new2

Dame Tu Cosita vs Super Mario




Who is Dame tu Cosita? "Dame Tu Cosita" ([ˈda.me tu ko.ˈsi.ta], lit. "Give me your little thing"[1] or "give me your thingy"[2]) is a song by Panamanian artist El Chombo, featuring Jamaican dancehall musician Cutty Ranks. It was originally recorded in 1997, but extended and released as a single in 2018. A remix with Pitbull and Karol G was released on August 29, 2018. History The song was first released on El Chombo's album Cuentos de la Cripta II (1998) where a short version of the song was under the name "Introduccion B (El Cosita Remix)". A remix of the song was released in 2002 on the album Cuentos de la Cripta Remixes.[3] Following the song's viral Internet popularity, French record label Juston Records signed El Chombo and commissioned an extended version of the track. The label also acquired the rights to ArtNoux's video and requested a new video for the extended track.[3] Ultra Music acquired the worldwide distribution rights to the new, extended song and music video. In April 2018, the music video was uploaded to Ultra's YouTube channel, and its popularity skyrocketed.[2] The track was released as a single soon after, which debuted at No. 81 on the Billboard Hot 100.[4] A remix featuring Pitbull and Karol G was released on August 29, 2018, and was produced by El Chombo and Afro Bros.[5] Music video The video shows an extended animation of the alien video to the full remix of "Dame Tu Cosita" animated by ArtNoux and directed by Sihem OUILLANI. The video was the seventh most-viewed music video on YouTube worldwide in 2018.[6] As of August 2019, the YouTube video has received over 1.4 billion views.[7] The music video of the Remix with Pitbull and Karol G, is also directed by Sihem OUILLANI and the shooting was in Miami. The Text of this song is: Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Muévete para aquí, muévete para allá Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, pure energy) Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Muévete para aquí, muévete para allá Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, pure energy) Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Dame tu cosita ah, ay Dame tu cosita ah ah Muévete para aquí, muévete para allá Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, pure energy) Dame tu cosita (ay toma, cosita, cosita, cosita) Dame tu cosita (ay toma, cosita, eh)

Pacman run away from TREX!


                                             


Who is Trex?
Tyrannosaurusis a genus of coelurosaurian theropod dinosaur. The species Tyrannosaurus rex (rex meaning "king" in Latin), often called T. rex or colloquially T-Rex, is one of the most well-represented of the large theropods. Tyrannosaurus lived throughout what is now western North America, on what was then an island continent known as Laramidia. Tyrannosaurus had a much wider range than other tyrannosaurids. Fossils are found in a variety of rock formations dating to the Maastrichtian age of the upper Cretaceous Period, 68 to 66 million years ago. It was the last known member of the tyrannosaurids, and among the last non-avian dinosaurs to exist before the Cretaceous–Paleogene extinction event. Like other tyrannosaurids, Tyrannosaurus was a bipedal carnivore with a massive skull balanced by a long, heavy tail. Relative to its large and powerful hindlimbs, Tyrannosaurus forelimbs were short but unusually powerful for their size and had two clawed digits. The most complete specimen measures up to 12.3 m (40 ft) in length though T. rex could grow to lengths of over 12.3 m (40 ft), up to 3.66 meters (12 ft) tall at the hips, and according to most modern estimates 8.4 metric tons (9.3 short tons) to 14 metric tons (15.4 short tons) in weight. Although other theropods rivaled or exceeded Tyrannosaurus rex in size, it is still among the largest known land predators and is estimated to have exerted the largest bite force among all terrestrial animals. By far the largest carnivore in its environment, Tyrannosaurus rex was most likely an apex predator, preying upon hadrosaurs, armored herbivores like ceratopsians and ankylosaurs, and possibly sauropods. Some experts have suggested the dinosaur was primarily a scavenger. The question of whether Tyrannosaurus was an apex predator or a pure scavenger was among the longest debates in paleontology. Most paleontologists today accept that Tyrannosaurus was both an active predator and a scavenger. More than 50 specimens of Tyrannosaurus rex have been identified, some of which are nearly complete skeletons. Soft tissue and proteins have been reported in at least one of these specimens. The abundance of fossil material has allowed significant research into many aspects of its biology, including its life history and biomechanics. The feeding habits, physiology and potential speed of Tyrannosaurus rex are a few subjects of debate. Its taxonomy is also controversial, as some scientists consider Tarbosaurus bataar from Asia to be a second Tyrannosaurus species while others maintain Tarbosaurus is a separate genus. Several other genera of North American tyrannosaurids have also been synonymized with Tyrannosaurus. Tyrannosaurus rex was one of the largest land carnivores of all time. One of the largest and the most complete specimen, nicknamed Sue (FMNH PR2081), is located at the Field Museum of Natural History. Sue measured 12.8 meters (42 ft) long, was 3.66 meters (12 ft) tall at the hips, and according to the most recent studies, using a variety of techniques, estimated to have weighed between 8.4 metric tons (9.3 short tons) to 14 metric tons (15.4 short tons). A specimen nicknamed Scotty (RSM P2523.8), located at the Royal Saskatchewan Museum, is reported to measure 13 m (43 ft) in length. Using a mass estimation technique that extrapolates from the circumference of the femur, Scotty was estimated as the largest known specimen at 8.8 metric tons (9.7 short tons) in weight. Not every adult Tyrannosaurus specimen recovered is as big. Historically average adult mass estimates have varied widely over the years, from as low as 4.5 metric tons (5.0 short tons), to more than 7.2 metric tons (7.9 short tons), with most modern estimates ranging between 5.4 metric tons (6.0 short tons) and 8.0 metric tons (8.8 short tons). The largest known Tyrannosaurus rex skull measures up to 1.52 meters (5 ft) in length. Large fenestrae (openings) in the skull reduced weight, as in all carnivorous theropods. In other respects Tyrannosaurus's skull was significantly different from those of large non-tyrannosaurid theropods. It was extremely wide at the rear but had a narrow snout, allowing unusually good binocular vision.[15][16] The skull bones were massive and the nasals and some other bones were fused, preventing movement between them; but many were pneumatized (contained a "honeycomb" of tiny air spaces) and thus lighter. These and other skull-strengthening features are part of the tyrannosaurid trend towards an increasingly powerful bite, which easily surpassed that of all non-tyrannosaurids. The tip of the upper jaw was U-shaped (most non-tyrannosauroid carnivores had V-shaped upper jaws), which increased the amount of tissue and bone a tyrannosaur could rip out with one bite, although it also increased the stresses on the front teeth. Profile view of a skull (AMNH 5027) The teeth of Tyrannosaurus rex displayed marked heterodonty (differences in shape). The premaxillary teeth, four per side at the front of the upper jaw, were closely packed, D-shaped in cross-section, had reinforcing ridges on the rear surface, were incisiform (their tips were chisel-like blades) and curved backwards. The D-shaped cross-section, reinforcing ridges and backwards curve reduced the risk that the teeth would snap when Tyrannosaurus bit and pulled. The remaining teeth were robust, like "lethal bananas" rather than daggers, more widely spaced and also had reinforcing ridges.Those in the upper jaw, twelve per side in mature individuals, were larger than their counterparts of the lower jaw, except at the rear. The largest found so far is estimated to have been 30.5 centimeters (12 in) long including the root when the animal was alive, making it the largest tooth of any carnivorous dinosaur yet found. The lower jaw was robust. Its front dentary bone bore thirteen teeth. Behind the tooth row, the lower jaw became notably taller. The vertebral column of Tyrannosaurus consisted of ten neck vertebrae, thirteen back vertebrae and five sacral vertebrae. The number of tail vertebrae is unknown and could well have varied between individuals but probably numbered at least forty. Sue was mounted with forty-seven of such caudal vertebrae.The neck of Tyrannosaurus rex formed a natural S-shaped curve like that of other theropods. Compared to these, it was exceptionally short, deep and muscular to support the massive head. The second vertebra, the axis, was especially short. The remaining neck vertebrae were weakly opisthocoelous, i.e. with a convex front of the vertebral body and a concave rear. The vertebral bodies had single pleurocoels, pneumatic depressions created by air sacs, on their sides. The vertebral bodies of the torso were robust but with a narrow waist. Their undersides were keeled. The front sides were concave with a deep vertical trough. They had large pleurocoels. Their neural spines had very rough front and rear sides for the attachment of strong tendons. The sacral vertebrae were fused to each other, both in their vertebral bodies and neural spines. They were pneumatized. They were connected to the pelvis by transverse processes and sacral ribs. The tail was heavy and moderately long, in order to balance the massive head and torso and to provide space for massive locomotor muscles that attached to the thighbones. The thirteenth tail vertebra formed the transition point between the deep tail base and the middle tail that was stiffened by rather long front articulation processes. The underside of the trunk was covered by eighteen or nineteen pairs of segmented belly ribs. Right forelimb of Tyrannosaurus The shoulder girdle was longer than the entire forelimb. The shoulder blade had a narrow shaft but was exceptionally expanded at its upper end. It connected via a long forward protrusion to the coracoid, which was rounded. Both shoulder blades were connected by a small furcula. The paired breast bones possibly were made of cartilage only. The forelimb or arm was very short. The upper arm bone, the humerus, was short but robust. It had a narrow upper end with an exceptionally rounded head. The lower arm bones, the ulna and radius, were straight elements, much shorter than the humerus. The second metacarpal was longer and wider than the first, whereas normally in theropods the opposite is true. The forelimbs had only two clawed fingers, along with an additional splint-like small third metacarpal representing the remnant of a third digit. The pelvis was a large structure. Its upper bone, the ilium, was both very long and high, providing an extensive attachment area for hindlimb muscles. The front pubic bone ended in an enormous pubic boot, longer than the entire shaft of the element. The rear ischium was slender and straight, pointing obliquely to behind and below. In contrast to the arms, the hindlimbs were among the longest in proportion to body size of any theropod. In the foot, the metatarsus was "arctometatarsalian", meaning that the part of the third metatarsal near the ankle was pinched. The third metatarsal was also exceptionally sinuous. Compensating for the immense bulk of the animal, many bones throughout the skeleton were hollowed, reducing its weight without significant loss of strength.

