sentence-transformers/squad huggingface dataset:
Passage: 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.

Question: What physical disadvantages do humans have against other apex predators?

Question: For how long have humans been using stone tools and weapons?

Question: What are humans' primary competitors?

Question: What is one known istance of cannibalism?

Question: With what species do humans hunt in partnership?
Passage: 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.

Question: What two apex predators do not have a small population size?

Question: Do apex predators generally have a large or small population?

Question: Which principle states that if two species ecologicl niches/ overlap, both species are likely to be in competition with one another?

Question: What other factor is relevant to the competitive exclusion principle?
Passage: 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.

Question: When a predator hunts too much of its prey, causing both populations to dissappear, the phenomenon is called what?

Question: Are predator's effects on prey easiest to see in the short-term or long-term?

Question: The rise and fall of predator and prey populations are similar to what, in the US economy?
Passage: 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.

Question: How can natural predators benefit crops?

Question: How are predators beneficial to agriculture?

Question: If removing an introduced species entirely isn't a posibility, what is the next best outcome?

Question: Predators are used in conservation to reduce what type of species from the environment?
Passage: 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.

Question: Captain America, Thor and Ultron all inhabit what fictional milieu?

Question: Fictional placements within this setting are modeled off what?

Question: Spiderman's fictional city is based off what real American location?

Question: What Marvel character's stories are set in an area resembling the American Southwest?

Question: Which two groups of Marvel crimefighters are based in a fictional version of New York City?
Passage: 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.

Question: Who originally founded Marvel Comics?

Question: What was the original name of Marvel Comics?

Question: When was Marvel founded?

Question: In what city was Marvel based when it was founded?

Question: What was Abraham Goodman's official title when Marvel was founded?
Passage: 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.

Question: What was the cover date on Marvel Comics #1?

Question: Who was Marvel/Timely's first true full-time editor?

Question: Besides Simon, who co-created Captain America?

Question: What is the name of the character created by Carl Burgos?

Question: In what issue was Namor, The Sub-Mariner introduced?
Passage: 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.

Question: What cartoon humorist did some high profile stories for Marvel in the early years?

Question: What was the name of the humorous feature penned by Wolverton?

Question: What duo of kid-themed characters were featured in early Marvel issues?

Question: What early Marvel character may have been envisioned as a female counterpoint to Captain America?

Question: The most popular early Marvel heroes were collectively and colloquially known as what?
Passage: 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.

Question: Marvel Comics was part of many entities having what relationship with Timely?

Question: When were all of Goodman's comic entities officially put under the moniker of Marvel Comics?

Question: By what other name were some Marvel-related comic books published?

Question: Under what handle were Marvel's detective fiction comics published?
Passage: 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.

Question: Which writer and artist was behind the Sub-Mariner?

Question: What was Marvel's major offshoot with Westerns, war stories, and monster comics called?

Question: What was Dan DeCarlo's spooky but humorous comic aimed at kids called?

Question: DeCarlo also penned a knock-off of what teen comic superstar?

Question: What was the name of DeCarlo's main character in his humorous teen series?
Passage: 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.

Question: Marvel's first team of superheroes was known by what alliterative name?

Question: What was the issue date when this superhero team debuted?

Question: What Marvel executive helped change the focus of Marvel's stories and characters?

Question: In the Marvel Universe, the public treated conferred what response on the Fantastic Four?

Question: What is Marvel's best-selling comic?
Passage: 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.

Question: Who joined with Stan Lee in creating the Fantastic Four?

Question: What historic era did the Fantastic Four initially inhabit?

Question: What traditional superhero element did the Fantastic Four initially do without?

Question: None of the Fantastic Four had what hidden element so common to other superheroes?

Question: The emphasis on relatable settings and character motivations in Marvel's 1960s comics is called what?
Passage: 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?"

Question: What magazine featured two Marvel Characters in a college campus heroes feature?

