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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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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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