Question: When did super heroes become popular again in comic books?

Answer: 1960s

The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. <hl> Superheroes re-established themselves as the most prominent comic book genre by the early 1960s . <hl> Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.

The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early <hl> 1960s <hl>. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.

Superheroes re-established themselves as the most prominent comic book genre by the early <hl> 1960s <hl> .

question: When did super heroes become popular again in comic books?, context: The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early 1960s. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.


Question: When did the alternative comics movement begin?

Answer: 1980s

The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early 1960s. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. <hl> The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres. <hl>

The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early 1960s. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the <hl> 1980s <hl> and its mature, often experimental content in non-superhero genres.

question: When did the alternative comics movement begin?, context: The popularity of superhero comic books declined following World War II, while comic book sales continued to increase as other genres proliferated, such as romance, westerns, crime, horror, and humour. Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated in Senate hearings that led to the establishment of the Comics Code Authority self-censoring body. The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century. Superheroes re-established themselves as the most prominent comic book genre by the early 1960s. Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s. The underground gave birth to the alternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.


Question: Serialization of comics became less popular when?

Answer: 1980s

<hl> From the 1980s , mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. <hl> Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

From the <hl> 1980s <hl>, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

From the <hl> 1980s <hl> , mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums.

question: Serialization of comics became less popular when?, context: From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.


Question: How were comics published when serialization became less common?

Answer: as albums

<hl> From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums . <hl> Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly <hl> as albums <hl>. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly <hl> as albums <hl> .

question: How were comics published when serialization became less common?, context: From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.


Question: Which small publisher published in formats that were not traditional?

Answer: L'Association

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. <hl> Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. <hl> Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as <hl> L'Association <hl> that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.

question: Which small publisher published in formats that were not traditional?, context: From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.


Question: Comics continue to thrive regardless of the decrease in what market?

Answer: print market

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. <hl> Sales overall continued to grow despite the trend towards a shrinking print market . <hl>

From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking <hl> print market <hl>.

Sales overall continued to grow despite the trend towards a shrinking <hl> print market <hl> .

question: Comics continue to thrive regardless of the decrease in what market?, context: From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums. Smaller publishers such as L'Association that published longer works in non-traditional formats by auteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.


Question: What picture books from the 17th century show manga origins?

Answer: toba-e and kibyōshi picture books

<hl> Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books , and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. <hl> The kibyōshi contained examples of sequential images, movement lines, and sound effects.

Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century <hl> toba-e and kibyōshi picture books <hl>, and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyōshi contained examples of sequential images, movement lines, and sound effects.

Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century <hl> toba-e and kibyōshi picture books <hl> , and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries.

question: What picture books from the 17th century show manga origins?, context: Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books, and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyōshi contained examples of sequential images, movement lines, and sound effects.


Question: What is ukiyo-e an example of?

Answer: woodblock prints

<hl> Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books, and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. <hl> The kibyōshi contained examples of sequential images, movement lines, and sound effects.

Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books, and <hl> woodblock prints <hl> such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyōshi contained examples of sequential images, movement lines, and sound effects.

question: What is ukiyo-e an example of?, context: Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-century Chōjū-jinbutsu-giga, 17th-century toba-e and kibyōshi picture books, and woodblock prints such as ukiyo-e which were popular between the 17th and 20th centuries. The kibyōshi contained examples of sequential images, movement lines, and sound effects.


Question: When did comic supplements start showing up in Japan?

Answer: 1890s

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. <hl> New publications in both the Western and Japanese styles became popular, and at the end of the 1890s , American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. <hl> 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the <hl> 1890s <hl>, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

New publications in both the Western and Japanese styles became popular, and at the end of the <hl> 1890s <hl> , American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips.

question: When did comic supplements start showing up in Japan?, context: Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.


Question: Who introduced satirical strips to Japan?

Answer: Western expatriates

<hl> Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. <hl> New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

Illustrated magazines for <hl> Western expatriates <hl> introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

question: Who introduced satirical strips to Japan?, context: Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.


Question: When did Jiji Manga debut?

Answer: 1900

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. <hl> 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. <hl> By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. <hl> 1900 <hl> saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

question: When did Jiji Manga debut?, context: Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.


Question: Who started the first Japanese comic strip in modern times?

Answer: Rakuten Kitazawa

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. <hl> 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. <hl> By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, <hl> Rakuten Kitazawa <hl> began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

question: Who started the first Japanese comic strip in modern times?, context: Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.


