Question: What is a comic that is as long as a book called?

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

Answer: graphic novel

<hl> The graphic novel —book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). <hl> The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The <hl> graphic novel <hl>—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The <hl> graphic novel <hl> —book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978).


Question: Who helped "graphic novel" get public attention?

Answer: Will Eisner

<hl> The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). <hl> The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The graphic novel—book-length comics—began to gain attention after <hl> Will Eisner <hl> popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.


Question: What decade did the term "graphic novel" become well known by the public?

Answer: 1980s

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). <hl> The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid- 1980s . <hl> In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-<hl> 1980s <hl>. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid- <hl> 1980s <hl> .


Question: In addition to printed graphic novels in stores, what became popular online?

Answer: webcomics

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. <hl> In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common. <hl>

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and <hl> webcomics <hl> became common.


Question: The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term?

Answer: Maus

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). <hl> The term became widely known with the public after the commercial success of Maus , Watchmen, and The Dark Knight Returns in the mid-1980s. <hl> In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of <hl> Maus <hl>, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

The term became widely known with the public after the commercial success of <hl> Maus <hl> , Watchmen, and The Dark Knight Returns in the mid-1980s.


Question: Who started producing comic strips and theories about them in 1827?

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

Answer: Rodolphe Töpffer

<hl> The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. <hl> Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

The francophone Swiss <hl> Rodolphe Töpffer <hl> produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.


Question: What century had comics in wide production?

Answer: 19th

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. <hl> Cartoons appeared widely in newspapers and magazines from the 19th century. <hl> The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the <hl> 19th <hl> century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.


Question: What 1925 cartoon made speech bubbles popular?

Answer: Zig et Puce

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. <hl> The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. <hl> The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of <hl> Zig et Puce <hl> in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.


Question: What comics began to dominate in Europe?

Answer: Franco-Belgian

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. <hl> The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. <hl> The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which <hl> Franco-Belgian <hl> comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.


Question: When was "The Adventures of Tintin" serialized?

Answer: 1929

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. <hl> The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929 , and became an icon of Franco-Belgian comics. <hl>

The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in <hl> 1929 <hl>, and became an icon of Franco-Belgian comics.

The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in <hl> 1929 <hl> , and became an icon of Franco-Belgian comics.


Question: In the United States in the middle of the 20th century comics were seen as a risk to culture and what?

Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]

Answer: literacy

Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. <hl> As in the US, at the time comics were seen as infantile and a threat to culture and literacy ; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d] <hl>

Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. As in the US, at the time comics were seen as infantile and a threat to culture and <hl> literacy <hl>; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]

As in the US, at the time comics were seen as infantile and a threat to culture and <hl> literacy <hl> ; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]


Question: What was seen as "infantile" in the United States?

Answer: comics

<hl> Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. <hl> As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]

Following the success of Le Journal de Mickey (1934–44), dedicated <hl> comics <hl> magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]


Question: Comics were quoted as a sabotage of art and what?

Answer: literature

Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. <hl> As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature ".[d] <hl>

Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all <hl> literature <hl>".[d]

As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all <hl> literature <hl> ".[d]


Question: What does bandes dessinées mean?

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

Answer: drawn strips

<hl> In the 1960s, the term bandes dessinées (" drawn strips ") came into wide use in French to denote the medium. <hl> Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

In the 1960s, the term bandes dessinées ("<hl> drawn strips <hl>") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

In the 1960s, the term bandes dessinées (" <hl> drawn strips <hl> ") came into wide use in French to denote the medium.


Question: Comics for adults began to be called what?

Answer: Ninth Art

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. <hl> Cartoonists began creating comics for mature audiences, and the term " Ninth Art "[e] was coined, as comics began to attract public and academic attention as an artform. <hl> A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "<hl> Ninth Art <hl>"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

Cartoonists began creating comics for mature audiences, and the term " <hl> Ninth Art <hl> "[e] was coined, as comics began to attract public and academic attention as an artform.


Question: What year did Pilote begin?

Answer: 1959

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. <hl> A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. <hl> Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in <hl> 1959 <hl> to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.


Question: What became a best-seller comic in the French language?

Answer: Adventures of Asterix

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's <hl> The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. <hl> From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The <hl> Adventures of Asterix <hl> appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.


Question: Pilote cartoonists were upset with censorship and what?

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.

Answer: editorial interference

<hl> Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. <hl> Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.

Frustration with censorship and <hl> editorial interference <hl> led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.


Question: When was L'Écho des savanes begun?

Answer: 1972

<hl> Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972 . <hl> Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in <hl> 1972 <hl>. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in <hl> 1972 <hl> .


Question: Métal hurlant was of what genre?

Answer: science fiction

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. <hl> Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics. <hl>

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental <hl> science fiction <hl> of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.


Question: What format did adult comics begin to be published in?

Answer: prestige

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. <hl> Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige -format adult comics. <hl>

Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing <hl> prestige <hl>-format adult comics.

Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing <hl> prestige <hl> -format adult comics.


Question: Which historical overview did Seiki Hosokibara create?

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Answer: Nihon Manga-Shi

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. <hl> The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi [i] in 1924. <hl> Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's <hl> Nihon Manga-Shi <hl>[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

The first historical overview of Japanese comics was Seiki Hosokibara's <hl> Nihon Manga-Shi <hl> [i] in 1924.


Question: When did Hosokibara create Nihon Manga-Shi?

Answer: 1924

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. <hl> The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924 . <hl> Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in <hl> 1924 <hl>. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in <hl> 1924 <hl> .


Question: What was created in 2001 to give students comic scholarships?

Answer: Japan Society for Studies in Cartoon and Comics

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. <hl> Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. <hl> The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and <hl> Japan Society for Studies in Cartoon and Comics <hl> (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".


Question: Who helped the rest of the world use the word manga outside of Japan's borders?

Answer: Frederik L. Schodt

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. <hl> The publication of Frederik L. Schodt 's Manga! <hl> Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of <hl> Frederik L. Schodt <hl>'s Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

The publication of <hl> Frederik L. Schodt <hl> 's Manga!


Question: What publication is Schodt responsible for?

Answer: Manga! Manga! The World of Japanese Comics

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. <hl> The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics". <hl>

Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's <hl> Manga! Manga! The World of Japanese Comics <hl> in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".


Question: Who put together a history of American comics in 1947?

Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Answer: Coulton Waugh

<hl> Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). <hl> Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

<hl> Coulton Waugh <hl> attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.


Question: What was the name of Waugh's work?

Answer: The Comics

<hl> Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). <hl> Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Coulton Waugh attempted the first comprehensive history of American comics with <hl> The Comics <hl> (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.


Question: Who created a book about comics from a philosophical point of view?

Answer: David Carrier

Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. <hl> David Carrier 's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. <hl> Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. <hl> David Carrier <hl>'s The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

<hl> David Carrier <hl> 's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective.


Question: What book did Will Eisner create in 1985?

Answer: Comics and Sequential Art

Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). <hl> Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. <hl> David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's <hl> Comics and Sequential Art <hl> (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.


Question: What word is used in France for comics?

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Answer: bandes dessinées

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. <hl> The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. <hl> The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, <hl> bandes dessinées <hl> ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.


Question: What word is used in Japan for comics?

Answer: manga

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. <hl> The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature. <hl>

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term <hl> manga <hl> is used in Japanese to indicate all forms of comics, cartooning, and caricature.


Question: What does bandes dessinées mean?

Answer: drawn strip

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. <hl> The French term for comics, bandes dessinées (" drawn strip ") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. <hl> The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("<hl> drawn strip <hl>") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

The French term for comics, bandes dessinées (" <hl> drawn strip <hl> ") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics.


Question: What is the definitive factor of bandes dessinées?

Answer: drawn images

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. <hl> The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. <hl> The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of <hl> drawn images <hl> as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.


Question: What comics are on the Internet?

Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

Answer: Webcomics

<hl> Webcomics are comics that are available on the internet. <hl> They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

<hl> Webcomics <hl> are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.


Question: Webcomics reach large audiences and new what?

Answer: readers

Webcomics are comics that are available on the internet. <hl> They are able to reach large audiences, and new readers usually can access archived installments. <hl> Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

Webcomics are comics that are available on the internet. They are able to reach large audiences, and new <hl> readers <hl> usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.


Question: With webcomics, readers have access to what?

Answer: archived installments

Webcomics are comics that are available on the internet. <hl> They are able to reach large audiences, and new readers usually can access archived installments . <hl> Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access <hl> archived installments <hl>. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

They are able to reach large audiences, and new readers usually can access <hl> archived installments <hl> .


Question: Not held back by size limits, webcomics are said to have a what?

Answer: infinite canvas

Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. <hl> Webcomics can make use of an infinite canvas —meaning they are not constrained by size or dimensions of a page. <hl>

Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an <hl> infinite canvas <hl>—meaning they are not constrained by size or dimensions of a page.

Webcomics can make use of an <hl> infinite canvas <hl> —meaning they are not constrained by size or dimensions of a page.


Question: Storyboards and what are thought to be comics by some?

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.

Answer: Wordless novels

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. <hl> Wordless novels are books which use sequences of captionless images to deliver a narrative. <hl>

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. <hl> Wordless novels <hl> are books which use sequences of captionless images to deliver a narrative.


Question: Storyboards are used a lot by what?

Answer: Film studios

Some consider storyboards and wordless novels to be comics. <hl> Film studios , especially in animation, often use sequences of images as guides for film sequences. <hl> These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.

Some consider storyboards and wordless novels to be comics. <hl> Film studios <hl>, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.

<hl> Film studios <hl> , especially in animation, often use sequences of images as guides for film sequences.


Question: Storyboards are not considered what?

Answer: an end product

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. <hl> These storyboards are not intended as an end product and are rarely seen by the public. <hl> Wordless novels are books which use sequences of captionless images to deliver a narrative.

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as <hl> an end product <hl> and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.


Question: Who does not often see storyboards used in film making?

Answer: the public

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. <hl> These storyboards are not intended as an end product and are rarely seen by the public . <hl> Wordless novels are books which use sequences of captionless images to deliver a narrative.

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by <hl> the public <hl>. Wordless novels are books which use sequences of captionless images to deliver a narrative.

These storyboards are not intended as an end product and are rarely seen by <hl> the public <hl> .


Question: A book with pictures with no captions that tell a story are called what?

Answer: Wordless novels

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. <hl> Wordless novels are books which use sequences of captionless images to deliver a narrative. <hl>

Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. <hl> Wordless novels <hl> are books which use sequences of captionless images to deliver a narrative.


Question: What has not been reached as far as defining comics is concerned?

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Answer: consensus

<hl> Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. <hl> Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Similar to the problems of defining literature and film, no <hl> consensus <hl> has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.


Question: R. C. Harvey, Will Eisner and others are considered to be comic what?

Answer: Theorists

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. <hl> Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. <hl> Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. <hl> Theorists <hl> such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.


Question: What are there prominent examples of in comic history?

Answer: pantomime comics

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. <hl> Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. <hl> Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of <hl> pantomime comics <hl> throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.


Question: Comic critics, such as McCloud, stressed that sequences of what should be primary?

Answer: images

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. <hl> Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images , though there are prominent examples of pantomime comics throughout its history. <hl> Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and <hl> images <hl>, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and <hl> images <hl> , though there are prominent examples of pantomime comics throughout its history.


Question: What century had forgotten comic forms rediscovered?

Answer: 20th

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. <hl> Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task. <hl>

Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the <hl> 20th <hl> century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.


Question: In the 1840s, Töpffer wrote theories about whose work?

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.

Answer: his own

<hl> European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. <hl> No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.

European comics studies began with Töpffer's theories of <hl> his own <hl> work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.


Question: Who introduced the term "multiframe"?

Answer: Henri Vanlier

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". <hl> In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. <hl> By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, <hl> Henri Vanlier <hl> introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.


Question: Who used a semiotics method to study comics in the 1970s?

Answer: Pierre Fresnault-Deruelle

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. <hl> Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". <hl> In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. <hl> Pierre Fresnault-Deruelle <hl> then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.


Question: Who used cognitive science to learn how people understand comics?

Answer: Neil Cohn

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. <hl> Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. <hl> This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.

European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, <hl> Neil Cohn <hl> has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.


Question: What Russian word is used for comics?

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Answer: komiks

<hl> Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks ) and German (comic). <hl> Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, <hl> komiks <hl>) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, <hl> komiks <hl> ) and German (comic).


Question: What German word is used for comics?

Answer: comics

<hl> Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). <hl> Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Many cultures have taken their words for <hl> comics <hl> from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.


Question: What Chinese word was derived from the Japanese word manga?

Answer: manhua

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). <hl> Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written. <hl>

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term <hl> manhua <hl> and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.


Question: What Korean word was derived from the Japanese word for manga?

Answer: manhwa

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). <hl> Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written. <hl>

Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean <hl> manhwa <hl> derive from the Chinese characters with which the Japanese term manga is written.


Question: The word comic comes from the humorous pieces found where?

The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

Answer: newspaper comic strips

<hl> The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips ; usage of the term has become standard for non-humorous works as well. <hl> The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

The English term comics derives from the humorous (or "comic") work which predominated in early American <hl> newspaper comic strips <hl>; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

The English term comics derives from the humorous (or "comic") work which predominated in early American <hl> newspaper comic strips <hl> ; usage of the term has become standard for non-humorous works as well.


Question: Comic is used for what other kind of work other than humorous works?

Answer: non-humorous

<hl> The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. <hl> The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for <hl> non-humorous <hl> works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.