gem_id stringlengths 20 25 | id stringlengths 24 24 | title stringlengths 3 59 | context stringlengths 151 3.71k | question stringlengths 1 270 | target stringlengths 1 270 | references list | answers dict |
|---|---|---|---|---|---|---|---|
gem-squad_v2-train-10500 | 56e03125231d4119001abfab | 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. | What is a comic that is as long as a book called? | What is a comic that is as long as a book called? | [
"What is a comic that is as long as a book called?"
] | {
"text": [
"graphic novel"
],
"answer_start": [
4
]
} |
gem-squad_v2-train-10501 | 56e03125231d4119001abfac | 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. | Who helped "graphic novel" get public attention? | Who helped "graphic novel" get public attention? | [
"Who helped \"graphic novel\" get public attention?"
] | {
"text": [
"Will Eisner"
],
"answer_start": [
67
]
} |
gem-squad_v2-train-10502 | 56e03125231d4119001abfad | 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. | What decade did the term "graphic novel" become well known by the public? | What decade did the term "graphic novel" become well known by the public? | [
"What decade did the term \"graphic novel\" become well known by the public?"
] | {
"text": [
"1980s"
],
"answer_start": [
274
]
} |
gem-squad_v2-train-10503 | 56e03125231d4119001abfae | 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. | In addition to printed graphic novels in stores, what became popular online? | In addition to printed graphic novels in stores, what became popular online? | [
"In addition to printed graphic novels in stores, what became popular online?"
] | {
"text": [
"webcomics"
],
"answer_start": [
378
]
} |
gem-squad_v2-train-10504 | 56e03125231d4119001abfaf | 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. | The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term? | The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term? | [
"The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize \"graphic novel\" as a term?"
] | {
"text": [
"Maus"
],
"answer_start": [
219
]
} |
gem-squad_v2-train-10505 | 5acf804277cf76001a684ff0 | 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. | What is a comic that is as short as a book called? | What is a comic that is as short as a book called? | [
"What is a comic that is as short as a book called?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10506 | 5acf804277cf76001a684ff1 | 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. | Who helped "graphic novel" lose public attention? | Who helped "graphic novel" lose public attention? | [
"Who helped \"graphic novel\" lose public attention?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10507 | 5acf804277cf76001a684ff2 | 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. | What decade did the term "graphic novel" become lesser known by the public? | What decade did the term "graphic novel" become lesser known by the public? | [
"What decade did the term \"graphic novel\" become lesser known by the public?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10508 | 5acf804277cf76001a684ff3 | 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. | In addition to printed graphic novels in stores, what became popular offline? | In addition to printed graphic novels in stores, what became popular offline? | [
"In addition to printed graphic novels in stores, what became popular offline?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10509 | 5acf804277cf76001a684ff4 | 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. | The loss in popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term? | The loss in popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term? | [
"The loss in popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize \"graphic novel\" as a term?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10510 | 56e031847aa994140058e33f | Comics | 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. | Who started producing comic strips and theories about them in 1827? | Who started producing comic strips and theories about them in 1827? | [
"Who started producing comic strips and theories about them in 1827?"
] | {
"text": [
"Rodolphe Töpffer"
],
"answer_start": [
22
]
} |
gem-squad_v2-train-10511 | 56e031847aa994140058e340 | Comics | 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. | What century had comics in wide production? | What century had comics in wide production? | [
"What century had comics in wide production?"
] | {
"text": [
"19th"
],
"answer_start": [
182
]
} |
gem-squad_v2-train-10512 | 56e031847aa994140058e341 | Comics | 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. | What 1925 cartoon made speech bubbles popular? | What 1925 cartoon made speech bubbles popular? | [
"What 1925 cartoon made speech bubbles popular?"
] | {
"text": [
"Zig et Puce"
],
"answer_start": [
211
]
} |
gem-squad_v2-train-10513 | 56e031847aa994140058e342 | Comics | 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. | What comics began to dominate in Europe? | What comics began to dominate in Europe? | [
"What comics began to dominate in Europe?"
