niryuu/sni-each-converted huggingface dataset:
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What day of the week do the deceased have to select a memory by?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: Who are admitted into the waystation on a daily basis for processing?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: During what war was Takashi killed?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What job do the Counselors carry out?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: How is "Heaven" represented in the story?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What does the waystation resemble?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What day of the week do new deceased people arrive?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What happens after a memory is selected by one of the deceased?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: The dead have to choose their happiest memory by what day?
Koreeda's After Life is set in a waystation where the souls of the recently deceased are processed before entering heaven. "Heaven," for the film, is a single happy memory from one's life, re-experienced for eternity.
The movie is set in a building resembling a decrepit government social services institution. Every Monday, a new group of recently deceased people check in, and the "social workers" in the lodge explain to each guest their situation. The newly-dead have until Wednesday to identify the single happiest memory. For the rest of the week, the workers at the institution work to design and replicate each person's chosen memory, thereby replicating the single happiest moment of that person's life. This moment is staged and filmed.
At the end of the week, the recently deceased watch the films of their recreated happiest memories in a screening room. As soon as each person sees his or her own memory, he or she vanishes to whatever unknown state of existence lies beyond and takes only that single memory with them.
The story pays most attention to two of the "counselors," Takashi (Arata) and Shiori (Oda). Takashi has been assigned to help an old man, Ichiro (played by Naito Taketoshi), select his memory. Takashi reviews videotape of Ichiro's life and learns that Ichiro had married Takashi's former fianc e after Takashi had been killed during World War II. Takashi has Ichiro assigned to another counselor, but is still troubled by his memories, causing both him and his quasi-romantic interest Shiori to re-examine their (after-) lives.
Output: What are the names of atleast two Counselors in this story?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: What are banths?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is Thuvia engaged to?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is implicated in kidnapping the princess of Mars?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: What is the only thing that can break an engagement between a man and woman on Barsoom?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is Thuvia promised to?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is the princess of Ptarth?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Which planet has a race of aliens that can create phantasms by pure thought?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Between who does Thuvia's kidnapping ignite a war?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is Carthoris' parents?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is Carthorius in love with?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is the prince of Helium?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is blamed for Thuvias' Kidnapping?
In this novel the focus shifts from John Carter, Warlord of Mars, and Dejah Thoris of Helium, protagonists of the first three books in the series, to their son, Carthoris, prince of Helium, and Thuvia, princess of Ptarth. Helium and Ptarth are both prominent Barsoomian city state/empires, and both Carthoris and Thuvia were secondary characters in the previous novel.
Its plot devices are similar to the previous Martian novels, involving the kidnapping of a Martian princess. This time John Carter's son Carthoris is implicated. It does however have some inventive and original ideas, including an autopilot and collision detection device for Martian fliers, and the creation of the Lotharians, a race of ancient martians who have become adept at telepathic projection, able to create imaginary warriors that can kill, and sustain themselves through thought alone.Carthoris is madly in love with Thuvia. This love was foreshadowed at the end of the previous novel. Unfortunately Thuvia is promised to Kulan Tith, Jeddak of Kaol. On Barsoom nothing can break an engagement between a man and woman except death, although the new suitor may not cause that death. Thus it is that Thuvia will have none of him. This situation leaves Carthoris in a predicament.
As Thuvia suffers the common Burroughsian heroine's fate of being kidnapped and in need of rescue, Carthoris' goal is abetted by circumstances. Thus he sets out to find the love of his life. His craft is sabotaged and he finds himself deep in the undiscovered south of Barsoom, in the ruins of ancient Aanthor. Thuvia's kidnappers, the Dusar, have taken her there as well, and Carthoris is just in time to spot Thuvia and her kidnappers under assault by a green man of the hordes of Torquas. Carthoris leaps to her rescue in the style of his father.
The rescue takes Carthoris and his love to ancient Lothar, home of an ancient fair-skinned human race gifted with the ability to create lifelike phantasms from pure thought. They habitually use large numbers of phantom bowmen paired with real and phantom banths (Barsoomian lions) to defend themselves from the hordes of Torquas.
The kidnapping of Thuvia is done in such a way that Carthoris is blamed. This ignites a war between the red nations of Barsoom. Carthoris must try to be back in time with Thuvia to stop the war from breaking loose. Carthoris wonders if his love will ever be requited by the promised Thuvia.
Output: Who is princess of Ptarth?