Citations:Martinverse

English citations of Martinverse

Proper noun: "(fandom slang) the fictional universe which serves as the setting for the A Song of Ice and Fire novels and its television adaptation Game of Thrones"

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• 2003 November 17, Fredde, “What is a year?”, in alt.fan.grrm‎^[1] (Usenet):

  So, on what premises can for example Arya be 12 years old, when she has only lived one summer? Shouldn't she be like half a year old? If a year is 12 months in Martinverse, why is that?)

• 2015, T. A. Leederman, "A Thousand Westerosi Plateaus: Wargs, Wolves and Ways of Being", in Mastering the Game of Thrones: Essays on George R.R. Martin's A Song of Ice and Fire (eds. Jes Battis & Susan Johnston), page 190:

  Wargs in the Martinverse uniquely involve the act of “warging,” in which a human links to a particular animal, sees through its eyes and sometimes controls its body.

• 2015, Dana Ryals & Kelley Minica, "Winter is Here: A Game of Thrones Reading Group", The Clarion (Madison Area Technical College), 25 November 2015, page 2:

  Words from the Martinverse start creeping into your normal conversations, like “smallclothes,” “jape,” and “mummer’s farce.”

• 2018, Stefanie Lethbridge, "Entangled Agency: Heroic Dragons and Direwolves in Game of Thrones", helden. heroes. héros., Issue 3 (2018), page 8:

  One of the few truly honourable warriors in the Martinverse, Brienne of Tarth, the lady knight, concludes resignedly that “the good lords are dead and the rest of them are monsters” (GoT 5.1).

• 2019, Tania Evans, "Some Knights are Dark and Full of Terror: The Queer Monstrous Feminine, Masculinity, and Violence in the Martinverse", Journal of Language, Literature, and Culture, Vol 66, No 3, page 135:

  In the Martinverse, violence is intimately connected with the body, and with male-embodied masculinity in particular.

• 2019, Gala Rebane, "'There is no word for thank you in Dothraki': Language ideologies in Game of Thrones", in Multilingualism in Film (eds. Ralf Junkerjürgen and Gala Rebane), page 173:

  The imperative to make the viewing experience immersive and realistic to its fullest extent – all the more important as GoT was actually a fantasy series, as opposed to HBO’s customary real-life drama productions – also called for the multilingual makings of the ‘Martinverse’ to play an active role in the series’ narrative and auditive aesthetics, reinforcing GoT’s claims of verisimilitude.

• 2019, Kim Walkins, in "Game of Thrones: Choose your own ending", Adelaide Now, 25 April 2019:

  When trying to predict what will happen in the Martinverse, the one thing we can say for sure is that it will be unpredictable.