] | {
"text": [
"Franco-Belgian"
],
"answer_start": [
302
]
} |
gem-squad_v2-train-10514 | 56e031847aa994140058e343 | Comics | 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. | When was "The Adventures of Tintin" serialized? | When was "The Adventures of Tintin" serialized? | [
"When was \"The Adventures of Tintin\" serialized?"
] | {
"text": [
"1929"
],
"answer_start": [
472
]
} |
gem-squad_v2-train-10515 | 5acf824377cf76001a685046 | Comics | 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. | Who started producing comic strips and theories about them in 1872? | Who started producing comic strips and theories about them in 1872? | [
"Who started producing comic strips and theories about them in 1872?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10516 | 5acf824377cf76001a685047 | Comics | 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. | What century had comics in local production? | What century had comics in local production? | [
"What century had comics in local production?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10517 | 5acf824377cf76001a685048 | Comics | 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. | What 1925 cartoon made speech bubbles unpopular? | What 1925 cartoon made speech bubbles unpopular? | [
"What 1925 cartoon made speech bubbles unpopular?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10518 | 5acf824377cf76001a68504a | Comics | 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. | When was "The Adventures of Tintin" unserialized? | When was "The Adventures of Tintin" unserialized? | [
"When was \"The Adventures of Tintin\" unserialized?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10519 | 56e031db231d4119001abfb7 | Comics | 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] | In the United States in the middle of the 20th century comics were seen as a risk to culture and what? | In the United States in the middle of the 20th century comics were seen as a risk to culture and what? | [
"In the United States in the middle of the 20th century comics were seen as a risk to culture and what?"
] | {
"text": [
"literacy"
],
"answer_start": [
260
]
} |
gem-squad_v2-train-10520 | 56e031db231d4119001abfb8 | Comics | 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] | What was seen as "infantile" in the United States? | What was seen as "infantile" in the United States? | [
"What was seen as \"infantile\" in the United States?"
] | {
"text": [
"comics"
],
"answer_start": [
67
]
} |
gem-squad_v2-train-10521 | 56e031db231d4119001abfb9 | Comics | 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] | Comics were quoted as a sabotage of art and what? | Comics were quoted as a sabotage of art and what? | [
"Comics were quoted as a sabotage of art and what?"
] | {
"text": [
"literature"
],
"answer_start": [
402
]
} |
gem-squad_v2-train-10522 | 5acf860877cf76001a6850b2 | Comics | 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] | In the United States in the middle of the 19th century comics were seen as a risk to culture and what? | In the United States in the middle of the 19th century comics were seen as a risk to culture and what? | [
"In the United States in the middle of the 19th century comics were seen as a risk to culture and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10523 | 5acf860877cf76001a6850b3 | Comics | 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] | In the United States in the middle of the 20th century comics were seen as a boon to culture and what? | In the United States in the middle of the 20th century comics were seen as a boon to culture and what? | [
"In the United States in the middle of the 20th century comics were seen as a boon to culture and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10524 | 5acf860877cf76001a6850b4 | Comics | 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] | What was seen as sophisticated reading in the United States? | What was seen as sophisticated reading in the United States? | [
"What was seen as sophisticated reading in the United States?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10525 | 5acf860877cf76001a6850b5 | Comics | 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] | Comics were quoted as a product of art and what? | Comics were quoted as a product of art and what? | [
"Comics were quoted as a product of art and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10526 | 5acf860877cf76001a6850b6 | Comics | 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] | Comics were quoted as a sabotage of writing and what? | Comics were quoted as a sabotage of writing and what? | [
"Comics were quoted as a sabotage of writing and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10527 | 56e032247aa994140058e34b | Comics | 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. | Comics for adults began to be called what? | Comics for adults began to be called what? | [
"Comics for adults began to be called what?"
] | {
"text": [
"Ninth Art"
],
"answer_start": [
178
]
} |
gem-squad_v2-train-10528 | 56e032247aa994140058e34c | Comics | 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. | What year did Pilote begin? | What year did Pilote begin? | [
"What year did Pilote begin?"