Question: When did comic strips start appearing in hardback collection volumes?

Answer: 1930s

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. <hl> By the 1930s , comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes. <hl>

Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the <hl> 1930s <hl>, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

By the <hl> 1930s <hl> , comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.

question: When did comic strips start appearing in hardback collection volumes?, context: Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan, as well as some American comic strips. 1900 saw the debut of the Jiji Manga in the Jiji Shinpō newspaper—the first use of the word "manga" in its modern sense, and where, in 1902, Rakuten Kitazawa began the first modern Japanese comic strip. By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.


Question: What comic strip was created by Osamu Tezuka?

Answer: Sazae-san

<hl> The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san . <hl> Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip <hl> Sazae-san <hl>. Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip <hl> Sazae-san <hl> .

question: What comic strip was created by Osamu Tezuka?, context: The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.


Question: Where were comic strip stories first serialized?

Answer: magazines

The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. <hl> Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. <hl> At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. Stories are usually first serialized in <hl> magazines <hl> which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

question: Where were comic strip stories first serialized?, context: The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.


Question: What is considered the start of the modern comics in Japan?

Answer: after World War II

<hl> The modern era of comics in Japan began after World War II , propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. <hl> Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

The modern era of comics in Japan began <hl> after World War II <hl>, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.

The modern era of comics in Japan began <hl> after World War II <hl> , propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san.

question: What is considered the start of the modern comics in Japan?, context: The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolific Osamu Tezuka and the comic strip Sazae-san. Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may over a dozen stories; they are later compiled in tankōbon-format books. At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics. translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.


Question: Where do comics usually appear?

Answer: newspapers

<hl> Comic strips are generally short, multipanel comics that traditionally most commonly appeared in newspapers . <hl> In the US, daily strips have normally occupied a single tier, while Sunday strips have been given multiple tiers. In the early 20th century, daily strips were typically in black-and-white and Sundays were usually in colour and often occupied a full page.

Comic strips are generally short, multipanel comics that traditionally most commonly appeared in <hl> newspapers <hl>. In the US, daily strips have normally occupied a single tier, while Sunday strips have been given multiple tiers. In the early 20th century, daily strips were typically in black-and-white and Sundays were usually in colour and often occupied a full page.

Comic strips are generally short, multipanel comics that traditionally most commonly appeared in <hl> newspapers <hl> .

question: Where do comics usually appear?, context: Comic strips are generally short, multipanel comics that traditionally most commonly appeared in newspapers. In the US, daily strips have normally occupied a single tier, while Sunday strips have been given multiple tiers. In the early 20th century, daily strips were typically in black-and-white and Sundays were usually in colour and often occupied a full page.


Question: Where do serialized comics in Japan typically appear?

Answer: magazines

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. <hl> European and Japanese comics are frequently serialized in magazines —monthly or weekly in Europe, and usually black-and-white and weekly in Japan. <hl> Japanese comics magazine typically run to hundreds of pages.

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in <hl> magazines <hl>—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.

European and Japanese comics are frequently serialized in <hl> magazines <hl> —monthly or weekly in Europe, and usually black-and-white and weekly in Japan.

question: Where do serialized comics in Japan typically appear?, context: Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.


Question: How often are European serialized comics in magazines?

Answer: monthly or weekly

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. <hl> European and Japanese comics are frequently serialized in magazines— monthly or weekly in Europe, and usually black-and-white and weekly in Japan. <hl> Japanese comics magazine typically run to hundreds of pages.

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—<hl> monthly or weekly <hl> in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.

European and Japanese comics are frequently serialized in magazines— <hl> monthly or weekly <hl> in Europe, and usually black-and-white and weekly in Japan.

question: How often are European serialized comics in magazines?, context: Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.


Question: How often do serialized comics typically appear in Japanese magazines?

Answer: weekly

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. <hl> European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. <hl> Japanese comics magazine typically run to hundreds of pages.

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or <hl> weekly <hl> in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.

question: How often do serialized comics typically appear in Japanese magazines?, context: Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.


Question: How long is the typical Japanese comic magazine?

Answer: hundreds of pages

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. <hl> Japanese comics magazine typically run to hundreds of pages . <hl>

Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to <hl> hundreds of pages <hl>.

Japanese comics magazine typically run to <hl> hundreds of pages <hl> .

question: How long is the typical Japanese comic magazine?, context: Specialized comics periodicals formats vary greatly in different cultures. Comic books, primarily an American format, are thin periodicals usually published in colour. European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe, and usually black-and-white and weekly in Japan. Japanese comics magazine typically run to hundreds of pages.


