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TEMA:
Qualities of a Good Special Education Teacher
OBJETIVO GENERAL
Identificar las cualidades más importantes para ser un excelente professor.
Objetivos Especificos:
- Introducir al estudiante de Licenciatura en el mundo de los valores docentes.
- Aportar material valioso para la reflexión pedagógica.

ALCANCE:
Estas lecturas son las claves para resolver el cuestionario final, deben leerlas con detenimiento para alcanzar los objetivos
* * **Qualities of a Good Special Education Teacher
From Sue Watson, Your Guide to Special Education. FREE Newsletter. Sign Up Now!
Have you ever wondered what makes a great special education teacher? What separates a mediocre teacher from a terrific teacher? It's not easy to define, however, here's a list of qualities listed by parents, principals, educators and students.
Are you a Top Special Education Teacher?
1. You love your role, you love being with your students and you couldn't imagine doing anything else. You were meant to teach special needs children, you know this in your heart.
2. You have a great deal of patience and know that little steps in learning go a long way.
3. You know your students well and they are comfortable and at ease with you, they enjoy having you as their teacher and look forward to going school each day.
4. You provide a non-threatening, welcoming environment that nurtures each of the students you work with.
5. You understand your students, you know what motivates them and you know how to scaffold activities to ensure that maximum learning occurs.
6. You take each student from where they are and provide experiences that will maximize success. You're always discovering new things about your students.
7. You are very comfortable working with exceptional learners and learners with diverse needs.
8. You thrive on challenge, can easily build relationships with your students and your student's parents.
9. You are a life-long learner and committed to the profession.
10. You have a never ending willingness to ensure that all students reach their maximum potential. You constantly strive to 'reach and teach' every student under your care.
Tips on Becoming a Teacher
Dr. R. J. Kizlik
Updated June 28, 2007
Some people, from the time they are in first grade, know they want to be teachers. For others, the idea can be a sudden insight, or a feeling that ferments for years in some remote corner of their consciousness. Regardless of where the idea comes from, for many, the images associated with becoming a teacher are compelling. However, as is often the case in life, the differences between images and reality can be stark and unsettling. This is the reason for this page.
We all know that as the "Baby Boomers" retire and leave teaching in large numbers over the next ten years, probably more than a million new teachers will be needed to replace them, let alone hundreds of thousands needed to keep pace with the growth of student populations. Perhaps you will be one of them. Perhaps not. Please read on.
This page is about some basic teacher-things. For sure, not every person who wants to be a teacher should be a teacher. There is a vast gulf between the ideal of teaching and the reality of the classroom. Teaching probably won't make you rich, and, to be sure, no one should make any career decision without gathering as much information as possible. This page is a start.
Teaching is like no other profession. As a teacher, you will wear many hats. You will, to name but of a few of the roles teachers assume in carrying out their duties, be a communicator, a disciplinarian, a conveyor of information, an evaluator, a classroom manager, a counselor, a member of many teams and groups, a decision-maker, a role-model, and a surrogate parent. Each of these roles requires practice and skills that are often not taught in teacher preparation programs. Not all who want to be teachers should invest the time and resources in preparation programs if they do not have the appropriate temperament, skills, and personality. Teaching has a very high attrition rate. Depending on whose statistics you trust, around forty percent of new teachers leave teaching within the first five years. It is obviously not what they thought it would be. One thing for sure, it's about more than loving kids.
Make no mistake; as a teacher, your day doesn't necessarily end when the school bell rings. If you're conscientious, you will be involved in after school meetings, committees, assisting students, grading homework, assignments, projects, and calling parents. All these demand some sacrifice of your personal time. If you're committed to excellence as a teacher, it's a sacrifice you can live with. If not, you will be uncomfortable at best.
Teacher preparation programs exist in every state, and the requirements vary. You will have many options from which to choose. Choose wisely. My own advice is to select a program that offers a rich and solid foundation of courses, regardless of whether you intend to teach at the elementary, middle school, or high school level. I believe that no teacher education program, including the one in which I teach, can actually teach you how to teach. Rather, what we do is get you ready to learn how to teach, and that takes place on the job. My advice is to choose a program that offers a rich balance of subject matter content courses and pedagogy, including clinical experience in all its forms. You are learning both skills and understandings in any teacher education program. Practice those skills as perfectly as possible, and strive each day to deepen your understandings of the concepts, theories and generalizations that you encounter. By doing so, you will build a solid foundation for learning how to teach once you become employed, and, you will be a better teacher.
