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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Marvel-ous Nerd Words

Why couldn’t we have had vocabulary lists like this back when I was in school? In honor of this weekend’s opening of hotly-anticipated-by-comic-nerds-everywhere The Avengers, Wordnik has culled together a list of Marvel vocabulary words. The cool thing about homeschooling my kids is that they get to have cool spelling and vocabulary words like this because their mom is a geek. See how many of these you can work casually into your own conversations this week, and whether people who don’t know what they mean nod knowingly as if they do.

Here’s a sampling of Wordnik’s Marvel Vocabulary list, the full list can be found over here.

1. Adamantium

Use it in a sentence: “Hugh Jackman reprises the role that made him a superstar, as the fierce fighting machine who possesses amazing healing powers, adamantium claws, and a primal fury known as berserker rage.” (“Wolverine Movie Extended Synopsis,” Comic Book Movie, April 16, 2009)

Definition: Adamantium is, according to the Marvel Universe Wiki, “an artificially-created alloy of iron that is the most impervious substance known on Earth.” The term first appeared in July 1969 in Avengers #66, and may be a play on the noun form of adamant, “a name applied with more or less indefiniteness to various real or imaginary metals or minerals characterized by extreme hardness.” Adamant comes from the Greek adamas, “unconquerable, hard steel, diamond.”

2. flame on

Use it in a sentence: “Instead of giving them terrible illnesses [the cosmic radiation storm] of course turns them into Übermenschen of various sorts, though only Johnny’s new abilities are an unmixed blessing: by shouting “Flame on!” he converts himself into a flying ball of fire.” (Peter Bradshaw, “Fantastic Four,” The Guardian, July 21, 2005)

Definition: Flame on is the catchphrase of Johnny Storm, also known as the Human Torch. Storm first appeared in 1961 in The Fantastic Four #1.

3. Legacy Virus

Use it in a sentence: “In the well-established and often convoluted ‘X-Men’ lore found within the Marvel comic’s continuity, Pyro was a rambunctious villain with the ability to control fire who was a onetime ally of Mystique. He eventually succumbed to the Legacy Virus, a mutant-only disease that posed a danger to all of the series’ main characters.” (Ryan J. Downey, “New Mutants Added to X-Men 2,” MTV.com, May 30, 2002)

Definition: The Legacy Virus is “a deadly disease that attacked the mutant gene, causing its host’s powers to flare out of control before death.” The virus was “based on one that was used 2000 years in the future.”

4. mandroid

Use it in a sentence: “Hammer created the Mandroids with the assistance of the evil genius Ivan Vanko, aka Whiplash (Mickey Rourke), and plans to mass produce them for the military.” (“New Iron Man 2 Stills, Viral Mystery, and Interactive Content,” Reelz, May 4, 2010)

Definition: The mandroid is “battle armor designed by Tony Stark [Iron Man] for use by S.H.I.E.L.D.,” and is a blend of man and android. The mandroid first appeared in December 1971 in Avengers #94. The word android, “an automaton resembling a human being in shape and motions,” was coined in 1847, and comes from the Greek andro, “human,” and edies, “form, shape.” The Online Etymology Dictionary notes that android was “listed as ‘rare’ in [Oxford English Dictionary] 1st edition (1879),” and was popularized around 1951 by science fiction writers.

5. Spidey-sense

Use it in a sentence: “Spider-Man, you will recall, has a ‘spidey-sense‘, which alerts him to impending disaster and gives him time to react suitably.” (Giles Coren, “I had my Spider-Man moment. And I failed,” The Times, May 29, 2010)

Definition: Spidey-sense refers to Spider-Man’s ability to sense danger before it occurs. It “manifests in a tingling feeling at the base of his skull, alerting him to personal danger in proportion to the severity of that danger.” Spidey-sense also refers to intuition or instinct in general.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch