romikgosai/squad_modified huggingface dataset:
Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France (some of which appear to be chronological sequences of images), Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, and William Hogarth's 17th-century sequential engravings, amongst others.[b]

Questions and answers:
['
Q: In France, what did historians find that they consider a precedent for comics?
A: Lascaux cave paintings', '
Q: What Michelangelo work do historians consider to be a precedent for comics?
A: The Last Judgment in the Sistine Chapel', '
Q: In Egypt, historians consider what to be a precedent for comics?
A: hieroglyphs', "
Q: In Rome, what do historians consider to be a precedent for comics?
A: Trajan's Column"]
Illustrated humour periodicals were popular in 19th-century Britain, the earliest of which was the short-lived The Glasgow Looking Glass in 1825. The most popular was Punch, which popularized the term cartoon for its humorous caricatures. On occasion the cartoons in these magazines appeared in sequences; the character Ally Sloper featured in the earliest serialized comic strip when the character began to feature in its own weekly magazine in 1884.

Questions and answers:
['
Q: What was the first illustrated humor periodical in Britain during the 19th century?
A: The Glasgow Looking Glass', '
Q: When did The Glasgow Looking Glass begin?
A: 1825', '
Q: In Britain, what was the most liked illustrated humor periodical?
A: Punch', '
Q: Which comic character was the first to appear in a weekly magazine?
A: Ally Sloper', '
Q: When did Ally Sloper first appear?
A: 1884']
American comics developed out of such magazines as Puck, Judge, and Life. The success of illustrated humour supplements in the New York World and later the New York American, particularly Outcault's The Yellow Kid, led to the development of newspaper comic strips. Early Sunday strips were full-page and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, and speech balloons.

Questions and answers:
['
Q: Which outlet did comic supplements find success in?
A: New York World', "
Q: Which strip had a good deal of success as a comic strip?
A: Outcault's The Yellow Kid"]
Shorter, black-and-white daily strips began to appear early in the 20th century, and became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff. Humour strips predominated at first, and in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama also became popular. Thin periodicals called comic books appeared in the 1930s, at first reprinting newspaper comic strips; by the end of the decade, original content began to dominate. The success in 1938 of Action Comics and its lead hero Superman marked the beginning of the Golden Age of Comic Books, in which the superhero genre was prominent.

Questions and answers:
['
Q: What comic strip did Bud Fisher have success with?
A: Mutt and Jeff', '
Q: When did Mutt and Jeff appear?
A: 1907', '
Q: When did comic books make an appearance?
A: 1930s', '
Q: Which comic book had success with its first superhero in 1938?
A: Action Comics']
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.

Questions and answers:
['
Q: Which genre of comic books had parents concerned?
A: crime and horror', '
Q: Which group was created after a Senate hearing on comic books content?
A: Comics Code Authority', '
Q: When did super heroes become popular again in comic books?
A: 1960s', '
Q: When did the alternative comics movement begin?
A: 1980s']
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.

Questions and answers:
['
Q: Serialization of comics became less popular when?
A: 1980s', '
Q: How were comics published when serialization became less common?
A: as albums', "
Q: Which small publisher published in formats that were not traditional?
A: L'Association", '
Q: Comics continue to thrive regardless of the decrease in what market?
A: print market']
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.

Questions and answers:
['
Q: What picture books from the 17th century show manga origins?
A: toba-e and kibyōshi picture books', '
Q: What is ukiyo-e an example of?
A: woodblock prints']
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.

Questions and answers:
['
Q: When did comic supplements start showing up in Japan?
A: 1890s', '
Q: Who introduced satirical strips to Japan?
A: Western expatriates', '
Q: When did Jiji Manga debut?
A: 1900', '
Q: Who started the first Japanese comic strip in modern times?
A: Rakuten Kitazawa', '
Q: When did comic strips start appearing in hardback collection volumes?
A: 1930s']
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.

Questions and answers:
['
Q: What comic strip was created by Osamu Tezuka?
A: Sazae-san', '
Q: Where were comic strip stories first serialized?
A: magazines', '
Q: What is considered the start of the modern comics in Japan?
A: after World War II']
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.

Questions and answers:
['
Q: Where do comics usually appear?
A: newspapers']
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.

Questions and answers:
['
Q: Where do serialized comics in Japan typically appear?
A: magazines', '
Q: How often are European serialized comics in magazines?
A: monthly or weekly', '
Q: How often do serialized comics typically appear in Japanese magazines?
A: weekly', '
Q: How long is the typical Japanese comic magazine?
A: hundreds of pages']
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.