From my own teaching experience and from discussions and teaching many hundreds of teachers and thousands of teacher education students, there emerge common threads of understanding and skill that good teachers weave into an effective personal style of teaching. Assess your own knowledge and values in terms of your thoughts about the following:
Good teachers:
are good at explaining things. Do you like to explain how something works, or how something happened? Being comfortable with explaining content to students is an essential skill for teachers.
keep their cool. There will be times when you will be tempted to scream or yell at your students, other teachers, parents, administrators, and so on. Good teachers are able to successfully resist this urge.
have a sense of humor. Research has consistently shown that good teachers have a sense of humor, and that they are able to use humor as part of their teaching methods. Humor, used properly, can be a powerful addition to any lesson.
like people, especially students in the age range in which they intend to teach. Most teachers choose an area of specialization such as elementary education, special education, secondary education, or higher education because they have a temperament for students in those age ranges. If you are not comfortable working with young children, don't major in elementary education!
are inherently fair-minded. They are able to assess students on the basis of performance, not on the students' personal qualities.
have "common sense." It may sound a bit corny, but good teachers are practical. They can size up a situation quickly and make an appropriate decision. Whether managing a classroom, leading students on a field trip, seamlessly shifting from one instructional procedure to another, assigning detentions, supervising an intern, or dealing with policy and curriculum issues in the school, there is no substitute for common sense.
have a command of the content they teach. For elementary school teachers, that means having knowledge of a broad range of content in sufficient depth to convey the information in meaningful ways to the students. For secondary school teachers, it usually means having an in-depth command of one or two specific content areas such as mathematics or biology.
set high expectations for their students and hold the students to those expectations. If you are thinking about becoming a teacher, you should set high expectations for yourself, and demand excellence not only of yourself, but your students as well.
are detail oriented. If you are a disorganized person in your private life, you will find that teaching will probably be uncomfortable for you. At the very least, teachers must be organized in their professional and teaching duties. If you're not organized and are not detail oriented, teaching may not be the best choice of a profession for you.
are good managers of time. Time is one of the most precious resources a teacher has. Good teachers have learned to use this resource wisely.
can lead or follow, as the situation demands. Sometimes, teachers must be members of committees, groups, councils, and task forces. Having the temperament to function in these capacities is extremely important. At other times, teachers assume leadership roles. Be sure you are comfortable being a leader or a follower, because sooner or later, you will be called on to function in those roles.
don't take things for granted. This applies to everything, from selecting a college or school of education to filing papers for certification. Good follow-through habits should be cultivated throughout life, but they are never more important than during your teacher education program. Read the catalog, know the rules, be aware of prerequisites and meet deadlines. In one sense, you don't learn to teach by getting a degree and becoming certified. You learn to teach in much the same way you learned to drive -- by driving. You learn to teach by teaching, by making mistakes, learning from them and improving. The purpose of a teacher education program is to get you as ready as possible to learn how to teach by subjecting you to a variety of methods and experiences that have a basis in tradition and research.
All of these qualities define some of the characteristics of good teachers. If it is not your goal to become a good teacher at the very least, perhaps thinking about the above will help you see other career alternatives. A good idea, when first making such a decision, is to talk to teachers. Find out what they do, and what led them into teaching. Do a personal inventory of your own values, personality, preferences and goals. But, whatever you do, don't go into teaching simply because you love kids!
EVALUACION
AFTER READING YOU CAN ANSWER THESE QUESTIONS

PLEASE , BE SINCERE.