Question: What two Marvel characters were part of that campus heroes section?

Question: Which publisher is Marvel's biggest rival?

Question: Writer Geoff Boucher compared DC to what dull 1960s crooner?

Question: What two real life persons were also part of the magazine feature alongside fictional Marvel characters?
Passage: 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.

Question: What actual US cities have fictional equivalents in Marvel's comic milieu?

Question: What Marvel hero is related to a tiny insect?

Question: The shared milieu inhabited by all Marvel heroes and villains is known as?

Question: Which two comic book titles were the precursors to the widening of this overall setting?
Passage: 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.

Question: How many comics did Marvel sell during 1968?

Question: What company was distributing Marvel's titles at that point?

Question: To whom was Marvel sold in 1968?

Question: What wholly-owned affiliate of this company did Marvel operate within?

Question: What distributor took over Marvel's titles in 1969?
Passage: 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.

Question: What government agency asked Marvel to do a series of stories to publicize an issue?

Question: What issue was Marvel asked to tackle for this agency?

Question: What comic book series did stories related to this issue appear in?

Question: What industry censorship and standards organization tried to block publication of this series?

Question: What were the issue dates of the three-episode series on this public health issue?
Passage: 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.

Question: What situation allowed Marvel to expand into more adult-themed genre stories?

Question: What were two of Marvel's comic heroes in fantasy, swords and magic settings?

Question: What waterfowl character had his own satire series of comic books?

Question: In what year did Marvel's sales overtake rival DC?

Question: How were some of Marvel's genre titles published in the 1970s?
Passage: Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel's old Atlas name for a new Atlas Comics line, but this lasted only a year and a half. In the mid-1970s a decline of the newsstand distribution network affected Marvel. Cult hits such as Howard the Duck fell victim to the distribution problems, with some titles reporting low sales when in fact the first specialty comic book stores resold them at a later date.[citation needed] But by the end of the decade, Marvel's fortunes were reviving, thanks to the rise of direct market distribution—selling through those same comics-specialty stores instead of newsstands.

Question: What new venture did Marvel's founder begin after leaving the company in the 1970s?

Question: What former Marvel title imprint did Goodman attempt to revive?

Question: What new retail outlet came on board at the end of the 1970s to rival newsstands for comic sales?

Question: How long was the 1970s revival of Atlas Comics in business?

Question: During what era did newsstand distribution begin to tail off markedly for Marvel?
Passage: Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that Jack Kirby, the artist co-creator of most of Marvel's signature characters, was returning to Marvel after having left in 1970 to work for rival DC Comics. In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. Captain Britain debuted exclusively in the UK, and later appeared in American comics.

Question: What was Marvel's self-hosted comic book convention called?

Question: What artist's return to Marvel was announced at this event?

Question: What Marvel character was specifically created to appeal to the UK market?

Question: When was the first Marvel-sponsored comics convention?

Question: When did Marvel's British-themed superhero first appear?
Passage: In 1978, Jim Shooter became Marvel's editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines. During Shooter's nine-year tenure as editor-in-chief, Chris Claremont and John Byrne's run on the Uncanny X-Men and Frank Miller's run on Daredevil became critical and commercial successes. Shooter brought Marvel into the rapidly evolving direct market, institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide crossover story arcs with Contest of Champions and Secret Wars; and in 1986 launched the ultimately unsuccessful New Universe line to commemorate the 25th anniversary of the Marvel Comics imprint. Star Comics, a children-oriented line differing from the regular Marvel titles, was briefly successful during this period.

Question: Who took over as head of Marvel in 1978?

Question: What is an example of a bad practice eliminated under Shooter's regime at Marvel?

Question: What noted artist and writer made brought Daredevil to the forefront during the 1980s?

Question: What team of artist and writer helped popularize the Uncanny X-Men line of comics in the 1980s?

Question: Secret Wars was an early example of what Marvel comics story trope?