Questions and answers:
['
Q: What are bounds volumes of comics called in America?
A: graphic novels', '
Q: What is the name given to Japanese comics volumes?
A: tankōbon', '
Q: What type of work is the word novel generally geared towards?
A: fiction', '
Q: What term can mean a non-fiction piece of a collection of short pieces?
A: graphic novels']
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.

Questions and answers:
['
Q: Where did gag cartoons first make an appearance?
A: Europe', '
Q: When did gag single-panel illustrations become known as cartoons?
A: 1843', '
Q: In which publication was cartoon first used to describe gag single-panel illustrations?
A: Punch']
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.

Questions and answers:
['
Q: What did comics have in the United States because of cultural roots?
A: lowbrow reputation', '
Q: Who thought pop culture was a risk?
A: cultural elites', '
Q: What was thought to be only good for children and those who could not read or write?
A: Comics']
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.

Questions and answers:
['
Q: What is a comic that is as long as a book called?
A: graphic novel', '
Q: Who helped "graphic novel" get public attention?
A: Will Eisner', '
Q: What decade did the term "graphic novel" become well known by the public?
A: 1980s', '
Q: In addition to printed graphic novels in stores, what became popular online?
A: webcomics', '
Q: The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term?
A: Maus']
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.

Questions and answers:
['
Q: Who started producing comic strips and theories about them in 1827?
A: Rodolphe Töpffer', '
Q: What century had comics in wide production?
A: 19th', '
Q: What 1925 cartoon made speech bubbles popular?
A: Zig et Puce', '
Q: What comics began to dominate in Europe?
A: Franco-Belgian', '
Q: When was "The Adventures of Tintin" serialized?
A: 1929']
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]

Questions and answers:
['
Q: In the United States in the middle of the 20th century comics were seen as a risk to culture and what?
A: literacy', '
Q: What was seen as "infantile" in the United States?
A: comics', '
Q: Comics were quoted as a sabotage of art and what?
A: literature']
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.

Questions and answers:
['
Q: What does bandes dessinées mean?
A: drawn strips', '
Q: Comics for adults began to be called what?
A: Ninth Art', '
Q: What year did Pilote begin?
A: 1959', '
Q: What became a best-seller comic in the French language?
A: Adventures of Asterix']
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.

Questions and answers:
['
Q: Pilote cartoonists were upset with censorship and what?
A: editorial interference', "
Q: When was L'Écho des savanes begun?
A: 1972", '
Q: Métal hurlant was of what genre?
A: science fiction', '
Q: What format did adult comics begin to be published in?
A: prestige']
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".

Questions and answers:
['
Q: Which historical overview did Seiki Hosokibara create?
A: Nihon Manga-Shi', '
Q: When did Hosokibara create Nihon Manga-Shi?
A: 1924', '
Q: What was created in 2001 to give students comic scholarships?
A: Japan Society for Studies in Cartoon and Comics', "
Q: Who helped the rest of the world use the word manga outside of Japan's borders?
A: Frederik L. Schodt", '
Q: What publication is Schodt responsible for?
A: Manga! Manga! The World of Japanese Comics']
Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Questions and answers:
['
Q: Who put together a history of American comics in 1947?
A: Coulton Waugh', "
Q: What was the name of Waugh's work?
A: The Comics", '
Q: Who created a book about comics from a philosophical point of view?
A: David Carrier', '
Q: What book did Will Eisner create in 1985?
A: Comics and Sequential Art']
Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Questions and answers:
['
Q: What word is used in France for comics?
A: bandes dessinées', '
Q: What word is used in Japan for comics?
A: manga', '
Q: What does bandes dessinées mean?
A: drawn strip', '
Q: What is the definitive factor of bandes dessinées?
A: drawn images']
Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

Questions and answers:
['
Q: What comics are on the Internet?
A: Webcomics', '
Q: Webcomics reach large audiences and new what?
A: readers', '
Q: With webcomics, readers have access to what?
A: archived installments', '
Q: Not held back by size limits, webcomics are said to have a what?
A: infinite canvas']
Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.

Questions and answers:
['
Q: Storyboards and what are thought to be comics by some?
A: Wordless novels', '
Q: Storyboards are used a lot by what?
A: Film studios', '
Q: Storyboards are not considered what?
A: an end product', '
Q: Who does not often see storyboards used in film making?
A: the public', '
Q: A book with pictures with no captions that tell a story are called what?
A: Wordless novels']
Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Questions and answers:
['
Q: What has not been reached as far as defining comics is concerned?
A: consensus', '
Q: R. C. Harvey, Will Eisner and others are considered to be comic what?
A: Theorists', '
Q: What are there prominent examples of in comic history?
A: pantomime comics', '
Q: Comic critics, such as McCloud, stressed that sequences of what should be primary?
A: images', '
Q: What century had forgotten comic forms rediscovered?
A: 20th']