romikgosai/squad_modified_2 huggingface dataset:
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.

Q1: Which genre of comic books had parents concerned?
A1: crime and horror
Q2: Which group was created after a Senate hearing on comic books content?
A2: Comics Code Authority
Q3: When did super heroes become popular again in comic books?
A3: 1960s
Q4: When did the alternative comics movement begin?
A4: 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.

Q1: Serialization of comics became less popular when?
A1: 1980s
Q2: How were comics published when serialization became less common?
A2: as albums
Q3: Which small publisher published in formats that were not traditional?
A3: L'Association
Q4: Comics continue to thrive regardless of the decrease in what market?
A4: 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.

Q1: What picture books from the 17th century show manga origins?
A1: toba-e and kibyōshi picture books
Q2: What is ukiyo-e an example of?
A2: 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.

Q1: When did comic supplements start showing up in Japan?
A1: 1890s
Q2: Who introduced satirical strips to Japan?
A2: Western expatriates
Q3: When did Jiji Manga debut?
A3: 1900
Q4: Who started the first Japanese comic strip in modern times?
A4: Rakuten Kitazawa
Q5: When did comic strips start appearing in hardback collection volumes?
A5: 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.

Q1: What comic strip was created by Osamu Tezuka?
A1: Sazae-san
Q2: Where were comic strip stories first serialized?
A2: magazines
Q3: What is considered the start of the modern comics in Japan?
A3: 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.

Q1: Where do comics usually appear?
A1: 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.

Q1: Where do serialized comics in Japan typically appear?
A1: magazines
Q2: How often are European serialized comics in magazines?
A2: monthly or weekly
Q3: How often do serialized comics typically appear in Japanese magazines?
A3: weekly
Q4: How long is the typical Japanese comic magazine?
A4: 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.

Q1: What are bounds volumes of comics called in America?
A1: graphic novels
Q2: What is the name given to Japanese comics volumes?
A2: tankōbon
Q3: What type of work is the word novel generally geared towards?
A3: fiction
Q4: What term can mean a non-fiction piece of a collection of short pieces?
A4: 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.

Q1: Where did gag cartoons first make an appearance?
A1: Europe
Q2: When did gag single-panel illustrations become known as cartoons?
A2: 1843
Q3: In which publication was cartoon first used to describe gag single-panel illustrations?
A3: 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.

Q1: What did comics have in the United States because of cultural roots?
A1: lowbrow reputation
Q2: Who thought pop culture was a risk?
A2: cultural elites
Q3: What was thought to be only good for children and those who could not read or write?
A3: 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.

Q1: What is a comic that is as long as a book called?
A1: graphic novel
Q2: Who helped "graphic novel" get public attention?
A2: Will Eisner
Q3: What decade did the term "graphic novel" become well known by the public?
A3: 1980s
Q4: In addition to printed graphic novels in stores, what became popular online?
A4: webcomics
Q5: The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term?
A5: 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.

Q1: Who started producing comic strips and theories about them in 1827?
A1: Rodolphe Töpffer
Q2: What century had comics in wide production?
A2: 19th
Q3: What 1925 cartoon made speech bubbles popular?
A3: Zig et Puce
Q4: What comics began to dominate in Europe?
A4: Franco-Belgian
Q5: When was "The Adventures of Tintin" serialized?
A5: 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]

Q1: In the United States in the middle of the 20th century comics were seen as a risk to culture and what?
A1: literacy
Q2: What was seen as "infantile" in the United States?
A2: comics
Q3: Comics were quoted as a sabotage of art and what?
A3: 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.

Q1: What does bandes dessinées mean?
A1: drawn strips
Q2: Comics for adults began to be called what?
A2: Ninth Art
Q3: What year did Pilote begin?
A3: 1959
Q4: What became a best-seller comic in the French language?
A4: 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.

Q1: Pilote cartoonists were upset with censorship and what?
A1: editorial interference
Q2: When was L'Écho des savanes begun?
A2: 1972
Q3: Métal hurlant was of what genre?
A3: science fiction
Q4: What format did adult comics begin to be published in?
A4: 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".

Q1: Which historical overview did Seiki Hosokibara create?
A1: Nihon Manga-Shi
Q2: When did Hosokibara create Nihon Manga-Shi?
A2: 1924
Q3: What was created in 2001 to give students comic scholarships?
A3: Japan Society for Studies in Cartoon and Comics
Q4: Who helped the rest of the world use the word manga outside of Japan's borders?
A4: Frederik L. Schodt
Q5: What publication is Schodt responsible for?
A5: 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.

Q1: Who put together a history of American comics in 1947?
A1: Coulton Waugh
Q2: What was the name of Waugh's work?
A2: The Comics
Q3: Who created a book about comics from a philosophical point of view?
A3: David Carrier
Q4: What book did Will Eisner create in 1985?
A4: 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.

Q1: What word is used in France for comics?
A1: bandes dessinées
Q2: What word is used in Japan for comics?
A2: manga
Q3: What does bandes dessinées mean?
A3: drawn strip
Q4: What is the definitive factor of bandes dessinées?
A4: 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.

Q1: What comics are on the Internet?
A1: Webcomics
Q2: Webcomics reach large audiences and new what?
A2: readers
Q3: With webcomics, readers have access to what?
A3: archived installments
Q4: Not held back by size limits, webcomics are said to have a what?
A4: 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.

Q1: Storyboards and what are thought to be comics by some?
A1: Wordless novels
Q2: Storyboards are used a lot by what?
A2: Film studios
Q3: Storyboards are not considered what?
A3: an end product
Q4: Who does not often see storyboards used in film making?
A4: the public
Q5: A book with pictures with no captions that tell a story are called what?
A5: 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.

Q1: What has not been reached as far as defining comics is concerned?
A1: consensus
Q2: R. C. Harvey, Will Eisner and others are considered to be comic what?
A2: Theorists
Q3: What are there prominent examples of in comic history?
A3: pantomime comics
Q4: Comic critics, such as McCloud, stressed that sequences of what should be primary?
A4: images
Q5: What century had forgotten comic forms rediscovered?
A5: 20th
European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image 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 Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic 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 littératures dessinées" (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.

Q1: In the 1840s, Töpffer wrote theories about whose work?
A1: his own
Q2: Who introduced the term "multiframe"?
A2: Henri Vanlier
Q3: Who used a semiotics method to study comics in the 1970s?
A3: Pierre Fresnault-Deruelle
Q4: Who used cognitive science to learn how people understand comics?
A4: Neil Cohn
Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Q1: What Russian word is used for comics?
A1: komiks
Q2: What German word is used for comics?
A2: comics
Q3: What Chinese word was derived from the Japanese word manga?
A3: manhua
Q4: What Korean word was derived from the Japanese word for manga?
A4: manhwa
The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

Q1: The word comic comes from the humorous pieces found where?
A1: newspaper comic strips
Q2: Comic is used for what other kind of work other than humorous works?
A2: non-humorous
Q3: Comic books are what type of books?
A3: periodicals
Q4: What is the term that the English use for the comics out of Japan?
A4: manga
Q5: What is the term that the English use for the comics that come out of Belgian?
A5: bandes dessinées
While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.

Q1: Though one person typically creates the comic, there are usually a number of what involved in actually designing it?
A1: specialists
Q2: What is a person called who does the initial pencil work for the artwork?
A2: penciller
Q3: What does an inker do?
A3: finishes the artwork in ink
Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.

Q1: What are the individual images with action called in comics?
A1: Panels
Q2: Narrative is placed into panels using what?
A2: encapsulation
Q3: Who puts the panels together using closure?
A3: The reader
Q4: Timing and pace of comics is made by adjusting size, shape and what of panels?
A4: arrangement
Q5: When a comic panel has events that are not at the same time the panel is considered to be what?
A5: asynchronous