Humpty Dumpty Song!





Humpty Dumpty is a character in an English nursery rhyme, probably originally a riddle and one of the best known in the English-speaking world. He is typically portrayed as a personified egg, though he is not explicitly described as such. The first recorded versions of the rhyme date from late eighteenth-century England and the tune from 1870 in James William Elliott's National Nursery Rhymes and Nursery Songs.[1] Its origins are obscure and several theories have been advanced to suggest original meanings. The character of Humpty Dumpty was popularised in the United States by actor George L. Fox (1825–77). As a character and literary allusion, he has appeared or been referred to in a large number of works of literature and popular culture, particularly English author Lewis Carroll's Through the Looking-Glass (1872), in which he was described as an egg. The rhyme is listed in the Roud Folk Song Index as No. 13026. The rhyme is one of the best known in the English language. The common text from 1954 is: Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. All the king's horses and all the king's men Couldn't put Humpty together again. William Carey Richards (1818–1892) quoted the poem in 1843, commenting, "when we were five years old ... the following parallel lines... were propounded as a riddle ... Humpty-dumpty, reader, is the Dutch or something else for an egg".[8] A manuscript addition to a copy of Mother Goose's Melody published in 1803 has the modern version with a different last line: "Could not set Humpty Dumpty up again".[7] It was published in 1810 in a version of Gammer Gurton's Garland as: Humpty Dumpty sate [sic] on a wall, Humpti Dumpti [sic] had a great fall; Threescore men and threescore more, Cannot place Humpty dumpty as he was before.[9] In 1842, James Orchard Halliwell published a collected version as: Humpty Dumpty lay in a beck. With all his sinews around his neck; Forty Doctors and forty wrights Couldn't put Humpty Dumpty to rights![10] The modern-day version of this nursery rhyme, as known throughout the UK since at least the mid-twentieth century, is as follows: Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall; All the King's horses And all the King's men, Couldn't put Humpty together again.

Meaning


Humpty Dumpty, shown as a riddle with answer, in a 1902 Mother Goose story book by William Wallace Denslow
The rhyme does not explicitly state that the subject is an egg, possibly because it may have been originally posed as a riddle.[7] There are also various theories of an original "Humpty Dumpty". One, advanced by Katherine Elwes Thomas in 1930[13] and adopted by Robert Ripley,[7] posits that Humpty Dumpty is King Richard III of England, depicted as humpbacked in Tudor histories and particularly in Shakespeare's play, and who was defeated, despite his armies, at Bosworth Field in 1485.
Punch in 1842 suggested jocularly that the rhyme was a metaphor for the downfall of Cardinal Wolsey; just as Wolsey was not buried in his intended tomb, so Humpty Dumpty was not buried in his shell.[14]
Professor David Daube suggested in The Oxford Magazine of 16 February 1956 that Humpty Dumpty was a "tortoise" siege engine, an armoured frame, used unsuccessfully to approach the walls of the Parliamentary held city of Gloucester in 1643 during the Siege of Gloucester in the English Civil War. This was on the basis of a contemporary account of the attack, but without evidence that the rhyme was connected.[15] The theory was part of an anonymous series of articles on the origin of nursery rhymes and was widely acclaimed in academia,[16] but it was derided by others as "ingenuity for ingenuity's sake" and declared to be a spoof.[17][18] The link was nevertheless popularised by a children's opera All the King's Men by Richard Rodney Bennett, first performed in 1969.[
From 1996, the website of the Colchester tourist board attributed the origin of the rhyme to a cannon recorded as used from the church of St Mary-at-the-Wall by the Royalist defenders in the siege of 1648.[21] In 1648, Colchester was a walled town with a castle and several churches and was protected by the city wall. The story given was that a large cannon, which the website claimed was colloquially called Humpty Dumpty, was strategically placed on the wall. A shot from a Parliamentary cannon succeeded in damaging the wall beneath Humpty Dumpty, which caused the cannon to tumble to the ground. The Royalists (or Cavaliers, "all the King's men") attempted to raise Humpty Dumpty on to another part of the wall, but the cannon was so heavy that "All the King's horses and all the King's men couldn't put Humpty together again". Author Albert Jack claimed in his 2008 book Pop Goes the Weasel: The Secret Meanings of Nursery Rhymes that there were two other verses supporting this claim. Elsewhere, he claimed to have found them in an "old dusty library, [in] an even older book", but did not state what the book was or where it was found. It has been pointed out that the two additional verses are not in the style of the seventeenth century or of the existing rhyme, and that they do not fit with the earliest printed versions of the rhyme, which do not mention horses and men.

In popular culture


A poster advertising a pantomime version at the Olympic Theatre in New York 1868, starring George L. Fox
Humpty Dumpty has become a highly popular nursery rhyme character. American actor George L. Fox (1825–77) helped to popularise the character in nineteenth-century stage productions of pantomime versions, music, and rhyme.[29] The character is also a common literary allusion, particularly to refer to a person in an insecure position, something that would be difficult to reconstruct once broken, or a short and fat person. Humpty Dumpty has been used in a large range of literary works in addition to his appearance as a character in Through the Looking-Glass, including L. Frank Baum's Mother Goose in Prose (1901), where the rhyming riddle is devised by the daughter of the king, having witnessed Humpty's "death" and her father's soldiers' efforts to save him.[31] In Neil Gaiman's early short story The Case of the Four and Twenty Blackbirds, the Humpty Dumpty story is turned into a film noir-style hardboiled crime story, involving other characters from popular nursery rhymesRobert Rankin used Humpty Dumpty as one victim of a serial fairy-tale character murderer in The Hollow Chocolate Bunnies of the Apocalypse (2002). Jasper Fforde included Humpty Dumpty in his novels The Well of Lost Plots(2003)] and The Big Over Easy (2005),[35] which use him respectively as a ringleader of dissatisfied nursery rhyme characters threatening to strike and as the victim of a murder. Humpty Dumpty appears as a lead villain in the DreamWorks animation Puss in Boots (2011).
The rhyme has also been used as a reference in more serious literary works, including as a recurring motif of the Fall of Man in James Joyce's 1939 novel Finnegans Wake.[36]Robert Penn Warren's 1946 American novel All the King's Men is the story of populist politician Willie Stark's rise to the position of governor and eventual fall, based on the career of the infamous Louisiana Senator and Governor Huey Long. It won the 1947 Pulitzer Prize and was twice made into a film in 1949 and 2006, the former winning the Academy Award for best motion picture.[37] This was echoed in Carl Bernstein and Bob Woodward's book All the President's Men, about the Watergate scandal, referring to the failure of the President's staff to repair the damage once the scandal had leaked out. It was filmed as All the President's Men in 1976, starring Robert Redford and Dustin Hoffman.[38] Similarly, Humpty Dumpty is referred to in Paul Auster's 1985 novel City of Glass, when two characters discuss him as "the purest embodiment of the human condition" and quote extensively from Through the Looking Glass.[39] Luis d'Antin van Rooten's 1967 book Mots d'Heures, a collection of homophonically translated poetry, includes a version of the rhyme in nonsensical French text, beginning "Un petit d'un petit, S'étonne aux Halles...".
It has also been used as a common motif in popular music, including Hank Thompson's "Humpty Dumpty Heart" (1948), The Monkees' "All the King's Horses" (1966), Aretha Franklin's "All the King's Horses" (1972), Tori Amos's "Humpty Dumpty" (1992),[41] and Travis's "The Humpty Dumpty Love Song" (2001).[42] In jazzOrnette Coleman and Chick Corea wrote different compositions, both titled Humpty Dumpty. (In Corea's case, however, it is a part of a concept album inspired by Lewis Carroll called The Mad Hatter, 1978).
In the Dolly Parton song Starting Over Again, it's all the king's horses and all the king's men who can't put the divorced couple back together again. The 1925 song "I'm Sitting on Top of the World" twice mentions Humpty in its lyrics with the line "just like Humpty Dumpty, I'm gonna fall". Similarly, in an extra verse in one version of ABBA's On and On and On, Humpty Dumpty is mentioned as being afraid of falling.

Mickey Mouse Surprise Eggs!




When is Born Mickey Mouse?
Mickey Mouse is a funny animal cartoon character and the mascot of The Walt Disney Company. He was created by Walt Disney and Ub Iwerks at the Walt Disney Studios in 1928. An anthropomorphic mouse who typically wears red shorts, large yellow shoes, and white gloves, Mickey is one of the world's most recognizable characters. Created as a replacement for a prior Disney character, Oswald the Lucky Rabbit, Mickey first appeared in the short Plane Crazy, debuting publicly in the short film Steamboat Willie (1928), one of the first sound cartoons. He went on to appear in over 130 films, including The Band Concert (1935), Brave Little Tailor (1938), and Fantasia (1940). Mickey appeared primarily in short films, but also occasionally in feature-length films. Ten of Mickey's cartoons were nominated for the Academy Award for Best Animated Short Film, one of which, Lend a Paw, won the award in 1942. In 1978, Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame. Beginning in 1930, Mickey has also been featured extensively as a comic strip character. His self-titled newspaper strip, drawn primarily by Floyd Gottfredson, ran for 45 years. Mickey has also appeared in comic books such as Disney Italy's Topolino, MM - Mickey Mouse Mystery Magazine, and Wizards of Mickey, and in television series such as The Mickey Mouse Club (1955–1996) and others. He also appears in other media such as video games as well as merchandising and is a meetable character at the Disney parks. Mickey generally appears alongside his girlfriend Minnie Mouse, his pet dog Pluto, his friends Donald Duck and Goofy, and his nemesis Pete, among others (see Mickey Mouse universe). Though originally characterized as a cheeky lovable rogue, Mickey was rebranded over time as a nice guy, usually seen as an honest and bodacious hero. In 2009, Disney began to rebrand the character again by putting less emphasis on his friendly, well-meaning persona and reintroducing the more menacing and stubborn sides of his personality, beginning with the video game Epic Mickey.[3] In August 2018, ABC television announced a two-hour prime time special, Mickey's 90th spectacular, in honor of Mickey's 90th birthday.[4] On November 18, 2018 "Mickey Mouse 90th Anniversary" was celebrated around the World.

Production by country

United States and United Kingdom

Comic strips

The first Disney comics appeared in daily newspapers, syndicated by King Features with production done in-house by a Disney comic strip department at the studio. The Mickey Mouse daily comic strip began on January 13, 1930,[1] featuring Mickey as an optimistic, adventure-seeking young mouse. It was initially written by Walt Disney (who early in his career had aspirations to be a comic strip creator, attempting without success to sell a strip titled Mr. George's Wife[2]) with art by Ub Iwerks and Win Smith. Beginning with the May 5, 1930 installment the art chores were taken up by Floyd Gottfredson (often aided by various inkers), who also either wrote or supervised the story continuities (relying on various writers to flesh out his plots). Gottfredson continued with the strip until 1975. A Sunday strip started January 10, 1932 with a topper Silly Symphony strip.[3]
Silly Symphony initially related the adventures of Bucky Bug, the first Disney character to originate in the comics.[4] It subsequently printed adaptations of some of the Symphony cartoons, several extended periods of stories involving Pluto and Little Hiawatha along with adaptations of Snow White and Pinocchio. By late 1935 the strip was a standalone half-page, not strictly a topper for the Mickey Sunday.
The Silly Symphony strip included the following stories: [5]
  • Bucky Bug (Jan 10, 1932 - March 4, 1934)
  • Birds of a Feather (March 11 - June 17, 1934)
  • Peculiar Penguins (July 1 - Sept 9, 1934)
  • The Little Red Hen (Sept 16 - Dec 16, 1934)
  • The Boarding School Mystery (Dec 23, 1934 - Feb 17, 1935)
  • Ambrose the Robber Kitten (Feb 24 - April 21, 1935)
  • Cookieland (April 28 - July 21, 1935)
  • Three Little Kittens (July 28 - Oct 20, 1935)
  • The Life and Adventures of Elmer the Elephant (Oct 27, 1935 - Jan 12, 1936)
  • Further Adventures of the Three Little Pigs (Jan 19 - Aug 23, 1936)
  • Donald Duck (Aug 30, 1936 - Dec 5, 1937)
  • Snow White and the Seven Dwarfs (Dec 12, 1937 - April 24, 1938)
  • Practical Pig (May 1 - Aug 7, 1938)
  • Mother Pluto (Aug 14 - Oct 16, 1938)
  • Farmyard Symphony (Oct 23 - Nov 27, 1938)
  • Timid Elmer (Dec 4, 1938 - Feb 12, 1939)
  • Pluto the Pup (Feb 19 - March 19, 1939)
  • The Ugly Duckling (March 26 - April 16, 1939)
  • Pluto the Pup (April 23 - Dec 17, 1939)
  • Pinocchio (Dec 24, 1939 - April 7, 1940)
  • Pluto the Pup (April 14 - Nov 3, 1940)
  • Little Hiawatha (Nov 10, 1940 - July 12, 1942)
Donald Duck made his first comics appearance in the Silly Symphony adaptation of the 1934 Disney short The Wise Little Hen (Sept. 16, 1934-Dec. 16, 1934). As Donald's popularity grew, he became the star of the Silly Symphony strip for an extended run (August 1936 to December 1937),[6] and then got his own daily strip starting on February 7, 1938. A Donald Sunday strip premiered December 10, 1939. Carl Barks, known to fans as "The Duck Man," wrote at least 20 of the strips between 1938 and 1940.[7] Donald Duck ran until May 2005, when it went into reprints.[7]
An oddity is in the 1930s a Disney strip was done seemingly outside the purview of the Strip Dept. for a national audience. It was created by Fred Spencer, an animator at the studio. Entitled "Mickey Mouse Chapter", it appeared in the International DeMolay Cordon the monthly newsletter of Demolay beginning with its Dec. 1932 issue through May 1933 (except March 1933). This was a two tier black and white strip depicting happenings in the Demolay Chapter formed by Mickey and his barnyard friends. Spencer and Walt Disney were both members of Demolay. While the last installment promised the series would return in the Sept. 1933 issue without explanation it did not. The extant installments have been reprinted as part of the first volume of Sunday Mickey Mouse comic strips by Floyd Gottfredson published in 2013 by Fantagraphics.[8]
The Silly Symphony Sunday-only strip ended July 12, 1942.[9] This was replaced with an adaptation of Bambi, and then a José Carioca Sunday only strip and a Panchito strip, until it in turn was replaced by Uncle Remus and His Tales of Br'er Rabbit. The Uncle Remus strip began, like the others, as a topper for the Mickey Mouse strip, but after the first few years, almost always appeared on its own. The strip lasted until th end of 1972.[10]
  • Bambi (July 19 - Oct 4, 1942)
  • José Carioca (Oct 11, 1942 - Oct 1, 1944)
  • Panchito (Oct 8, 1944 - Oct 7, 1945)
  • Uncle Remus and His Tales of Br'er Rabbit (Oct 14, 1945 - Dec 31, 1972)
Initially Floyd Gottfredson along with his responsibilities for the Mickey comic strip oversaw the Disney comic strip department from 1930 to 1945, then Frank Reilly was brought in to administer the burgeoning department from January 1946 to 1975. Greg Crosby headed the department from 1979 to 1989.
Besides the strips described above the other Disney strips distributed over the years included (chronologically by start date):
For the first eight months Scamp had continuity and was written by Ward Greene, the King Features editor whose short story and novelization contributed to the development of the storyline for Lady and the Tramp. Advance publicity for the strip noted Greene's participation[18] and the strip carried the byline "By Ward Greene". Disney historian Jim Fanning notes Scamp likely is "the only strip written by the original author of the work from which it sprang".[19]
Sunday strips adapting Cinderella[20] and Alice in Wonderland[21] were distributed as stand-alone specials in 1950 and 1951 respectively. The following year the Sunday adaptations of Disney films began being issued under the title Treasury of Classic Tales as part of an ongoing strip.[22]
Beginning in 1960[23] a special daily strip with a holiday theme utilizing the Disney characters was offered each year through 1987.[24][25][26] It generally ran for three weeks with the concluding strip appearing on December 25, often promoting the latest Disney release or re-release.[27] These were unique in that they in some cases showcased the crossover of Disney characters that otherwise rarely interacted (e.g. the Big Bad Wolf and the fairies from Sleeping Beauty). The tradition was revived in the mid-1990s to publicize contemporary Disney feature animated films: Beauty and the Beast (1992), Aladdin (1993), The Lion King (1994), Pocahontas (1995), Hunchback of Notre Dame (1996) and The Little Mermaid (for its re-release, 1997).[28] Newspaper Enterprise Association offered a similar holiday themed special stripfrom 1936 to 2010.[29][30]
The following writers and artists worked on the Disney comic strips:
  • Donald Duck: written by Bob Karp; art by Al Taliaferro, Frank Grundeen, Al Hubbard, Kay Wright, Ellis Eringer, Daan JippesTony Strobl, Larry Mayer, Jim Franzen, Ulrich Schroder, Jorgen Klubien, Bill Langley, Pete Alvarado, Frank Smith and Larry Knighton.
  • Gummi Bears: art by Rick Hoover.
  • Jose Carioca: art by Paul Murry.
  • Merry Menagerie: written by Bob Karp; art by Bob Grant.
  • Mickey Mouse: written by Floyd GottfredsonMerrill De MarisTed OsborneBill Walsh and Floyd Norman; art by Floyd Gottfredson, Roman Arambula, Rick Hoover, Alex Howell, Manuel Gonzales, Bill Wright, Ted Thwaites, Carson Van OstenDaan Jippes, Larry Mayer and Jim Engel.
  • Mickey Mouse and His Friends: written by Milt Banta and Roy Williams; art by Ken Hultgren and Julius Svendsen.
  • Scamp: art by John Ushler and Larry Mayer.
  • Treasury of Classic Tales: written by Carl Fallberg and Frank Reilly; art by Floyd Gottfredson, John Ushler, Julius Svendsen and Jesse Marsh.
  • True Life Adventures: written by Dick Huemer, art by George Wheeler.
  • Uncle Remus: written by Bill Walsh, George Stallings and Jack Boyd; art by Bill Wright, Riley Thomson, Chuck Fuson, John Ushler, Dick Moores, Paul Murry
  • Winnie the Pooh: written by Don Ferguson; art by Larry Mayer and Richard Moore.
Norman, in an article, listed the writers working in the comic strip department in the 1980s and mentions Cal Howard, Del Connell, Bill Berg (Donald DuckScamps),[31] Don Ferguson, Tom Yakutis and Bob Foster and notes that their boss, Greg Crosby, had gotten his start as a writer for the strips before moving into management.[32]
The Disney comic strip department closed in January 1990. The last two strips, Mickey Mouse and Donald Duck, continued to be supervised by King Features. The Donald strip was drawn by Larry Knighton with King Features staffers writing it.[33] The Donald strip was discontinued in the mid-1990s. In this period the Mickey strip had Floyd Norman as the writer and art rotating between Rick Hoover and Alex Howell. Norman convinced the syndicate to allow him to drop the gag-a-day format in favor of adventure continuities of up to four weeks, much in the style of the classic Gottfredson era. By 1994 the strip was running in only 30 newspapers and by mutual agreement of Disney and King Features it ended.[32] Both strips continued with reprints.
Currently reprints of Merrie Menagerie are a regular feature of Disney Newsreel, a bi-weekly magazine for Disney employees in Southern California. Disney's fan-oriented website D23 daily posts an installment of the Scamp strip with links to an extensive archives of past installments (which includes the Mickey and Donald strip). Among the regular features of the quarterly Disney Twenty-Three magazine for D23 members is "The Funny Pages", a section reprinting classic Disney comics strips.[34]
In recent years Creators Syndicate has offered reprints of the Donald DuckMickey Mouse and Winnie the Pooh strips as part of a "classics" package and posts the current strip on its site (without archiving).[35]Domestically the strips have 20-30 clients at any one time; they also appear in many newspapers outside the United States (exact number unknown).

BALDI vs Humpty Dumpty


Who is Baldi?
Baldi is the titular main antagonist in Baldi's Basics in Education and Learning. Baldi is the head teacher of Here School, giving the Player math problems to solve in the notebooks to collect them. After the math problems are solved correctly (or incorrectly), the notebook disappears, storing it into the counter from how many notebooks the player obtained, seen on the top left on the heads-up display. He also owns a bus, originally owned by Joe. Baldi is a poorly modeled CGI (computer-generated imagery) human figure with long, skinny fingers, pale-tan skin, large red lips, and is bald except for what seems to be a singular hair on his head. He also has a long-sleeved green shirt, blue pants, and light brown shoes. Even though he has no visible ears, the description mentions that Baldi still has an excellent sense of hearing. Baldi at the start of the game. Personality
Baldi is known for his eerily nonchalant demeanor, and his dangerous personality is not immediately evident. He carries a facade of friendliness and a relaxed demeanor, though it most likely is his default mental state. He warmly greets students in a friendly fashion and uses positive reinforcement when they correctly answer his questions. He loves math and believes everyone else does. His love of math is so strong, other people failing to answer a math question shatters his psyche, and he undergoes a disturbing personality change. His formally talkative and affable nature completely disappears, and he drastically changes into a cold man keen on delivering corporal punishment for the minor mistake. It's also possible that Baldi's mental stability is only seen when people follow what he wants. He slaps his ruler in his hand like some sort of compulsive habit, and slowly but surely chases his quarry, growing faster the angrier he gets. After collecting notebooks, he gives students a chance to leave the school, albeit in a limited time span and laughs at their escape efforts. It is unknown if he is a psychopath or sociopath, but given he manages a school, the former is more likely. cit http://baldis-basics-in-education-and-learning.wikia.com

Game mode
History mode
The game will start in a school. The goal is to collect 7 notebooks scattered around the map without getting caught by Baldi, the main antagonist [5]. Besides Baldi, you can find other topics, each with a different skill. Every time a dial is taken, a new screen will open in which some mathematical operations must be solved [6]; the first notebook will be completely solvable, even if starting from the second one, the last quiz is not the solution because of an intentional glitch that makes an illegible sequence of overlapping numbers appear on the screen. At that point Baldi will activate and chase after the player throughout the school, moving jerkily towards his position and increasing his speed with each failed quiz. Once you have taken the seven notebooks, you will have to go to the exit to be able to win, but not before having identified three false exits during the escape. During this phase, the whole school will turn red and a noisy sound effect will start.

Endless mode
In version 1.3 of the game the "Infinite Mode" has been added. A difference in the History mode will be to collect as many notebooks as possible before getting caught by Baldi. In addition to this, the game mechanics are unchanged.

Enemies
Baldi: The main enemy of the game. It is activated when the player incorrectly responds to one of his problems. He is also the only character to whom the game is over. Baldi will move jerkily towards the game and become faster with every wrong operation. His movements are accompanied by the sound of the line that Baldi repeatedly beats on the hand. The player can use the objects scattered around the school to repel Baldi.
Principal of the Thing: he is the principal of the school and is one of the first obstacles one encounters. You will see the player in the corridors, use consumable items or enter restricted rooms. He will remain in the detention room where he will watch for 15 seconds with an additional 15 times the player will be captured. At 60 seconds the first punishments will last 99 seconds. This will make us vulnerable to Baldi.
Playtime Girl: it looks like an ugly and disturbing drawing depicting a little girl jumping rope and an obstacle that appears very often. His presence will be announced by a somewhat distorted childish music. When I come into contact with the player, a mini game per race will certainly be completed, blocking it and thus making it vulnerable to Baldi. The mini game is about having to jump a certain number of times and, in case of error, you will have to start over again. It is possible that the mini-game is the "safety scissors" object.
He is a bully: he is the school bully. It is an aspect that will remain fixed in one point of the map forcing the player to change direction or sacrifice an object to continue. If the enemy "Principal of the Thing" passes in its vicinity while blocking the player, it will take it away freeing the passage.
Gotta Sweep: the "janitor" of the school, is a giant green broom that will "sweep" the player along his path. He can direct him against Baldi or remove him from him. He is able to "sweep" other topics too, with the exception of IS a bully.
1st Prize: is a robotic character always looking for the game. It is a behavior similar to that of Gotta Sweep, but as a first default follows, 1st prize will always move towards the player, thus starting to accelerate more and more and one pushing it towards Baldi, also covering the view. Its presence is announced by a mechanical sound that gets stronger when approaching. The player can also use it to get away at full speed from Baldi, thus avoiding running and consuming energy. He is the only character in the game to have a 3D texture.
Arts and Craftsmen: Arts and Craftsmen is a sock-shaped puppet that will activate only at the seventh quadrant, accompanied by a very annoying sound. Once the player is reached, he will be teleported with Baldi to the starting point of the game.

Spiderman Epic Video!




Who is Spiderman?
Spider-Man is a fictional superhero created by writer-editor Stan Lee and writer-artist Steve Ditko. He first appeared in the anthology comic book Amazing Fantasy #15 (August 1962) in the Silver Age of Comic Books. He appears in American comic books published by Marvel Comics, as well as in a number of movies, television shows, and video game adaptations set in the Marvel Universe. In the stories, Spider-Man is the alias of Peter Parker, an orphan raised by his Aunt May and Uncle Ben in New York City after his parents Richard and Mary Parker were killed in a plane crash. Lee and Ditko had the character deal with the struggles of adolescence and financial issues, and accompanied him with many supporting characters, such as J. Jonah JamesonHarry OsbornMax Modellromantic interests Gwen Stacy and Mary Jane Watson, and foes such as Doctor OctopusGreen Goblin and Venom. His origin story has him acquiring spider-related abilities after a bite from a radioactive spider; these include clinging to surfaces, shooting spider-webs from wrist-mounted devices, and detecting danger with his "spider-sense".
When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. The Spider-Man series broke ground by featuring Peter Parker, a high school student from Queens behind Spider-Man's secret identity and with whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate.[9] While Spider-Man had all the makings of a sidekick, unlike previous teen heroes such as Bucky and Robin, Spider-Man had no superhero mentor like Captain America and Batman; he thus had to learn for himself that "with great power there must also come great responsibility"—a line included in a text box in the final panel of the first Spider-Man story but later retroactively attributed to his guardian, the late Uncle Ben.
Marvel has featured Spider-Man in several comic book series, the first and longest-lasting of which is The Amazing Spider-Man. Over the years, the Peter Parker character developed from a shy, nerdy New York City high school student to troubled but outgoing college student, to married high school teacher to, in the late 2000s, a single freelance photographer. In the 2010s, he joins the Avengers, Marvel's flagship superhero team. Spider-Man's nemesis Doctor Octopusalso took on the identity for a story arc spanning 2012–2014, following a body swap plot in which Peter appears to die.[10] Marvel has also published books featuring alternate versions of Spider-Man, including Spider-Man 2099, which features the adventures of Miguel O'Hara, the Spider-Man of the future; Ultimate Spider-Man, which features the adventures of a teenaged Peter Parker in an alternate universe; and Ultimate Comics Spider-Man, which depicts the teenager Miles Morales, who takes up the mantle of Spider-Man after Ultimate Peter Parker's supposed death. Miles is later brought into mainstream continuity, where he works alongside Peter.
Spider-Man is one of the most popular and commercially successful superheroes.[11] As Marvel's flagship character and company mascot, he has appeared in countless forms of media, including several animated and live action television seriessyndicated newspaper comic strips, and in a series of films. The character was first portrayed in live action by Danny Seagren in Spidey Super Stories, a The Electric Company skit which ran from 1974 to 1977.[12] In films, Spider-Man has been portrayed by actors Tobey MaguireAndrew Garfield,[13] and in the Marvel Cinematic Universe by Tom HollandReeve Carney starred as Spider-Man in the 2010 Broadway musical Spider-Man: Turn Off the Dark.[14] Spider-Man has been well received as a superhero and comic book character, and he is often ranked as one of the most popular and iconic comic book characters of all time and one of the most popular characters in all fiction.

Creation and development


Richard Wentworth a.k.a. the Spider in the pulp magazine The Spider. Stan Lee stated that it was the name of this character that inspired him to create a character that would become Spider-Man.[15]
In 1962, with the success of the Fantastic Four, Marvel Comics editor and head writer Stan Lee was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books, and the desire to create a character with whom teens could identify.[16]:1 In his autobiography, Lee cites the non-superhuman pulp magazine crime fighter the Spider as a great influence,[15]:130 and in a multitude of print and video interviews, Lee stated he was further inspired by seeing a spider climb up a wall—adding in his autobiography that he has told that story so often he has become unsure of whether or not this is true.[note 1] Although at the time teenage superheroes were usually given names ending with "boy", Lee says he chose "Spider-Man" because he wanted the character to age as the series progressed, and moreover felt the name "Spider-Boy" would have made the character sound inferior to other superheroes.[17] He also decided to insert a hyphen in the name, as he felt it looked too similar to Superman, another superhero with a red and blue costume which starts with an "S" and ends with "man".[18] At that time Lee had to get only the consent of Marvel publisher Martin Goodman for the character's approval. In a 1986 interview, Lee described in detail his arguments to overcome Goodman's objections.[note 2] Goodman eventually agreed to a Spider-Man tryout in what Lee in numerous interviews recalled as what would be the final issue of the science-fiction and supernatural anthology series Amazing Adult Fantasy, which was renamed Amazing Fantasy for that single issue, #15 (cover-dated August 1962, on sale June 5, 1962).[19] In particular, Lee stated that the fact that it had already been decided that Amazing Fantasy would be cancelled after issue #15 was the only reason Goodman allowed him to use Spider-Man.[17] While this was indeed the final issue, its editorial page anticipated the comic continuing and that "The Spiderman [sic] ... will appear every month in Amazing."[19][20]
Regardless, Lee received Goodman's approval for the name Spider-Man and the "ordinary teen" concept and approached artist Jack Kirby. As comics historian Greg Theakston recounts, Kirby told Lee about an unpublished character on which he had collaborated with Joe Simon in the 1950s, in which an orphaned boy living with an old couple finds a magic ring that granted him superhuman powers. Lee and Kirby "immediately sat down for a story conference", Theakston writes, and Lee afterward directed Kirby to flesh out the character and draw some pages.[21] Steve Ditko would be the inker.[note 3] When Kirby showed Lee the first six pages, Lee recalled, "I hated the way he was doing it! Not that he did it badly—it just wasn't the character I wanted; it was too heroic".[21]:12 Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled:
One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....[22]
Although the interior artwork was by Ditko alone, Lee rejected Ditko's cover art and commissioned Kirby to pencil a cover that Ditko inked.[19] As Lee explained in 2010, "I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jack's covers."[23]
In an early recollection of the character's creation, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal."[24] At the time, Ditko shared a Manhattan studio with noted fetish artist Eric Stanton, an art-school classmate who, in a 1988 interview with Theakston, recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands."[21]:14

Amazing Fantasy #15 (August 1962) first introduced the character. It was a gateway to commercial success for the superhero and inspired the launch of The Amazing Spider-Mancomic book. Cover art by penciller Jack Kirby and inker Steve Ditko.
Kirby disputed Lee's version of the story and claimed Lee had minimal involvement in the character's creation. According to Kirby, the idea for Spider-Man had originated with Kirby and Joe Simon, who in the 1950s had developed a character called the Silver Spider for the Crestwood Publications comic Black Magic, who was subsequently not used.[note 4] Simon, in his 1990 autobiography, disputed Kirby's account, asserting that Black Magic was not a factor, and that he (Simon) devised the name "Spider-Man" (later changed to "The Silver Spider"), while Kirby outlined the character's story and powers. Simon later elaborated that his and Kirby's character conception became the basis for Simon's Archie Comics superhero the Fly.[25] Artist Steve Ditko stated that Lee liked the name Hawkman from DC Comics, and that "Spider-Man" was an outgrowth of that interest.[22]
Simon concurred that Kirby had shown the original Spider-Man version to Lee, who liked the idea and assigned Kirby to draw sample pages of the new character but disliked the results—in Simon's description, "Captain America with cobwebs".[note 5] Writer Mark Evanier notes that Lee's reasoning that Kirby's character was too heroic seems unlikely—Kirby still drew the covers for Amazing Fantasy #15 and the first issue of The Amazing Spider-Man. Evanier also disputes Kirby's given reason that he was "too busy" to draw Spider-Man in addition to his other duties since Kirby was, said Evanier, "always busy".[26]:127 Neither Lee's nor Kirby's explanation explains why key story elements like the magic ring were dropped; Evanier states that the most plausible explanation for the sudden change was that Goodman, or one of his assistants, decided that Spider-Man, as drawn and envisioned by Kirby, was too similar to the Fly.[26]:127
Author and Ditko scholar Blake Bell writes that it was Ditko who noted the similarities to the Fly. Ditko recalled that "Stan called Jack about the Fly", adding that "[d]ays later, Stan told me I would be penciling the story panel breakdowns from Stan's synopsis". It was at this point that the nature of the strip changed. "Out went the magic ring, adult Spider-Man and whatever legend ideas that Spider-Man story would have contained". Lee gave Ditko the premise of a teenager bitten by a spider and developing powers, a premise Ditko would expand upon to the point he became what Bell describes as "the first work for hire artist of his generation to create and control the narrative arc of his series". On the issue of the initial creation, Ditko states, "I still don't know whose idea was Spider-Man".[27] Kirby noted in a 1971 interview that it was Ditko who "got Spider-Man to roll, and the thing caught on because of what he did".[28] Lee, while claiming credit for the initial idea, has acknowledged Ditko's role, stating, "If Steve wants to be called co-creator, I think he deserves [it]".[29] He has further commented that Ditko's costume design was key to the character's success; since the costume completely covers Spider-Man's body, people of all races could visualize themselves inside the costume and thus more easily identify with the character.[17]

