romikgosai/squad_modified_2 huggingface dataset:
Aposematism, where organisms are brightly colored as a warning to predators, is the antithesis of camouflage. Some organisms pose a threat to their predators—for example they may be poisonous, or able to harm them physically. Aposematic coloring involves bright, easily recognizable and unique colors and patterns. For example, bright coloration in Variable Checkerspot butterflies leads to decreased predation attempts by avian predators. Upon being harmed (e.g., stung) by their prey, the appearance in such an organism will be remembered as something to avoid. While that particular prey organism may be killed, the coloring benefits the prey species as a whole.

Q1: What scientific term is used to describe  organisms that are brightly colored as a warning to predators?
A1: Aposematism
Q2: Does aposematism benefit only the organism ddirectly, or the entire population as a whole?
A2: species as a whole
Q3: How does aposematism help a species population?
A3: Upon being harmed (e.g., stung) by their prey, the appearance in such an organism will be remembered as something to avoid
Q4: What visual cues are characteristic of aposematism?
A4: bright, easily recognizable and unique colors and patterns
It is fairly clear that predators tend to lower the survival and fecundity of their prey, but on a higher level of organization, populations of predator and prey species also interact. It is obvious that predators depend on prey for survival, and this is reflected in predator populations being affected by changes in prey populations. It is not so obvious, however, that predators affect prey populations. Eating a prey organism may simply make room for another if the prey population is approaching its carrying capacity.

Q1: What do predators depend on for survival?
A1: prey
Q2: Prey that is eaten is simply replaced by anohter when the population is close to what?
A2: carrying capacity
Q3: Predators lower what aspects of their prey?
A3: survival and fecundity
A lone naked human is at a physical disadvantage to other comparable apex predators in areas such as speed, bone density, weight, and physical strength. Humans also lack innate weaponry such as claws. Without crafted weapons, society, or cleverness, a lone human can easily be defeated by fit predatory animals, such as wild dogs, big cats and bears (see Man-eater). However, humans are not solitary creatures; they are social animals with highly developed social behaviors. Early humans, such as Homo erectus, have been using stone tools and weapons for well over a million years. Anatomically modern humans have been apex predators since they first evolved, and many species of carnivorous megafauna actively avoid interacting with humans; the primary environmental competitor for a human is other humans. The one subspecies of carnivorous megafauna that does interact frequently with humans in predatory roles is the domestic dog, but usually as a partner in predation especially if they hunt together. Cannibalism has occurred in various places, among various cultures, and for various reasons. At least a few people, such as the Donner party, are said to have resorted to it in desperation.

Q1: What physical disadvantages do humans have against other apex predators?
A1: speed, bone density, weight, and physical strength
Q2: For how long have humans been using stone tools and weapons?
A2: well over a million years
Q3: What are humans' primary competitors?
A3: other humans
Q4: What is one known istance of cannibalism?
A4: the Donner party
Q5: With what species do humans hunt in partnership?
A5: domestic dog
Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.

Q1: What two apex predators do not have a small population size?
A1: humans and dogs
Q2: Do apex predators generally have a large or small population?
A2: small
Q3: Which principle states that if two species ecologicl niches/ overlap, both species are likely to be in competition with one another?
A3: competitive exclusion principle
Q4: What other factor is relevant to the competitive exclusion principle?
A4: prey abundance
A predator's effect on its prey species is hard to see in the short-term. However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

Q1: When a predator hunts too much of its prey, causing both populations to dissappear, the phenomenon is called what?
A1: coextinction
Q2: Are predator's effects on prey easiest to see in the short-term or long-term?
A2: longer period of time
Q3: The rise and fall of predator and prey populations are similar to what, in the US economy?
A3: boom and bust cycle of economics
Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Q1: How can natural predators benefit crops?
A1: reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides
Q2: How are predators beneficial to agriculture?
A2: controlling pests
Q3: If removing an introduced species entirely isn't a posibility, what is the next best outcome?
A3: keeping its abundance down
Q4: Predators are used in conservation to reduce what type of species from the environment?
A4: introduced species
Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Q1: Captain America, Thor and Ultron all inhabit what fictional milieu?
A1: Marvel Universe
Q2: Fictional placements within this setting are modeled off what?
A2: real-life cities
Q3: Spiderman's fictional city is based off what real American location?
A3: New York
Q4: What Marvel character's stories are set in an area resembling the American Southwest?
A4: Hulk
Q5: Which two groups of Marvel crimefighters are based in a fictional version of New York City?
A5: the Fantastic Four, the Avengers
Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Q1: Who originally founded Marvel Comics?
A1: Martin Goodman
Q2: What was the original name of Marvel Comics?
A2: Timely Publications
Q3: When was Marvel founded?
A3: 1939
Q4: In what city was Marvel based when it was founded?
A4: New York City
Q5: What was Abraham Goodman's official title when Marvel was founded?
A5: publisher
Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Q1: What was the cover date on Marvel Comics #1?
A1: Oct. 1939
Q2: Who was Marvel/Timely's first true full-time editor?
A2: Joe Simon
Q3: Besides Simon, who co-created Captain America?
A3: Jack Kirby
Q4: What is the name of the character created by Carl Burgos?
A4: the Human Torch
Q5: In what issue was Namor, The Sub-Mariner introduced?
A5: Marvel Comics #1
While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Q1: What cartoon humorist did some high profile stories for Marvel in the early years?
A1: Basil Wolverton
Q2: What was the name of the humorous feature penned by Wolverton?
A2: "Powerhouse Pepper"
Q3: What duo of kid-themed characters were featured in early Marvel issues?
A3: Ziggy Pig and Silly Seal
Q4: What early Marvel character may have been envisioned as a female counterpoint to Captain America?
A4: Miss America
Q5: The most popular early Marvel heroes were collectively and colloquially known as what?
A5: "big three"
Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

