An extrasensory means of perception by which the brain generates electromagnetic waves which travel outward, bounce off objects, and are again picked up by the brain, which thus determines what its surroundings are.
Synonym for dimension.
A reality is the collection of a universe in which the Earth shares space and time with other celestial objects, and the various other dimensions associated with it, like Asgard, the Dark Dimension or the Negative Zone.
Reality Warping is the ability to alter reality, and is often regarded as the ultimate superpower. Generally, it translates as the ability to reshape matter and energy, turn a person's thoughts or desires into reality, bend time and space to travel across timelines, bend, twist or possibly even rewrite the laws of physics and destroy virtually anything.
Some of the most extreme reality warpers, like James Jaspers, are not even limited by their own physical bodies and can alter their own stature and appearance at will, no matter how bizarre it might be. This ability seems to go far beyond anything that "ordinary" shapeshifters like Mystique and Morph could even think of in their wildest imagination. Most mortal-born reality warping individuals, at least in Marvel comics, tend to be mutants.
Notable Reality Warpers
For a list of all known reality warpers, see here.
- White Phoenix of the Crown
- Scarlet Witch
- Matthew Malloy
- Franklin Richards
- Living Tribunal
(See Also: List of reality warpers)
Reboot, means to discard all previous continuity in the series and start anew. Effectively, all previously-known history is declared by the writer to be null and void and the series starts over from the beginning.
This differs from a creator producing a separate interpretation of another creator's work; rather, the owner of the creation declares that the rebooted continuity is now the official version.
This term is often applied to comic books, where the prevailing continuity can be very important to the progress of future installments, acting (depending on circumstances and one's point of view) as a rich foundation from which to develop characters and storylines, or as a box limiting the story options available to tell and an irreconcilable mess of contradictory history. Such large continuities also become a barrier to introducing newcomers to the fandom, as the complex histories are difficult to learn, and make understanding the story very difficult; a reboot gives the chance for new fans to experience the story by reintroducing it in smaller and easier to understand installments.
- In the mid-1990s, Marvel Comics turned several of their titles over to studios affiliated with Image Comics, and these titles (Fantastic Four, Captain America, The Avengers, and Iron Man — the Hulk would be included in this trend only as a character, but without his own title) were rebooted in their own separate universe, while the rest of Marvel's line maintained the original continuity in which the affected characters were presumed to have died in a cataclysmic battle. The rebooted titles lasted only a year, at which point the heroes involved returned to the original universe. See Heroes Reborn.
- In addition, Marvel Comics also published Spider-Man: Chapter One by John Byrne, which was meant to be a complete reboot to the Spider-Man series and was treated as such until editorial changes caused the series to reboot itself, making all changes null and void.
- In 2000, Marvel launched the Ultimate Marvel line of comic books that rebooted the Marvel Universe. The Ultimate series was intended to modernize the characters, to rewrite the individual characters into a more cohesive universe, and to make the series more appealing to non-Marvel fans; the huge back-story of the Marvel Universe, made it very difficult for newcomers to understand the characters and storylines. Unlike most reboots, however, the original Marvel Universe continued to publish as well. This makes the two lines appear to be parallel Universes rather than a true reboot.
- Between 2003-2005, Marvel ran Supreme Power, a modernization of Squadron Supreme; like the Ultimate Marvel line, Supreme Power ran concurrently with the main Marvel comic lines as an "Alternate Universe", instead of replacing them.
A recap page is an expository device that constitutes of a single page (and sometimes a splash page) at the beginning of a comic that features a summary of important events that have ocurred in previous issues and even basic information about the series' protagonist(s), so that readers can quickly catch up on a series' ongoing narrative, making them especially useful for new readers. The use of recap pages additionally helps writers avoid having to integrate this kind of exposition into the story of a comic. Comic series starring a group of characters like Avengers or X-Men will usually include mugshots of the book's protagonists as well.
A precedent of recap pages was a brief block of text which presented the basic information of a series' protagonist in the same page where the title of a comic's story was displayed. Both of these elements are usually integrated into the recap pages nowadays, together with other information, like author credits, and the issue's indicia.
