[Q]: Question: "What is the recipe for protein?" Context: "Genes can acquire mutations in their sequence, leading to different variants, known as alleles, in the population. These alleles encode slightly different versions of a protein, which cause different phenotype traits. Colloquial usage of the term "having a gene" (e.g., "good genes," "hair colour gene") typically refers to having a different allele of the gene. Genes evolve due to natural selection or survival of the fittest of the alleles." Answer:
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[A]: alleles

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

[Q]: Question: "What tipified this style?" Context: "Versions of revived Palladian architecture dominated English country house architecture. Houses were increasingly placed in grand landscaped settings, and large houses were generally made wide and relatively shallow, largely to look more impressive from a distance. The height was usually highest in the centre, and the Baroque emphasis on corner pavilions often found on the continent generally avoided. In grand houses, an entrance hall led to steps up to a piano nobile or mezzanine floor where the main reception rooms were. Typically the basement area or "rustic", with kitchens, offices and service areas, as well as male guests with muddy boots, came some way above ground, and was lit by windows that were high on the inside, but just above ground level outside. A single block was typical, with a perhaps a small court for carriages at the front marked off by railings and a gate, but rarely a stone gatehouse, or side wings around the court." Answer:
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[A]: large houses were generally made wide and relatively shallow, largely to look more impressive from a distance

[Q]: Question: "what sector is mentioned last?" Context: "The economy is a mixture of village agriculture and handicrafts, an industrial sector based largely on petroleum, support services, and a government characterized by budget problems and overstaffing. Petroleum extraction has supplanted forestry as the mainstay of the economy. In 2008, oil sector accounted for 65% of the GDP, 85% of government revenue, and 92% of exports. The country also has large untapped mineral wealth." Answer:
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[A]:
oil