Q1: Marvel Comics was part of many entities having what relationship with Timely?
A1: shell companies
Q2: When were all of Goodman's comic entities officially put under the moniker of Marvel Comics?
A2: 1961
Q3: By what other name were some Marvel-related comic books published?
A3: "A Marvel Magazine"
Q4: Under what handle were Marvel's detective fiction comics published?
A4: Marvel Mystery Comics
Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Q1: Which writer and artist was behind the Sub-Mariner?
A1: Bill Everett
Q2: What was Marvel's major offshoot with Westerns, war stories, and monster comics called?
A2: Atlas
Q3: What was Dan DeCarlo's spooky but humorous comic aimed at kids called?
A3: Homer the Happy Ghost
Q4: DeCarlo also penned a knock-off of what teen comic superstar?
A4: Archie Andrews
Q5: What was the name of DeCarlo's main character in his humorous teen series?
A5: Homer Hooper
In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

Q1: Marvel's first team of superheroes was known by what alliterative name?
A1: The Fantastic Four
Q2: What was the issue date when this superhero team debuted?
A2: Nov. 1961
Q3: What Marvel executive helped change the focus of Marvel's stories and characters?
A3: Stan Lee
Q4: In the Marvel Universe, the public treated conferred what response on the Fantastic Four?
A4: celebrity status
Q5: What is Marvel's best-selling comic?
A5: The Amazing Spider-Man
Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Q1: Who joined with Stan Lee in creating the Fantastic Four?
A1: Jack Kirby
Q2: What historic era did the Fantastic Four initially inhabit?
A2: Cold War
Q3: What traditional superhero element did the Fantastic Four initially do without?
A3: costumes
Q4: None of the Fantastic Four had what hidden element so common to other superheroes?
A4: secret identities
Q5: The emphasis on relatable settings and character motivations in Marvel's 1960s comics is called what?
A5: "superheroes in the real world"
All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times—or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?"

Q1: What magazine featured two Marvel Characters in a college campus heroes feature?
A1: Esquire
Q2: What two Marvel characters were part of that campus heroes section?
A2: Spider-Man and the Hulk
Q3: Which publisher is Marvel's biggest rival?
A3: DC Comics
Q4: Writer Geoff Boucher compared DC to what dull 1960s crooner?
A4: Pat Boone
Q5: What two real life persons were also part of the magazine feature alongside fictional Marvel characters?
A5: John F. Kennedy and Bob Dylan
In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, Ant-Man, Iron Man, the X-Men, Daredevil, the Inhumans, Black Panther, Doctor Strange, Captain Marvel and the Silver Surfer, and such memorable antagonists as Doctor Doom, Magneto, Galactus, Loki, the Green Goblin, and Doctor Octopus, all existing in a shared reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.

Q1: What actual US cities have fictional equivalents in Marvel's comic milieu?
A1: New York, Los Angeles and Chicago
Q2: What Marvel hero is related to a tiny insect?
A2: Ant-Man
Q3: The shared milieu inhabited by all Marvel heroes and villains is known as?
A3: the Marvel Universe
Q4: Which two comic book titles were the precursors to the widening of this overall setting?
A4: Spider-Man and the Fantastic Four
In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with Independent News he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

Q1: How many comics did Marvel sell during 1968?
A1: 50 million
Q2: What company was distributing Marvel's titles at that point?
A2: Independent News
Q3: To whom was Marvel sold in 1968?
A3: the Perfect Film and Chemical Corporation
Q4: What wholly-owned affiliate of this company did Marvel operate within?
A4: Magazine Management Company
Q5: What distributor took over Marvel's titles in 1969?
A5: Curtis Circulation Company
In 1971, the United States Department of Health, Education, and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a comic book story about drug abuse. Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. However, the industry's self-censorship board, the Comics Code Authority, refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant. Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96–98 (May–July 1971), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.

Q1: What government agency asked Marvel to do a series of stories to publicize an issue?
A1: United States Department of Health, Education, and Welfare
Q2: What issue was Marvel asked to tackle for this agency?
A2: drug abuse
Q3: What comic book series did stories related to this issue appear in?
A3: Spider-Man
Q4: What industry censorship and standards organization tried to block publication of this series?
A4: Comics Code Authority
Q5: What were the issue dates of the three-episode series on this public health issue?
A5: May–July 1971
A series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, Red Sonja), satire (Howard the Duck) and science fiction (2001: A Space Odyssey, "Killraven" in Amazing Adventures, Battlestar Galactica, Star Trek, and, late in the decade, the long-running Star Wars series). Some of these were published in larger-format black and white magazines, under its Curtis Magazines imprint. Marvel was able to capitalize on its successful superhero comics of the previous decade by acquiring a new newsstand distributor and greatly expanding its comics line. Marvel pulled ahead of rival DC Comics in 1972, during a time when the price and format of the standard newsstand comic were in flux. Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 36 pages total to 25 cents for 52 pages. DC followed suit, but Marvel the following month dropped its comics to 20 cents for 36 pages, offering a lower-priced product with a higher distributor discount.

Q1: What situation allowed Marvel to expand into more adult-themed genre stories?
A1: the updating of the Comics Code
Q2: What were two of Marvel's comic heroes in fantasy, swords and magic settings?
A2: Conan the Barbarian, Red Sonja
Q3: What waterfowl character had his own satire series of comic books?
A3: Howard the Duck
Q4: In what year did Marvel's sales overtake rival DC?
A4: 1972
Q5: How were some of Marvel's genre titles published in the 1970s?
A5: larger-format black and white magazines, under its Curtis Magazines imprint