'The Breakfast Club' Meets 'Ender's Game' in 'Runaways #2'

At heart this may be a story about a superhero team, but it has more in common with The Breakfast Club and Ender's Game than with The Avengers.


Publisher: Marvel
Length: 23 pages
Writer: Noelle Stevenson, Sanford Greene
Price: $3.99
Publication Date: 2015-09
"I don't care if I pass your test, I don't care if I follow your rules. If you can cheat, so can I."

– Ender Wiggin in Ender's Game by Orson Scott Card

"I don’t have to run away and live in the street. I can run away and I can go to the ocean, I can go to the county, I can go the mountains. I could go to Israel, Africa, Afghanistan."

– Ally Sheedy as Allison Reynolds in The Breakfast Club

Marvel's Secret Wars summer crossover event is everything that I wanted it to be, maybe even more. Jonathan Hickman's central story has so far proven riveting and engaging, at least after the first issue's necessary background work was out of the way. At this point in the story, it feels like what the summer crossover was meant to be. It is a serious story whose characters feel fully realized and true, a story that is significant and important—both for characters like Doctor Strange and Reed Richards and for the future of the Marvel universe.

And around the edges of Hickman's grand centerpiece there's a lot of fun to be had. Gladiator Captain America rides Devil Dinosaur into a land of green and red gamma creatures in the pages of Planet Hulk and Ghost Riders speed around an apocalyptic race track in the pages of Ghost Racers. It really feels as if anything can happen, as if Secret Wars has allowed Marvel to tell superhero stories in ways that they have seldom been told before.

I will admit that I groaned when I first heard the premise for Battle World: a planet held together by the god-like powers of Doctor Doom where different storylines and characters from Marvel's history are all mashed together into distinct and bizarre realms and regions. But I'm not groaning now. I'm marveling. Until this Secret Wars thing comes to a close, until the series runs its course, until summer ends—it looks like just about anything can happen, like all things are possible.

Take, for example, Noelle Stevenson's and Sanford Greene's Runaways. Fresh from her exciting work on Nimona and Lumberjanes, in Runaways Stevenson takes up a superhero story with a twist. With a few nods to earlier incarnations of the Marvel teen superhero group, the Runaways, this version of the team is clearly unique. At heart this may be a story about a superhero team, but it is a story that has more in common with The Breakfast Club and Ender's Game than with The Avengers.

Like The Breakfast Club, the cast of the Runaways are a group of high school students who find themselves thrown together in detention and who, despite their own wishes, become friends and team mates. The central conflict is between Jubilee, the criminal, and Sanna, the athlete, two girls who probably have more in common than either one wants to admit. They are led by Amadeus Cho, the brain, who is protected by his friend and bodyguard, Skaar. I'll refrain from putting the rest of the cast into Breakfast Club categories, but they're all here, I suppose, along with others, updated and refreshed fort the twenty-first century.

Of course, this group isn't trapped in some middle class high school. They are, instead, at a school that might be more in line with Ender's Battle School -- the Doom Institute. Selected from all over Battle World, these students have been brought together to be trained for battle and to learn to live by the creed: "Live faithfully. Fight bravely. Die laughing. Only the strong will survive." Each year's final exam pits student against student in a contest to determine who has to go and who gets to stay.

Of course, things are not exactly what they seem and when this Breakfast Club is thrown together on a battle team they soon make an important discovery that requires that they hotwire a transport, fire a few blasters, and take to the road. As Ender said to his teacher, "If you can cheat, so can I."

I'm mesmerized by Runaways. With only two books under her belt, Stevenson has already made me care about this cast of characters, already made me wonder where their adventures and their personalities are going to take them next. And Greene's artwork manages to capture battle scenes, tearful goodbyes, and sarcastic humor, all with the same panache. It is a partnership that works.

I don't know where these kids are going, though I suspect that with all of Battle World within reach they can make Ally Sheedy's ambitions look spectacularly pedestrian.

"We don’t have to run away and live in the street," they might say. "We can run away and we can go to Spider-Land, we can to go Weirdworld, we can go to New Mars. We could go to New Quack City, Killville, Monster Metropolis."

I can't wait.


In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton

9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton

8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge

7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge

6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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