] | {
"text": [
"1959"
],
"answer_start": [
357
]
} |
gem-squad_v2-train-10529 | 56e032247aa994140058e34d | Comics | 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. | What became a best-seller comic in the French language? | What became a best-seller comic in the French language? | [
"What became a best-seller comic in the French language?"
] | {
"text": [
"Adventures of Asterix"
],
"answer_start": [
437
]
} |
gem-squad_v2-train-10530 | 5acf864b77cf76001a6850d0 | Comics | 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. | What does bandes dessinées not mean? | What does bandes dessinées not mean? | [
"What does bandes dessinées not mean?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10531 | 5acf864b77cf76001a6850d1 | Comics | 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. | Comics for kids began to be called what? | Comics for kids began to be called what? | [
"Comics for kids began to be called what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10532 | 5acf864b77cf76001a6850d2 | Comics | 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. | What year did Pilote end? | What year did Pilote end? | [
"What year did Pilote end?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10533 | 5acf864b77cf76001a6850d3 | Comics | 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. | What became a best-seller comic in the English language? | What became a best-seller comic in the English language? | [
"What became a best-seller comic in the English language?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10534 | 5acf864b77cf76001a6850d4 | Comics | 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. | What became a low-seller comic in the French language? | What became a low-seller comic in the French language? | [
"What became a low-seller comic in the French language?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10535 | 56e032687aa994140058e353 | Comics | 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. | Pilote cartoonists were upset with censorship and what? | Pilote cartoonists were upset with censorship and what? | [
"Pilote cartoonists were upset with censorship and what?"
] | {
"text": [
"editorial interference"
],
"answer_start": [
32
]
} |
gem-squad_v2-train-10536 | 56e032687aa994140058e354 | Comics | 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. | When was L'Écho des savanes begun? | When was L'Écho des savanes begun? | [
"When was L'Écho des savanes begun?"
] | {
"text": [
"1972"
],
"answer_start": [
139
]
} |
gem-squad_v2-train-10537 | 56e032687aa994140058e356 | Comics | 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. | Métal hurlant was of what genre? | Métal hurlant was of what genre? | [
"Métal hurlant was of what genre?"
] | {
"text": [
"science fiction"
],
"answer_start": [
237
]
} |
gem-squad_v2-train-10538 | 56e032687aa994140058e357 | Comics | 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. | What format did adult comics begin to be published in? | What format did adult comics begin to be published in? | [
"What format did adult comics begin to be published in?"
] | {
"text": [
"prestige"
],
"answer_start": [
338
]
} |
gem-squad_v2-train-10539 | 5acf86e977cf76001a6850ee | Comics | 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. | Pilote cartoonists were happy with censorship and what? | Pilote cartoonists were happy with censorship and what? | [
"Pilote cartoonists were happy with censorship and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10540 | 5acf86e977cf76001a6850ef | Comics | 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. | Pilote readers were upset with censorship and what? | Pilote readers were upset with censorship and what? | [
"Pilote readers were upset with censorship and what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10541 | 5acf86e977cf76001a6850f0 | Comics | 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. | When was L'Écho des savanes ended? | When was L'Écho des savanes ended? | [
"When was L'Écho des savanes ended?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10542 | 5acf86e977cf76001a6850f1 | Comics | 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. | Métal hurlant wasn't of what genre? | Métal hurlant wasn't of what genre? | [
"Métal hurlant wasn't of what genre?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10543 | 5acf86e977cf76001a6850f2 | Comics | 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. | What format did child comics begin to be published in? | What format did child comics begin to be published in? | [
"What format did child comics begin to be published in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10544 | 56e033fc7aa994140058e35d | Comics | 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". | Which historical overview did Seiki Hosokibara create? | Which historical overview did Seiki Hosokibara create? | [
"Which historical overview did Seiki Hosokibara create?"
] | {
"text": [
"Nihon Manga-Shi"
],
"answer_start": [
336
]
} |
gem-squad_v2-train-10545 | 56e033fc7aa994140058e35e | Comics | 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". | When did Hosokibara create Nihon Manga-Shi? | When did Hosokibara create Nihon Manga-Shi? | [
"When did Hosokibara create Nihon Manga-Shi?"