YOU CAN MAKE A ESAY OR DRAW FOR ANSWERING ALL QUESTIONS.


*Have you ever wondered what makes a great special education teacher?
* What separates a mediocre teacher from a terrific teacher?
*How Are Good Teachers Made?
*If you were a politician, what sort of teacher-quality measures would you propose?

GOOD LUCK.

WE´LL CHECK YOUR ANSWERS IN aannyy0354@gmail.com or in this blog

GREEN LATERN

FOR TODAY, I WANT TO SHOW SOME INFORMATION ABOUT GREEN LATERN.

LOOK AT THE PICTURES, IF YOU HAVE OTHERS, PLEASE, SEND ME THAT ¡

Green Lantern, All American's next important hero, was synthesized from as many different elements as there were colors in his guady garb. His pants may have been as green as his name, but his shirt and boots were red with yellow details, his mask was black, his hair was blond and his huge, wraparound cloak was deep purple. The outfit looked like it had been thrown together in the dark, and the character was created in much the same fashion, yet somehow everything seemed to work.

Editor Sheldon Mayer actually hadn't wanted to publish Green Lantern at all. When artist Martin Nodell showed up with his initial sketches, Mayer wasn't impressed with the drawings, even though he was looking for more super heroes. So he brought in Bill Finger, the writer responsible for the original Batman scripts, and together they hammered out a storyline that might help support Nodell's shaky style. The artist had to be part of the package, of course, since the original concept was his. It consisted of a costume and a magic lamp.

Green Lantern made his debut in issue 16 of All-American Comics (July 1940), thus introducing super heroes into that formerly old-fashioned environment. The origin story, credited to Bill Finger and "Mart Dellon," was a mixture of comic book conventions and the Arabian Nights fantasy of Aladdin. Narrated in part by the lamp itself, it told of a meteor that fell in old China and was fashioned into a magic lamp that possessed strange powers. In fact, the "green lantern" itself was the title character and hero of the tale, instructing young Alan Scott that its verdant light "must be shed over dark, evil things." A ring made of its metal and touched to the lamp daily gave Scott virtual omnipotence (wood somehow resisted his power), and it was his own idea to construct that wild costume, "so bizarre that once I am seen I will never be forgotten."

The character proved his popularity and graduated to his own title, Green Lantern (Fall 1941). By that time, most of the art was being contributed by Irwin Hasen, who turned out to be the definitive interpreter. Mayer introduced a slapstick sidekick named Doiby Dickles, a comical cabdriver, to showcase Hasen's cartoonish, deceptively simple approach; the style eventually won Hasen his own newspaper strip, the long-running Dondi. New writers for Green Lantern included science fiction specialists Alfred Bester and Henry Kuttner. Bester's scripts were good, but his greatest contribution to All American and DC was recruiting Julius Schwartz to become Sheldon Mayer's story editor.

