while you were reading Runaways? 2 Did you nd it funny? Scary? Sad? Runaways explores a number of themes throughout the story, including themes of truth 3 and lies, secrets, and duality (the idea that every human being has good and evil within them). Discuss these themes and how they drive the characters. How does truth inuence the kids’ actions? Can there be such a thing as “necessary evil”? Could the story be as meaningful if it were written in a dierent format? Would the story 4 work as well if it were just text and no images? 5 What is the overall tone of the story? Was the art tting for that tone? 6 What surprised you the most about this book? Can you pick out one part that you found especially interesting or profound? What part of 7 the story resonated most with you? Runaways is very much a coming-of-age story. Which character's growth by the end of 8 this book was most surprising and why? 9 Did all of the characters feel authentic? Are they believable? 10 Which characters did you especially like or dislike? 11 Which character do you identify with the most? Why? The Runaways television series deviates signicantly from 12 the original comics. Discuss the major dierences between the comic series and the show (such as the pacing, the history of characters as friends, Nico's sister, the parents’ point of view, etc.). Have you read additional volumes in this series or do you 13 plan to? If you have–without oering spoilers–share with your club a taste of what they can look forward to. theclub.hoopladigital.com/graphicnovel.
Recommended publications
  • Runaway Pdf Free Download
    RUNAWAY PDF, EPUB, EBOOK Alice Munro | 368 pages | 03 May 2017 | Vintage Publishing | 9780099472254 | English | London, United Kingdom Runaway PDF Book Universal Conquest Wiki. Health Care for Women International. One of the most dramatic examples is the African long-tailed widowbird Euplectes progne ; the male possesses an extraordinarily long tail. Although a fight broke out, the X-Men accepted Molly's decision to remain with her friends, but also left the invitation open. Geoffrey Wilder 33 episodes, Our TV show goes beyond anything you have seen previously. First appearance. Entry 1 of 3 1 : one that runs away from danger, duty, or restraint : fugitive 2 : the act of running away out of control also : something such as a horse that is running out of control 3 : a one-sided or overwhelming victory runaway. How many sets of legs does a shrimp have? It is estimated that each year there are between 1. Send us feedback. In hopes to find a sense of purpose, Karolina started dabbling in super-heroics, [87] and was quickly joined by Nico. Metacritic Reviews. The Runaways outside the Malibu House. Added to Watchlist. Edit Did You Know? Sound Mix: Dolby Stereo. Runtime: 99 min. Bobby Ramsay Chris Mulkey We will share Japanese culture and travel, in a way that is exciting, entertaining and has never been done before! See also: Young night drifters and youth in Hong Kong. Company Credits. Miss Shields Carol Teesdale Episode 3 The Ultimate Detour. Hood in ," 24 Nov. Runaways have an elevated risk of destructive behavior. Alex Wilder 33 episodes, Yes No Report this.
    [Show full text]
  • The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie
    DOI: 10.24843/JH.2018.v22.i03.p30 ISSN: 2302-920X Jurnal Humanis, Fakultas Ilmu Budaya Unud Vol 22.3 Agustus 2018: 771-780 The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie Ni Putu Ayu Mitha Hapsari1*, I Nyoman Tri Ediwan2, Ni Luh Nyoman Seri Malini3 [123]English Department - Faculty of Arts - Udayana University 1[[email protected]] 2[[email protected]] 3[[email protected]] *Corresponding Author Abstract The title of this paper is The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie. This study focuses on categorization and function of the characters in the movie and conflicts in the main character (external and internal conflicts). The data of this study were taken from a movie entitled Doctor Strange. The data were collected through documentation method. In analyzing the data, the study used qualitative method. The categorization and function were analyzed based on the theory proposed by Wellek and Warren (1955:227), supported by the theory of literature proposed by Kathleen Morner (1991:31). The conflict was analyzed based on the theory of literature proposed by Kenney (1966:5). The findings show that the categorization and function of the characters in the movie are as follows: Stephen Strange (dynamic protagonist character), Kaecilius (static antagonist character). Secondary characters are The Ancient One (static protagonist character), Mordo (static protagonist character) and Christine (dynamic protagonist character). The supporting character is Wong (static protagonist character). Then there are two types of conflicts found in this movie, internal and external conflicts. Keywords: Character, Conflict, Doctor Strange. Abstrak Judul penelitian ini adalah The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie.