Question: What are bounds volumes of comics called in America?

Answer: graphic novels

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. <hl> In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. <hl> Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called <hl> graphic novels <hl> and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.

question: What are bounds volumes of comics called in America?, context: Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.


Question: What is the name given to Japanese comics volumes?

Answer: tankōbon

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. <hl> Japanese comics are collected in volumes called tankōbon following magazine serialization. <hl>

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called <hl> tankōbon <hl> following magazine serialization.

question: What is the name given to Japanese comics volumes?, context: Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.


Question: What type of work is the word novel generally geared towards?

Answer: fiction

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. <hl> Despite incorporating the term "novel"—a term normally associated with fiction —"graphic novel" also refers to non-fiction and collections of short works. <hl> Japanese comics are collected in volumes called tankōbon following magazine serialization.

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with <hl> fiction <hl>—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.

Despite incorporating the term "novel"—a term normally associated with <hl> fiction <hl> —"graphic novel" also refers to non-fiction and collections of short works.

question: What type of work is the word novel generally geared towards?, context: Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.


Question: What term can mean a non-fiction piece of a collection of short pieces?

Answer: graphic novels

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. <hl> In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. <hl> Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.

Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called <hl> graphic novels <hl> and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.

question: What term can mean a non-fiction piece of a collection of short pieces?, context: Book-length comics take different forms in different cultures. European comics albums are most commonly printed in A4-size colour volumes. In English-speaking countries, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works. Japanese comics are collected in volumes called tankōbon following magazine serialization.


Question: Where did gag cartoons first make an appearance?

Answer: Europe

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. <hl> Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch. <hl>

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in <hl> Europe <hl> in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch.

question: Where did gag cartoons first make an appearance?, context: Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch.


Question: When did gag single-panel illustrations become known as cartoons?

Answer: 1843

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. <hl> Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch. <hl>

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in <hl> 1843 <hl> in the British humour magazine Punch.

question: When did gag single-panel illustrations become known as cartoons?, context: Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch.


Question: In which publication was cartoon first used to describe gag single-panel illustrations?

Answer: Punch

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. <hl> Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch . <hl>

Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine <hl> Punch <hl>.

Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine <hl> Punch <hl> .

question: In which publication was cartoon first used to describe gag single-panel illustrations?, context: Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazine Punch.


Question: What did comics have in the United States because of cultural roots?

Answer: lowbrow reputation

<hl> Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. <hl> In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

Comics in the US has had a <hl> lowbrow reputation <hl> stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

question: What did comics have in the United States because of cultural roots?, context: Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.


Question: Who thought pop culture was a risk?

Answer: cultural elites

<hl> Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. <hl> In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; <hl> cultural elites <hl> sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

question: Who thought pop culture was a risk?, context: Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.


Question: What was thought to be only good for children and those who could not read or write?

Answer: Comics

<hl> Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. <hl> In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

<hl> Comics <hl> in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.

question: What was thought to be only good for children and those who could not read or write?, context: Comics in the US has had a lowbrow reputation stemming from its roots in mass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.


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

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: What is a comic that is as long as a book called?, context: 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.


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: Who helped "graphic novel" get public attention?, context: 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.


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: What decade did the term "graphic novel" become well known by the public?, context: 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.


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


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


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

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: Who started producing comic strips and theories about them in 1827?, context: 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.


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 century had comics in wide production?, context: 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.


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 1925 cartoon made speech bubbles popular?, context: 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.


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: What comics began to dominate in Europe?, context: 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.


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: When was "The Adventures of Tintin" serialized?, context: 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.


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

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


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: What was seen as "infantile" in the United States?, context: 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]


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: Comics were quoted as a sabotage of art and what?, context: 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]


Question: What does bandes dessinées mean?

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: What does bandes dessinées mean?, context: 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.


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: Comics for adults began to be called what?, context: 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.


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 year did Pilote begin?, context: 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.


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: What became a best-seller comic in the French language?, context: 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.


Question: Pilote cartoonists were upset with censorship and what?

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: Pilote cartoonists were upset with censorship and what?, context: 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.


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: When was L'Écho des savanes begun?, context: 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.


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: Métal hurlant was of what genre?, context: 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.


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: What format did adult comics begin to be published in?, context: 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.


Question: Which historical overview did Seiki Hosokibara create?

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: Which historical overview did Seiki Hosokibara create?, context: 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".