Julius Schwartz, whose long career would give him a significant influence on DC's output, began as a literary agent for writers like Bester and horror virtuoso H.P. Lovecraft. "I hadn't read a comic book story in my life," says Schwartz. "I had to learn from a script what a caption was, what a speech balloon was." Schwartz went to work for Mayer in 1944, just months before All American merged with DC, and would stay on the job for more than forty years. "When I was hired, I didn't get involved with the artwork at all," he says. "I didn't have an official title, but I would plot the stories with the writers, edit the scripts, and give them to the artists. Then the artists would bring their pages in and show them to Shelly, and I had nothing to do with that, but I loved to plot." With separate editors for story and art, with scripts created by collaboration between editors and writers, with illustrations divided among pencillers and inkers and colorists, the job of putting together a comic book was becoming a matter of complex teamwork rather than individual inspiration. Producing the regularly scheduled appearances of a successful super hero was more like making a movie than writing a novel, and Green Lantern is a prime example of this process in action.
Sheldon Mayer, Bill Finger, and Irwin Hasen were so fond of Green Lantern that they made one of their later characters his fan. Called upon to provide a new hero for the first issue of an All American anthology called Sensation Comics (January 1942), they came up with Wildcat. He was a boxer who wanted to battle corruption and got the idea of dressing up as a black panther when a neighborhood kid described a Green Lantern story to him. "You mean he wears a costume so nobody would recognize him?" asks Ted, so delighted with the plan that he slips his informant a buck. "Gosh," says the kid as Ted runs off to fight crime, "now I can buy Flash Comics too!"
Green Lantern Lit AgainComics Get Cosmic Consciousness
In 1959, editor Julius Schwartz made the second move in his campaign to revive classic super heroes. "I said, now that the Flash is a success--well, I always liked Green Lantern," he recalls. Nonetheless, he felt the character needed an update. "I decided to use more of a sciene fiction angle," he says, and in fact he dropped the vaguely magical premise of the old Green Lantern for a concept that sent its protagonist careening through space and time, through new dimenions and to other worlds.
To write adventures on a cosmic scale that had never really been attempted in a super hero series before, Schwartz called on his friend John Broome. Collaborating on the plotting, they conjured up the tale of Hal Jordan, a test pilot who is drawn by an eerie force to the wreck of an alien spaceship. Within lies Abin Sur, a bald, scarlet-skinned moribund visitor from beyond. He identifies himself as one of the "selected space-patrolmen in the super-galactic system," passes on his mission to Jordan, and promptly expires. Armed only with a ring powered by a battery of overwhelming energy, Jordan dons his benefactor's costume and becomes Green Lantern.

"Julie and John Broome figured out the essential qualities for the character, and I figured out a costume for him and so on," says Gil Kane. An artist who started in comics as a teenager, Kane had aspired to work at DC but found it at first "very hard to get into." After a false start he became a DC regular in 1949 "and then I stayed there forever." A thoughtful artist who was critical of his won work and always striving to improve, Kane began to forge a new approach to super heroes when he got his chance with Green Lantern. "I started to use the lines of the body as a basis for the costume, not just putting on a pair of tights and an intial on the chest," he says. The design was part of an approach that emphasized grace as well as strength, an approach especially notable in Kane's flying scenes. Most heroes seemed to struggle to stay aloft (perhaps because Superman began as a jumper, not a flyer), but Green Lantern appeared to soar effortlessly across the cosmos. "That lyrical look sort of caught on," says Kane, "before super heroes started bristling with weaponry and all sorts of mechanization."

The new Green Lantern made his debut in issue 22 of the tryout comic book Showcase (October-November 1959), but Schwartz was confident enough to bring him back for the next two issues, and Green Lantern #1 (July-August 1960) was apparently a foregone conclusion. John Broome stayed on for fifty-nine issues, and Gil Kane for sixty; there was ample time for the team to envision a saga of unusual scope and power. Their grand vision was evident as early as the first issue, when Green Lantern was introduced to his supervisors, the blue-hued Guardians who police the universe. In the ninth issue, readers encountered the entire Green Lantern Corps, a group of similarly empowered beings drawn from the farthest reaches of outer space. For all his amazing abilities, this super hero was just a cog in a vast machine.
His power, however, was virtually infinite. Fueled every day by the battery that resembled an old-fashioned lamp, Green Lantern's ring cast forth verdant rays that he could transform through pure will into any shape, force or energy. Even by Superman's standards he seemed casually omnipotent, but there was a fly in ointment: due to an "impurity in the battery," Hal Jordan was helpless against anything colored yellow. The was a somewhat strained solution to the necessity of giving the protagonist problems to solve, but in the days of multicolored kryptonite, perhaps it was inevitable.
"Julie ran a very tight ship," says Kane. "John Broome was a sweet, lovely man," he adds, but writers and artists had limited contact in this era. "Everything came through Julie, and Julie would plot every single story." No one can recall who was responsible for specific details, but Green Lantern got a typical supporting cast with a few interesting twists. His young side-kick, a Jimmy Olsen type with no powers, was an Eskimo mechanic named Thomas Kalmaku. Hal Jordan's romantic interest, Carol Ferris, ran the company whose planes he tested. There was the usual stuff about her loving Green Lantern and ignoring Hal, but the fact that she was his boss added some spice, especially since she was occasionally transformed into "that mistress of mighty powers and eerie energies" called Star Sapphire. Clad in a clinging crimson costume, she was one more reason for him to recall his oath:

HELLO MY FRIENDS

I ENJOY TALKING ABOUT COMICS, PICTURES BECAUSE THE LIFE IS FULL COLORS, COMICS DESCRIBES REAL LIFE AND FANTASTIC STORIES, I `M GOIN TO TRAY TO SHOW SOME EXAMPLES.

MY FAVORITE COMIC IS SPIDERMAN AND WHO IS YOUR FAVORITE COMIC?

THIS ARTICLE IS ABOUT SPIDERMAN, ENJOY IT¡


From Wikipedia,

Spider-Man is a fictional Marvel Comics superhero created by Stan Lee and Steve Ditko. Since his first appearance in Amazing Fantasy #15 (Aug. 1962), he has become one of the world's most popular, enduring and commercially successful superheroes and is arguably Marvel's most popular character.
When Spider-Man first saw print in the 1960s, teenage characters in superhero comic books were usually sidekicks. The Spider-Man series broke ground by featuring a hero who himself was an adolescent, to whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate.[1] Spider-Man has since appeared in various media including several animated and live-action television series, syndicated newspaper comic strips and a successful series of films.

Publication history
By 1962, with the success of the Fantastic Four and other characters, Marvel editor and head writer Stan Lee was casting about for a new superhero idea. He said that 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.[2] In his autobiography, Lee cites the non-superhuman pulp magazine crime fighter The Spider as an influence[3] and both there and in a multitude of print and video interviews said he was inspired by seeing a fly climb up a wall — adding in his autobiography that he has told that story so often he has become unsure of whether or not it is true.[4] Artist Ditko, in a 1990 article by himself, gave a more prosaic origin story for the name:
“
"In a discussion with me about Spider-Man, Stan said he liked the name Hawkman but DC had the name and character. Marvel would add Ant-Man [and the Wasp] so it would have the insect category. (Technically a spider is not an insect). From that I believed Stan had named the character.[5]
”
Lee approached Marvel publisher Martin Goodman to seek approval for the character. In a 1986 interview, he described in detail his arguments to overcome Goodman's objections.[1a] Goodman agreed to let Lee try out Spider-Man in the upcoming final issue of the canceled science-fiction/supernatural anthology series Amazing Adult Fantasy, which was renamed Amazing Fantasy for that single issue, #15 (Aug. 1962).[6]
Jack Kirby, in a 1982 interview, claimed Lee had minimal involvement in the character's creation, and that it had originated with Kirby and Joe Simon, who in the 1950s had proposed a character called The Silver Spider for the Crestwood comic Black Magic until the publisher went out of business. [1b]
Simon, in his 1990 autobiography, disputes Kirby's account, asserting that the supernatural anthology Black Magic was not a factor, and that he (Simon) devised the name "Spiderman" (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, introduced in early 1959.

Amazing Fantasy #15 (Aug. 1962). Cover art by Jack Kirby (penciller) & Steve Ditko (inker).
Comics historian Greg Theakston says that Lee, after receiving Goodman's approval for the name Spider-Man and the "ordinary teen" concept, approached Kirby. Kirby told Lee about his 1950s Silver Spider/Spiderman, in which an orphaned boy living with an old couple finds a magic ring that gives him superpowers. Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. Steve Ditko would be the inker.[7] "A day or two later", Kirby showed Lee the first six pages, and, as 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".[8] Simon concurs that Kirby had shown the original Spiderman 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".[1c]
Lee turned to Ditko, who developed a visual motif Lee found satisfactory, although Lee would later replace Ditko's original cover with one penciled by Kirby. Ditko said,
“
"The Spider-Man pages Stan showed me were nothing like the (eventually) published character. In fact, the only drawings of Spider-Man were on the splash [i.e., page 1] and at the end [where] Kirby had the guy leaping at you with a web gun... Anyway, the first five pages took place in the home, and the kid finds a ring and turns into Spider-Man.[9]
”
Ditko also recalled that,
“
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....[10]
”
Much earlier, in a rare contemporaneous account, 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".[11] Additionally, Ditko shared a Manhattan studio with noted fetish artist Eric Stanton, an art-school classmate[12] 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".[13]

Commercial success

Fictional character biography

Main article: Fictional history of Spider-Man
In his first appearance, Peter Parker is introduced as a science whiz kid teenager from the Forest Hills section of New York City who gets bitten by a radioactive spider during a science demonstration. He gains powers and at first attempts to become a TV star. He fails to stop a thief, and weeks later the same criminal kills his Uncle Ben. Learning that with great power comes great responsibility, Spider-Man becomes a vigilante.[23] After his uncle's death, he and his aunt become desperate for money, so he gets a job as a photographer at the Daily Bugle selling photos to J. Jonah Jameson, who vilifies his alter ego in the paper.[24] As he battles his enemies for the first time, Parker finds juggling his personal life and costumed adventures difficult, even attempting to give up.[25][26] Enemies constantly endanger his loved ones,[27] with the Green Goblin managing to kill his girlfriend Gwen Stacy.[28] Though haunted by her death, he eventually marries Mary Jane Watson, and much later reveals his civilian identity to the world,[29] furthering his already numerous problems.

Powers and equipment
Main article: Spider-Man's powers and equipment

Three Spider-Man costumes of "Civil War" story arc. Promotional art by Leinil Francis Yu.
A bite from an irradiated spider causes a variety of changes in Peter Parker's body, giving him superpowers. In the original Lee-Ditko stories, Spider-Man has the ability to cling to walls, superhuman strength, a sixth sense ("spider-sense") that alerts him to danger, perfect balance and equilibrium, as well as superhuman speed and agility. In story-lines published in 2005 and 2006 (such as The Other), he develops additional spider-like abilities including biological web-shooters, toxic stingers that extend from his forearms, the ability to stick individuals to his back, better control over Spider-sense for detection, and night vision. Spider-Man's strength and speed have also increased beyond his original limits.
Spider-Man's overall metabolic efficiency has been greatly increased, and the composition of his skeleton, inter-connected tissues, and nervous system have all been enhanced. Spider-Man's musculature has been augmented so that he is superhumanly strong and flexible. He has developed a unique fighting style that makes full use of his agility, strength, and equilibrium.
Peter Parker is intellectually gifted, excelling in applied science, chemistry and physics. He uses his wits in addition to his powers. Besides outsmarting his foes, he constructs many devices that complement his powers, most notably mechanical web-shooters (ejecting an advanced adhesive compound which dissolves after two hours[30]), which he developed in his teenage years. They are capable of releasing web-fluid in a variety of configurations, including a single strand to swing from, a net, and a simple glob to foul machinery or blind an opponent. He can also weave the web material into simple forms like a shield, a spherical protection or hemi-spherical barrier, a club, or a hang-glider wing. Other equipment includes spider-tracers (spider-shaped adhesive homing beacons keyed to his own spider-sense), a light beacon which can either be used as a flashlight or project a "Spider-Signal" design, a specially modified camera that can take pictures automatically. He has also used an invention of Ben Reilly's (a clone of Peter Parker), called "impact webbing": a pellet that explodes on impact into a wrap-around net of webbing.
Though lacking in directed training, Spider-Man is one of the most experienced superheroes in the Marvel Universe. He has worked with virtually everyone in the superhero community at one time or another. Due to this experience, he has beaten foes with far greater powers and abilities. His fighting style is purely freestyle, which incorporates his speed, agility, strength and spider-sense. A very large part of his combat ability is improvisation and using his wits to out-think his opponents. One constant is his habit of using jokes, puns and insults. This not only causes his adversaries to become angry and distracted, but it also helps Spider-Man deal with any fears or doubts that he might have during a battle.
Spider-Man has had a few costume changes over his history, with three notable costumes -- his traditional red-and-blue costume, the black-and-white alien symbiote (later developed into a regular costume for stealth) and the technologically advanced Stark Armor costume designed by Tony Stark. In early comics and sporadically throughout his run depending on a given artist's interpretation, Spider-Man's costume included webbing that extended from his underarms to his torso. Although the eyes of the costume are made of fabric, in some continuities the eyes will change depending on Peter's facial expression.

Enemies

A gathering of Spider-Man's villains.
Main article: List of Spider-Man enemies
Spider-Man has one of the best-known rogues galleries in comics. Spider-Man's most infamous and dangerous enemies are generally considered to be the Green Goblin,[31] Doctor Octopus, and Venom. Others include the Lizard, Chameleon, Hobgoblin, Kraven the Hunter, the Scorpion, the Sandman, the Rhino, Mysterio, Vulture, Electro, Carnage, the Kingpin, Shocker, Hydro-Man , and Morlun. As with Spider-Man, the majority of these villains' powers originate with scientific accidents or the misuse of scientific technology, and they tend to have animal-themed costumes or powers. At times these villains have formed groups such as the Sinister Six to oppose Spider-Man.

Supporting characters
Main article: Spider-Man supporting characters
Spider-Man was conceived as an ordinary person given great power, and the comics detail his civilian life, friends, family and romances as much as his super-heroic adventures.
Some of the more important and well-known members of his extensive supporting cast include:
Aunt May – Peter Parker's loving aunt, who raises him after his parents die. After the murder of her husband, Peter's Uncle Ben, May is virtually his only family, and they are very close.
Mary Jane Watson – originally merely Gwen Stacy's competition, 'MJ' eventually became Peter's best friend and wife.
J. Jonah Jameson – the irascible publisher of the Daily Bugle newspaper. While he employs Peter Parker as a photographer, he is also Spider-Man's greatest critic and largely responsible for public distrust of the hero.
Joseph "Robbie" Robertson – Editor-in-chief at the Daily Bugle, a moderating influence on Jameson, and a father figure to Peter after Uncle Ben's death.
Betty Brant – Secretary at the Daily Bugle who was once in love with Peter.
Gwen Stacy – Peter's college girlfriend, who is tragically killed by the Green Goblin.
Flash Thompson – Peter Parker's high school tormentor, later one of his closest friends. Due to brain damage, he suffers amnesia and regresses to his bullying personality.
Harry Osborn – Peter's best friend in college, who eventually follows his father's footsteps and becomes the second Green Goblin, which destroys him.
Black Cat, Felicia Hardy – a reformed cat burglar who was Spider-Man's girlfriend and partner at one point.

COMICS

Comics (or, less commonly, sequential art) is a form of visual art consisting of images which are commonly combined with text, often in the form of speech balloons or image captions. Originally used to illustrate caricatures and to entertain through the use of amusing and trivial stories, it has by now evolved into a literary medium with many subgenres.
The most common forms of printed comics are comic strips (most commonly four panels long) in newspapers and magazines, and longer comic stories in comic books, graphic novels and comic albums. In the first two forms the comics are secondary material usually confined to the entertainment sections, while the latter consist either entirely or primarily of comics.
Depending on the definition of the term, the origin of comics can be traced back to 15th century Europe. However, today's form of comics (with panels, and using text within the image in speech balloons, etc.), as well as the term comics itself, originated in the late 19th century.