] | {
"text": [
"1924"
],
"answer_start": [
358
]
} |
gem-squad_v2-train-10546 | 56e033fc7aa994140058e35f | Comics | 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". | What was created in 2001 to give students comic scholarships? | What was created in 2001 to give students comic scholarships? | [
"What was created in 2001 to give students comic scholarships?"
] | {
"text": [
"Japan Society for Studies in Cartoon and Comics"
],
"answer_start": [
1079
]
} |
gem-squad_v2-train-10547 | 56e033fc7aa994140058e360 | Comics | 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". | Who helped the rest of the world use the word manga outside of Japan's borders? | Who helped the rest of the world use the word manga outside of Japan's borders? | [
"Who helped the rest of the world use the word manga outside of Japan's borders?"
] | {
"text": [
"Frederik L. Schodt"
],
"answer_start": [
1209
]
} |
gem-squad_v2-train-10548 | 56e033fc7aa994140058e361 | Comics | 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". | What publication is Schodt responsible for? | What publication is Schodt responsible for? | [
"What publication is Schodt responsible for?"
] | {
"text": [
"Manga! Manga! The World of Japanese Comics"
],
"answer_start": [
1230
]
} |
gem-squad_v2-train-10549 | 5acf90a577cf76001a685292 | Comics | 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". | Which historical overview did Seiki Hosokibara reject? | Which historical overview did Seiki Hosokibara reject? | [
"Which historical overview did Seiki Hosokibara reject?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10550 | 5acf90a577cf76001a685293 | Comics | 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". | When did Hosokibara reject Nihon Manga-Shi? | When did Hosokibara reject Nihon Manga-Shi? | [
"When did Hosokibara reject Nihon Manga-Shi?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10551 | 5acf90a577cf76001a685294 | Comics | 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". | What was abolished in 2001 to give students comic scholarships? | What was abolished in 2001 to give students comic scholarships? | [
"What was abolished in 2001 to give students comic scholarships?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10552 | 5acf90a577cf76001a685295 | Comics | 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". | Who helped the rest of the world use the word manga inside of Japan's borders? | Who helped the rest of the world use the word manga inside of Japan's borders? | [
"Who helped the rest of the world use the word manga inside of Japan's borders?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10553 | 5acf90a577cf76001a685296 | Comics | 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". | What publication is Schodt not responsible for? | What publication is Schodt not responsible for? | [
"What publication is Schodt not responsible for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10554 | 56e0353d7aa994140058e371 | 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. | Who put together a history of American comics in 1947? | Who put together a history of American comics in 1947? | [
"Who put together a history of American comics in 1947?"
] | {
"text": [
"Coulton Waugh"
],
"answer_start": [
0
]
} |
gem-squad_v2-train-10555 | 56e0353d7aa994140058e372 | 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. | What was the name of Waugh's work? | What was the name of Waugh's work? | [
"What was the name of Waugh's work?"
] | {
"text": [
"The Comics"
],
"answer_start": [
80
]
} |
gem-squad_v2-train-10556 | 56e0353d7aa994140058e373 | 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. | Who created a book about comics from a philosophical point of view? | Who created a book about comics from a philosophical point of view? | [
"Who created a book about comics from a philosophical point of view?"
] | {
"text": [
"David Carrier"
],
"answer_start": [
259
]
} |
gem-squad_v2-train-10557 | 56e0353d7aa994140058e375 | 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. | What book did Will Eisner create in 1985? | What book did Will Eisner create in 1985? | [
"What book did Will Eisner create in 1985?"
