[Q]: What is the alias name of the person killing his victims with his prosthetic hook? Answer the above question based on the context below: Ruthless killer Steve Michel is known to the public as "The Claw" for his way of killing his victims with his prosthetic hook. After his accomplices Ryan and Taylor have broken in and stolen furs from the Flawless Furs warehouse, Steve kills the guard with his hook. When the police arrive at the crime scene in the shape of Detective Dick Tracy, he talks to Humphries, who is the owner of the store; Peter Premium, who is a representative for the insurance company; and a man named Cudd, who is the insurance investigator. The insurance company only has twenty-four hours to find the stolen goods, or they have to reimburse the fur company. Tracy and his semi-competent assistant Patton examine the dead body at the morgue and find a note on it stating that there were three perpetrators performing the hit against the warehouse. It also mentions that they used a truck with the name "Daisy" on it. Unfortunately, the three perpetrators disguise the truck before Tracy can find it, and the lead is a dead end. The robbers soon leave their hideout in a local junkyard and go to a nearby bar to phone their boss and get new instructions. As they speak with the boss on the phone, their conversation is overheard by an informant, a blind beggar called Sightless, who goes to pass the information on. Sightless is sloppy and noisy when eavesdropping, and is nearly caught by The Claw. Still, he manages to escape the bar.
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[A]: The Claw

[Q]: What did the agoras of the city that had a culture based on local Semitic tradition, and influenced by Greece and Rome more closely resemble? Answer the above question based on the context below: The scarce artifacts found in the city dating to the Bronze Age reveal that, culturally, Palmyra was most affiliated with western Syria. Classical Palmyra had a distinctive culture, based on a local Semitic tradition, and influenced by Greece and Rome. To appear better integrated into the Roman Empire, some Palmyrenes adopted Greco-Roman names, either alone or in addition to a second native name. The extent of Greek influence on Palmyra's culture is debated. Scholars interpreted the Palmyrenes' Greek practices differently; many see those characters as a superficial layer over a local essence. Palmyra's senate was an example; although Palmyrene texts written in Greek described it as a "boule" (a Greek institution), the senate was a gathering of non-elected tribal elders (a Near-Eastern assembly tradition). Others view Palmyra's culture as a fusion of local and Greco-Roman traditions. The culture of Persia influenced Palmyrene military tactics, dress and court ceremonies. Palmyra had no large libraries or publishing facilities, and it lacked an intellectual movement characteristic of other Eastern cities such as Edessa or Antioch. Although Zenobia opened her court to academics, the only notable scholar documented was Cassius Longinus.Palmyra had a large agora. However, unlike the Greek Agoras (public gathering places shared with public buildings), Palmyra's agora resembled an Eastern caravanserai more than a hub of public life. The Palmyrenes buried their dead in elaborate family mausoleums, most with interior walls forming rows of burial chambers (loculi) in which the dead, laying at full length, were placed. A relief of the person interred formed part of the wall's decoration, acting as a headstone. Sarcophagi appeared in the late second century and were used in some of the tombs. Many burial monuments contained mummies embalmed in a method similar to that used in Ancient Egypt.
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[A]: Eastern caravanserai

[Q]: What is the terrace with the fountain constructed above? Answer the above question based on the context below: With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal facade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal facade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 155870, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement. On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" on account of the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641.In 1616, a competition was held to design extensions to the principal urban facade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi. During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the facade, the prototype of the cour d'honneur that was copied in France. Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects.To one side of the Gardens is the bizarre grotto designed by Bernardo Buontalenti. The lower facade was begun by...
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[A]:
"grotto of Moses"