    [Show full text]
  • Nonbinary Gender Identities in Media: an Annotated Bibliography
    Nonbinary Gender Identities in Media: An Annotated Bibliography Table of Contents Introduction-------------------------------------------------------------------------------------------------------------1 Glossary------------------------------------------------------------------------------------------------------------------2 Adult and Young Adult Materials----------------------------------------------------------------------------------6 Nonfiction-----------------------------------------------------------------------------------------------------6 Articles (Scholarly and Popular)------------------------------------------------------------------------14 Fiction---------------------------------------------------------------------------------------------------------19 Comics (Print and Web)----------------------------------------------------------------------------------28 Film and Television----------------------------------------------------------------------------------------31 Web Resources---------------------------------------------------------------------------------------------37 Children’s Materials-------------------------------------------------------------------------------------------------41 Nonfiction----------------------------------------------------------------------------------------------------41 Fiction---------------------------------------------------------------------------------------------------------41 Film and Television----------------------------------------------------------------------------------------42
    [Show full text]
  • Rainbow Rowell • Kris Anka • Matthew Wilson
    RAINBOW ROWELL • KRIS ANKA • MATTHEW WILSON MATTHEW • ANKA KRIS • ROWELL RAINBOW 0 1 2 1 1 T+ 12 US # MARVEL.COM RATED RATED $3.99 7 5 9 6 0 6 0 8 7 3 0 3 When they were younger, Nico Minoru, Chase Stein, Gertrude Yorkes, Karolina Dean, Molly Hayes and Alex Wilder became friends through circumstance: hanging out once a year while their parents had what they claimed was a dinner party. After discovering their parents were actually the super villain team known as the Pride, the kids ran. The Runaways learned to use powers and resources inherited from their parents, and returned to defeat them. The experience made them a family, but that wasn’t enough to keep them safe. When Chase used Gert’s parents’ time machine to rescue her from her death years ago, the Runaways revival began. Gert’s return gave Nico and Chase direction--a change for the better. In fact, despite anxiety around her magic and some regrets, Nico is coming into her own. Molly and Karolina were forced through their own adjustments--Molly left her grandma and Karolina’s girlfriend left. But Gert and Victor have been stuck. Maybe her recent makeover was a sign Gert’s learning who she is in the present? Victor, on the other hand, is trapped by the trauma of the mission that left him as just a head, and his refusal to talk about it. WRITER ARTIST COLOR ARTIST LETTERER RAINBOW ROWELL KRIS ANKA MATTHEW WILSON VC’S JOE CARAMAGNA COVER ARTIST GRAPHIC DESIGNER ASSISTANT EDITOR EDITOR KRIS ANKA CARLOS LAO KATHLEEN WISNESKI NICK LOWE EDITOR IN CHIEF CHIEF CREATIVE OFFICER PRESIDENT EXECUTIVE PRODUCER C.B.
    [Show full text]
  • Academy Invites 842 to Membership
    MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The
    [Show full text]
  • Graphic Novel Book Club, and I’M Even More Excited to Share with You Our Rst Spotlight Selection—Brian K
    GRAPHIC NOVEL WHY WE LOVE Runaways Vol. 1: Pride & Joy BOOK CLUB Dear Reader, I’m excited to welcome you to the rst ever hoopla Graphic Novel Book Club, and I’m even more excited to share with you our rst Spotlight selection—Brian K. Vaughan’s Runaways: Vol. 1: Pride & Joy. Originally published by Marvel Entertainment in 2003, Runaways is something completely unique: a team-up story that broke new ground and changed the landscape of comics for years to come. And that was exactly author Brian K. Vaughan’s point; long before the comics stalwart created the Eisner Award-winning Saga and prior to writing for ABC’s Lost, Vaughan crafted Runaways as something refreshing and altogether dierent. While his contemporaries of the early 2000s were leaning heavily toward male-dominated and hyper-violent storytelling, Vaughan broke as many conventions as he could with this run. He introduced over fteen brand new characters all at once, he centered the entire story on a ragtag group of (mostly) non-superhero and predominantly women-led teenagers, and he set the whole thing on the West Coast, an absolutely atypical move for a story set rmly in the Marvel Universe. The story follows a group of teenagers who discover their parents are incredibly evil—so evil, in fact, that they’re revealed to be actual super-villains! How’s that for nding out your folks aren’t so perfect? Of course, the kids run away from home—and from there, the story takes o like an absolute rocket and doesn’t let o the throttle the rest of the way.
    [Show full text]
  • Forum Articles the Legacy of 19Th Century Popular Freak Show
    Forum Articles The Legacy of 19th Century Popular Freak Show Discourse in the 21st Century X-Men Films Fiona Pettit, PhD Exeter University, United Kingdom Abstract: This essay seeks to tease out the narrative similarities found in nineteenth-century freak show literature and in the X-Men films of the twenty-first century. Both of these forms of popular entertainment emphasize the precarious position of people with extraordinary bodies in their contemporary societies. Keywords: freak, X-Men, disability Introduction In terms of the narrative similarities between the nineteenth-century freak show and the X-Men films, there are two key components that this paper will explore. There exists a striking similarity in how certain freak show performers and mutated characters in the X-Men speak about their condition. Additionally, there is a degree of resonance between how ‘normal’ or non- normative bodies speak of the freak, the mutant, or the “other”. This paper addresses the narrative relationship to demonstrate the legacy of popular nineteenth-century freak show discourse. During the winter season of 1898-1899, the popular Barnum and Bailey Circus, dubbed the “greatest show on earth,” exhibited in London at the Olympia theatre. The show was a huge success and was regularly featured in numerous popular periodicals. In the middle of this season, the freak show performers, who made up a large portion of the circus, held a protest against their designation as “Freaks of Nature”, and instead adopted the title of “Prodigy.” They explained: “In the opinion of many some of us are really the development of a higher type, and are superior persons, inasmuch as some of us are gifted with extraordinary attributes not apparent in ordinary beings” (Man about town, 1899, p.
    [Show full text]
  • A Closer Look at Superheroes
    AS AMERICA BECAME SUPER SO DID ITS HEROES: A CLOSER LOOK AT SUPERHEROES THROUGHOUT THE 20TH CENTURY IN AMERICA A THESIS Presented to The FAculty oF the DepArtment oF HIstory The Colorado College In PArtIAl FulFIllment oF the RequIrements For the Degree BAchelor oF Arts By Luc Gerdes May/2017 Superheroes have been a pArt oF everydAy lIFe In AmerIcA through the 20th century. SInce the populArIty oF DC’s superman In the 1930’s, their populArity soared to new heights during the decades Following WWII. During the 20th century severAl chArActers hAve come And gone wIth vAryIng FAme. Nonetheless, some hAve stood the test of time and are still populAr in today’s society. Two of those chArActers thAt hAve become ArguAbly the most populAr Are CAptAIn AmerIcA And Iron MAn. They both hAve unIque quAlItIes thAt hAve made them Able to maIntAIn A high level of populArity through the ever-chAngIng tImes In AmerIcA. CAptAIn AmerIcA. Few superhero nAmes, IF Any, come wIth such A sense oF IdentIty. The connectIon to AmerIcAn vAlues hAs been set wIthIn hIs chArActer From hIs debut on the comic scene In 1940. Blatantly stated, the maIn role for Captain AmerIcA Is to protect the UnIted StAtes From hArm, ForeIgn or domestIc. The wrIters For CAptAIn AmerIcA hAve been putting hIm through A rollercoAster oF morAl dIlemmas And chArActer chAnges since his earliest of days. These changes seem to come Almost sIde by sIde wIth chAngIng AmerIcAn vAlues or emotIons due to reAl world events. IF CAptAIn AmerIcA Is one oF the most IconIc nAmes, Iron MAn Is debAtAbly the most populAr In recent yeArs.
    [Show full text]
  • Bodies in Transition. Queering the Comic Book Superhero
    QUEER(ING) POPULAR CULTURE BODIES IN TRANSITION Queering the Comic Book Superhero BY DANIEL STEIN ABSTRACT This essay analyzes the comic book superhero as a popular figure whose queer- ness follows as much from the logic of the comics medium and the aesthetic prin- ciples of the genre as it does from a dialectic tension between historically evolving heteronormative and queer readings. Focusing specifically on the superbody as an overdetermined site of gendered significances, the essay traces a shift from the ostensibly straight iterations in the early years of the genre to the more recent appearance of openly queer characters. It further suggests that the struggle over the superbody’s sexual orientation and gender identity has been an essential force in the development of the genre from its inception until the present day. The comic book superhero has been a figure of the popular imagination for eight decades, if we count Superman’s appearance in Action Comics #1 (June 1938) as the beginning of the genre. Almost as old as the genre itself are associations of the superhero with what the American amateur psychologist Gershon Legman de- scribed as »an undercurrent of homosexuality and sado-masochism«1 in his book Love and Death (1949). These associations became part of the broader public dis- course when the German-born psychiatrist Frederic Wertham expanded on them in Seduction of the Innocent (1954), a flawed but popular study of the effects of comic-book reading on juveniles that played into the climate of sexual anxieties at the height of the so-called comics scare.
