Two years have passed, and Peter Parker struggles to cope with the demands of life as a college student, a Daily Bugle photographer, and a crime-fighting superhero. But it hasn’t gotten any easier. Condemned by the press, tormented by secrets he can never reveal, forced to give up the girl of his dreams—at times the lonely burden of Spider-Man seems almost too great to bear... and the temptation to give up grows stronger by the hour.
Though only a few classes are available to the player at the start of the game, a total of twelve classes can be unlocked altogether, and the player has the option of occasionally changing their class or eventually being able to dual-class or further. Abilities can be upgraded individually, allowing the player to establish a custom, one-of-a-kind hero unlike any other that fits their playing style.
Spider-Man is a fictional superhero in the Marvel Universe debuting in the anthology comic book series issue Amazing Fantasy #15 (August 1962) in the Silver Age of Comics published by Marvel Comics. After his debut he would get his own comic book entitled The Amazing Spider-Man. The comic book series would introduce many of what would become his major supervillain adversaries. Spider-Man would then be popular enough for more Spider-Man comic spinoffs (The Spectacular Spider-Man, Marvel Team-Up, Web of Spider-Man, Peter Parker: Spider-Man etc.) which introduced more recurring enemies of the web-slinger.
Spider-Man's exposure to the mutated spider venom induced a mutagenic, cerebellum-wide alteration of his engrams resulting in the ability to mentally control the flux of inter-atomic attraction (electrostatic force) between molecular boundary layers. This overcomes the outer electron shell's normal behavior of mutual repulsion with other outer electron shells and permits the tremendous potential for electron attraction to prevail. The mentally controlled sub-atomic particle responsible for this has yet to be identified. This ability to affect the attraction between surfaces is so far limited to Spider-Man's body (especially concentrated in his hands and feet) and another object, with an upper limit of several tons per finger. Limits to this ability seem to be psychosomatic, and the full nature of this ability has yet to be established. Spider-man utilizes this ability in his locomotion across New-York, but also has the ability to use it offensively, in a manner resembling the Mark of Kaine. Spider-Man rarely uses this ability though, due to its brutal and disfiguring effects. It also works differently, ripping off layers of skin and muscle, rather than burning it as Kaine does via the HCL secreted through his palms.
In this example, the objects or instances are the individual superheroes described by the class Superhero. There could be an Ironman object, a Wonder Woman object, a Batman object, or a Spiderman object. The class Superhero associates certain attributes and methods with the superhero objects. For this example, each superhero will have the following attributes: strength, superpower, costume color, secret identity, points, and health. Additionally, each superhero will have the following methods (or actions): attack and heal.
The basic foundation of the Batsuit is a tight-fitting bodysuit, similar to many superheroes. In early depictions, it was similar to the garb of early 20thcentury circus performers. Batman #1 revealed that there is a ballistic vest sewn into the costume. In modern depictions, the briefs are integrated into the main costume, so that section of the costume constitutes only a seam and color change from the rest of the suit. The bodysuit has varied in color and style as depicted by different artists.
As a former preschool teacher... it is hard for me to give credence to a claim that there is something objectionably “appropriative” about a blonde haired child’s wanting to be Mulan for a day. Pretend play is the foundation of most cognitive tasks, and it seems to me that we want to be in the business of encouraging the exercise of imagination, not constraining it.
From at least the 16th century, the festival included mumming and guising, which involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them. It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune". F. Marian McNeill suggests the ancient pagan festival included people wearing masks or costumes to represent the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire. In parts of southern Ireland, a man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune. In 19th century Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed. In parts of Wales, men went about dressed as fearsome beings called gwrachod, while in some places, young people cross-dressed. Elsewhere in Europe, mumming and costumes were part of other yearly festivals. However, in the Celtic-speaking regions they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers". It has also been suggested that the wearing of Halloween costumes developed from the custom of souling, which was practised by Christians in parts of Western Europe from at least the 15th century. At Allhallowtide, groups of poor people would go door-to-door, collecting soul cakes – either as representatives of the dead, or in return for saying prayers for them. One 19th century English writer said it "used to consist of parties of children, dressed up in fantastic costume, who went round to the farm houses and cottages, signing a song, and begging for cakes (spoken of as "Soal-cakes"), apples, money, or anything that the goodwives would give them". The soulers typically asked for "mercy on all Christian souls for a soul cake". The practice was mentioned by Shakespeare his play The Two Gentlemen of Verona (1593). Christian minister Prince Sorie Conteh wrote on the wearing of costumes: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognised by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities". In the Middle Ages, statues and relics of martyred saints were paraded through the streets at Allhallowtide. Some churches who could not afford these things had people dress as saints instead. Some believers continue the practice of dressing as saints, biblical figures, and reformers in Halloween celebrations today. Many Christians in continental Europe, especially in France, believed that on Halloween "the dead of the churchyards rose for one wild, hideous carnival," known as the danse macabre, which has often been depicted in church decoration. An article published by Christianity Today claimed the danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and suggested this was the origin of Halloween costume parties.