Commercial success

A few months after Spider-Man's introduction, publisher Goodman reviewed the sales figures for that issue and was shocked to find it was one of the nascent Marvel's highest-selling comics.[30]:97 A solo ongoing series followed, beginning with The Amazing Spider-Man #1 (cover-dated March 1963). The title eventually became Marvel's top-selling series[9]:211 with the character swiftly becoming a cultural icon; a 1965 Esquire poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the Hulk alongside Bob Dylan and Che Guevara as their favorite revolutionary icons. One interviewee selected Spider-Man because he was "beset by woes, money problems, and the question of existence. In short, he is one of us."[9]:223 Following Ditko's departure after issue #38 (July 1966), John Romita, Sr. replaced him as penciler and would draw the series for the next several years. In 1968, Romita would also draw the character's extra-length stories in the comics magazine The Spectacular Spider-Man, a proto-graphic novel designed to appeal to older readers. It only lasted for two issues, but it represented the first Spider-Man spin-off publication, aside from the original series' summer annuals that began in 1964.[31]
An early 1970s Spider-Man story led to the revision of the Comics Code. Previously, the Code forbade the depiction of the use of illegal drugs, even negatively. However, in 1970, the Nixon administration's Department of Health, Education, and Welfare asked Stan Lee to publish an anti-drug message in one of Marvel's top-selling titles.[9]:239 Lee chose the top-selling The Amazing Spider-Man; issues #96–98(May–July 1971) feature a story arc depicting the negative effects of drug use. In the story, Peter Parker's friend Harry Osborn becomes addicted to pills. When Spider-Man fights the Green Goblin (Norman Osborn, Harry's father), Spider-Man defeats the Green Goblin, by revealing Harry's drug addiction. While the story had a clear anti-drug message, the Comics Code Authority refused to issue its seal of approval. Marvel nevertheless published the three issues without the Comics Code Authority's approval or seal. The issues sold so well that the industry's self-censorship was undercut and the Code was subsequently revised.[9]:239
In 1972, a second monthly ongoing series starring Spider-Man began: Marvel Team-Up, in which Spider-Man was paired with other superheroes and villains.[32] From that point on there have generally been at least two ongoing Spider-Man series at any time. In 1976, his second solo series, Peter Parker, the Spectacular Spider-Man began running parallel to the main series.[33] A third series featuring Spider-Man, Web of Spider-Man, launched in 1985 to replace Marvel Team-Up.[34] The launch of a fourth monthly title in 1990, the "adjectiveless" Spider-Man (with the storyline "Torment"), written and drawn by popular artist Todd McFarlane, debuted with several different covers, all with the same interior content. The various versions combined sold over 3 million copies, an industry record at the time. Several limited seriesone-shots, and loosely related comics have also been published, and Spider-Man makes frequent cameos and guest appearances in other comic series.[33][35] In 1996 The Sensational Spider-Man was created to replace Web of Spider-Man.[36]
In 1998 writer-artist John Byrne revamped the origin of Spider-Man in the 13-issue limited series Spider-Man: Chapter One (December 1998 – October 1999), similar to Byrne's adding details and some revisions to Superman's origin in DC ComicsThe Man of Steel.[37] At the same time the original The Amazing Spider-Man was ended with issue #441 (November 1998), and The Amazing Spider-Man was restarted with vol. 2, #1 (January 1999).[38] In 2003 Marvel reintroduced the original numbering for The Amazing Spider-Man and what would have been vol. 2, #59 became issue #500 (December 2003).[38]
When primary series The Amazing Spider-Man reached issue #545 (December 2007), Marvel dropped its spin-off ongoing series and instead began publishing The Amazing Spider-Man three times monthly, beginning with #546–548 (all January 2008).[39] The three times monthly scheduling of The Amazing Spider-Man lasted until November 2010 when the comic book was increased from 22 pages to 30 pages each issue and published only twice a month, beginning with #648–649 (both November 2010).[40][41] The following year, Marvel launched Avenging Spider-Man as the first spinoff ongoing series in addition to the still twice monthly The Amazing Spider-Man since the previous ones were cancelled at the end of 2007.[39] The Amazing series temporarily ended with issue #700 in December 2012, and was replaced by The Superior Spider-Man, which had Doctor Octopus serve as the new Spider-Man, having taken over Peter Parker's body. Superior was an enormous commercial success for Marvel,[42] and ran for 31-issue before the real Peter Parker returned in a newly relaunched The Amazing Spider-Man #1 in April 2014.[43]
Following the 2015 Secret Wars event, a number of Spider-Man-related titles were either relaunched or created as part of the "All-New, All-Different Marvel" event. Among them, The Amazing Spider-Man was relaunched as well and primarily focuses on Peter Parker continuing to run Parker Industries, and becoming a successful businessman who is operating worldwide.[44]