    [Show full text]
  • Achievements Booklet
    ACHIEVEMENTS BOOKLET This booklet lists a series of achievements players can pursue while they play Marvel United: X-Men using different combinations of Challenges, Heroes, and Villains. Challenge yourself and try to tick as many boxes as you can! Basic Achievements - Win without any Hero being KO’d with Heroic Challenge. - Win a game in Xavier Solo Mode. - Win without the Villain ever - Win a game with an Anti-Hero as a Hero. triggering an Overflow. - Win a game using only Anti-Heroes as Heroes. - Win before the 6th Master Plan card is played. - Win a game with 2 Players. - Win without using any Special Effect cards. - Win a game with 3 Players. - Win without any Hero taking damage. - Win a game with 4 Players. - Win without using any Action tokens. - Complete all Mission cards. - Complete all Mission cards with Moderate Challenge. - Complete all Mission cards with Hard Challenge. - Complete all Mission cards with Heroic Challenge. - Win without any Hero being KO’d. - Win without any Hero being KO’d with Moderate Challenge. - Win without any Hero being KO’d with Hard Challenge. MARVEL © Super Villain Feats Team vs Team Feats - Defeat the Super Villain with 2 Heroes. - Defeat the Villain using - Defeat the Super Villain with 3 Heroes. the Accelerated Villain Challenge. - Defeat the Super Villain with 4 Heroes. - Your team wins without the other team dealing a single damage to the Villain. - Defeat the Super Villain without using any Super Hero card. - Your team wins delivering the final blow to the Villain. - Defeat the Super Villain without using any Action tokens.
    [Show full text]
  • A Guide to Banned, Challenged, and Controversial Comics and Graphic
    READ BANNED COMIC A Guide to Banned, Challenged and Controversial Comics and Graphic Novels Comic Book Legal Defense Fund Director’s Note is a non-profit organization dedi- cated to the protection of the First Happy Banned Books Week! Amendment rights of the comics art form and its community of Every year, CBLDF joins a chorus of readers, advo- retailers, creators, publishers, cates, and organizations to mark the annual cele- librarians, educators, and readers. CBLDF provides legal bration of the freedom to read! We hope you’ll join referrals, representation, advice, us in the celebration by reading banned comics! assistance, and education in furtherance of these goals. In the pages ahead, you’ll see a sampling of the many, many titles singled out for censorship in STAFF American libraries and schools. Censorship has Charles Brownstein, Executive Director Alex Cox, Deputy Director broad targets, from books that capture the unique Georgia Nelson, Development Manager challenges of younger readers, such as Drama by Patricia Mastricolo, Editorial Coordinator Raina Telgemeier and This One Summer by Mariko Robert Corn-Revere, Legal Counsel and Jillian Tamaki, to the frank discussion of adult BOARD OF DIRECTORS ADVISORY BOARD identity found in Fun Home by Alison Bechdel Christina Merkler, President Neil Gaiman & and Maus by Art Spiegelman. The moral, vision- Chris Powell, Vice President Denis Kitchen, Co-Chairs Ted Adams, Treasurer Susan Alston ary realities of authors like Brian K. Vaughan, Neil Dale Cendali, Secretary Greg Goldstein Gaiman, and Alan Moore have all been targeted. Jeff Abraham Matt Groening Jennifer L. Holm Chip Kidd Even the humor and adventure of Dragon Ball and Reginald Hudlin Jim Lee Bone have come under fire.
    [Show full text]
  • LGBTQ+ GUIDE to COMIC-CON@HOME 2021 Compiled by Andy Mangels Edited by Ted Abenheim Collage Created by Sean (PXLFORGE) Brennan
    LGBTQ+ GUIDE TO COMIC-CON@HOME 2021 Compiled by Andy Mangels Edited by Ted Abenheim Collage created by Sean (PXLFORGE) Brennan Character Key on pages 3 and 4 Images © Respective Publishers, Creators and Artists Prism logo designed by Chip Kidd PRISM COMICS is an all-volunteer, nonprofit 501c3 organization championing LGBTQ+ diversity and inclusion in comics and popular media. Founded in 2003, Prism supports queer and LGBTQ-friendly comics professionals, readers, educators and librarians through its website, social networking, booths and panel presentations at conventions. Prism Comics also presents the annual Prism Awards for excellence in queer comics in collaboration with the Queer Comics Expo and The Cartoon Art Museum. Visit us at prismcomics.org or on Facebook - facebook.com/prismcomics WELCOME We miss conventions! We miss seeing comics fans, creators, pros, panelists, exhibitors, cosplayers and the wonderful Comic-Con staff. You’re all family, and we hope everyone had a safe and productive 2020 and first half of 2021. In the past year and a half we’ve seen queer, BIPOC, AAPI and other marginalized communities come forth with strength, power and pride like we have not seen in a long time. In the face of hate and discrimination we at Prism stand even more strongly for the principles of diversity and equality on which the organization was founded. We stand with the Black, Asian American and Pacific Islander, Indigenous, Latinx, Transgender communities and People of Color - LGBTQ+ and allies - in advocating for inclusion and social justice. Comics, graphic novels and arts are very powerful mediums for marginalized voices to be heard.
    [Show full text]