Ever since their introduction in the early 2000s, recap pages have become incredibly diverse depending on the series they belong to. Though most commonly recap pages present the summary from the prespective of an omniscient narrator accompanied by an illustration of the main character(s) in a design that reflects the tone of the book, they can be written from the point of view of a given character, and presented in creative ways. For example, both Amazing Spider-Man and Daredevil (Vol. 3) have made use of recap pages that simulate the front page of a newspaper in-universe, and past events were presented as small articles by various reporters. Deadpool and Unbelievable Gwenpool featured the books' respective main character monologuing about past events and adressing the reader directly since they are both aware they are characters in a comic book. Avengers (Vol. 5), New Avengers (Vol. 3) and Spider-Gwen featured a montage of panels from previous issues with short bursts of dialogue to summarize previous events, similar to the recap sequences used in TV shows. The recap page for Young Avengers (Vol. 2) consisted of a mockup of a social platform named "Yamblr" which paid homage to the dashboard of Tumblr. Peter Parker: The Spectacular Spider-Man featured a conversation between the series' writer Chip Zdarsky and an imaginary reader.
Reincarnation is the ability to return to life after having died. Often times, this means that the soul of an individual is reborn in a new body, but in some cases, Reincarnation serves as a form of resurrection, wherein the soul is given renewed life in the person's original body. Unlike Regeneration, Reincarnation does not enable one to regrow lost or damaged tissue.
(See Also: Characters with Reincarnation)
[top] [Edit Reincarnation]
The ability to react to danger with great speed or hightened abilities. For example the Taskmaster has Photographic Reflexes and can reproduce anything he sees to aid him.
A repulsor is a form in which a high density muon beam can be projected, as a powerful blast of concussive energy called repulsor blasts. Repulsor blasts may be directed by magnets and focused by electrostatic lenses, although they may also be self-focusing. One of the luminaries of repulsor design technology is Tony Stark, who has incorporated them into every iteration of his patented Iron Man armors since Model 3. Constructed using micro-circuitry, these repulsors are implemented into the palms of his battlesuit and are one of the armor's primary offensive tools.
The main usage of repulsors is for defense, as the blast in which they're emmited can even vaporize enemies. They can also be used to stabilize flight in the case of being used in Iron Man armors.
A repulsor generator is an electronic device which uses particle beam technology to project a repulsor blast. In numerous attacks perpetuated by Ezekiel Stane, all the repulsor generator units from Stark Industries, the only creator of this technology in the world, were destroyed. Luckly, Tony Stark had created a new miniaturized repulsor generator, called Repulsor Tech node, which he would later use to power himself, his armors and produce them in mass to finance his new creations for his new enterprise, Stark Resilient.
The latest model of Repulsor technology named is that of Mark IVa, featuring a different color for its beams, red.
A retcon (short for retroactive continuity) is, in a nutshell, a storyteller's tool that adds previously unknown material to an event in a previous story. As with any tool, the quality of the finished product depends on the user's skill and intent.
Now suppose that, months later, another writer wants to bring Doctor Doom into another story. It would strain your credulity to see him alive with no explanation. Continuity, an element of good storytelling, demands that the writer explain how Doom returned from his trip into space. The writer tells you something you didn't know at the time—"of course Doom has a jetpack built into his armor"—problem solved. With few exceptions, a writer will leave some ambiguity in these situations, precisely so that later writers can use the character again.
A retcon can also solve problems created by other writers. In a serial medium such as comic books, the creative teams change from time to time, and each team has its own conceptions of the characters. If the previous team made a change that doesn't fit in with the new team's ideas, they can explain it away. In an extreme example of such a retcon, an entire season of the television series Dallas was undone by retroactively presenting it as a bad dream of one of the characters.
On the other hand, a retcon can be a bad thing. The only rule in writing is that there are no rules, but there are guidelines.
Guideline #1: play by the rules. All fiction depends on suspension of disbelief, your willingness to accept a story on its face. It may violate the rules of our world, but you ignore the impracticality as long as the story is internally consistent. In this type of bad retcon, someone does something out of character, or something happens that directly contradicts what previous writers have accepted as true. In other words, the retcon involves something inconsistent with the accepted "laws" of that fictional world.
Guideline #2: use them sparingly. A retcon pulls you out of the story for a moment, forcing you to evaluate it in light of what you already know. If it's plausible and consistent, you'll accept it quickly and go on with the story. Further retcons keep pulling you back out of the story and ruin the experience.
Guideline #3: keep it simple. A retcon adds new material to an old story. If you have read the old story, or first read it at a later time, you will feel cheated because so much was "left out."Guideline #4: show respect. Some comic-book events have become legends. Changing them retroactively cheapens them.
For a good example of bad retcons, see the Clone Saga.
A robot is a mechanical or virtual artificial agent, usually an electro-mechanical machine that is guided by a computer program or electronic circuitry. Robots can be autonomous or semi-autonomous and range from humanoids, to industrial robots, collectively programmed swarm robots, and even microscopic nano robots. By mimicking a lifelike appearance or automating movements, a robot may convey a sense of intelligence or thought of its own.