] | {
"text": [
"Comics and Sequential Art"
],
"answer_start": [
113
]
} |
gem-squad_v2-train-10558 | 5acf915177cf76001a6852a4 | 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. | Who put together a history of American comics in 1974? | Who put together a history of American comics in 1974? | [
"Who put together a history of American comics in 1974?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10559 | 5acf915177cf76001a6852a5 | 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. | Who didn't put together a history of American comics in 1947? | Who didn't put together a history of American comics in 1947? | [
"Who didn't put together a history of American comics in 1947?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10560 | 5acf915177cf76001a6852a6 | 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. | What wasn't the name of Waugh's work? | What wasn't the name of Waugh's work? | [
"What wasn't the name of Waugh's work?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10561 | 5acf915177cf76001a6852a7 | 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. | Who created a book about comics from a biographical point of view? | Who created a book about comics from a biographical point of view? | [
"Who created a book about comics from a biographical point of view?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10562 | 5acf915177cf76001a6852a8 | 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. | What book did Will Eisner create in 1958? | What book did Will Eisner create in 1958? | [
"What book did Will Eisner create in 1958?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10563 | 56e035be7aa994140058e385 | Comics | 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. | What word is used in France for comics? | What word is used in France for comics? | [
"What word is used in France for comics?"
] | {
"text": [
"bandes dessinées"
],
"answer_start": [
169
]
} |
gem-squad_v2-train-10564 | 56e035be7aa994140058e386 | Comics | 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. | What word is used in Japan for comics? | What word is used in Japan for comics? | [
"What word is used in Japan for comics?"
] | {
"text": [
"manga"
],
"answer_start": [
337
]
} |
gem-squad_v2-train-10565 | 56e035be7aa994140058e388 | Comics | 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. | What does bandes dessinées mean? | What does bandes dessinées mean? | [
"What does bandes dessinées mean?"
] | {
"text": [
"drawn strip"
],
"answer_start": [
188
]
} |
gem-squad_v2-train-10566 | 56e035be7aa994140058e389 | Comics | 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. | What is the definitive factor of bandes dessinées? | What is the definitive factor of bandes dessinées? | [
"What is the definitive factor of bandes dessinées?"
] | {
"text": [
"drawn images"
],
"answer_start": [
234
]
} |
gem-squad_v2-train-10567 | 5acf91a777cf76001a6852ae | Comics | 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. | What word is rejected in France for comics? | What word is rejected in France for comics? | [
"What word is rejected in France for comics?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10568 | 5acf91a777cf76001a6852af | Comics | 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. | What word is used in France for comedies? | What word is used in France for comedies? | [
"What word is used in France for comedies?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10569 | 5acf91a777cf76001a6852b0 | Comics | 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. | What word isn't used in Japan for comics? | What word isn't used in Japan for comics? | [
"What word isn't used in Japan for comics?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10570 | 5acf91a777cf76001a6852b1 | Comics | 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. | What doesn't bandes dessinées mean? | What doesn't bandes dessinées mean? | [
"What doesn't bandes dessinées mean?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10571 | 5acf91a777cf76001a6852b2 | Comics | 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. | What is the non-definitive factor of bandes dessinées? | What is the non-definitive factor of bandes dessinées? | [
"What is the non-definitive factor of bandes dessinées?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10572 | 56e038497aa994140058e3a5 | Comics | 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. | What comics are on the Internet? | What comics are on the Internet? | [
"What comics are on the Internet?"
] | {
"text": [
"Webcomics"
],
"answer_start": [
0
]
} |
gem-squad_v2-train-10573 | 56e038497aa994140058e3a6 | Comics | 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. | Webcomics reach large audiences and new what? | Webcomics reach large audiences and new what? | [
"Webcomics reach large audiences and new what?"
] | {
"text": [
"readers"
],
"answer_start": [
105
]
} |
gem-squad_v2-train-10574 | 56e038497aa994140058e3a7 | Comics | 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. | With webcomics, readers have access to what? | With webcomics, readers have access to what? | [
"With webcomics, readers have access to what?"
] | {
"text": [
"archived installments"
],
"answer_start": [
132
]
} |
gem-squad_v2-train-10575 | 56e038497aa994140058e3a8 | Comics | 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. | Not held back by size limits, webcomics are said to have a what? | Not held back by size limits, webcomics are said to have a what? | [
"Not held back by size limits, webcomics are said to have a what?"
] | {
"text": [
"infinite canvas"
],
"answer_start": [
184
]
} |
gem-squad_v2-train-10576 | 5acf8dae77cf76001a685228 | Comics | 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. | What comics aren't on the Internet? | What comics aren't on the Internet? | [
"What comics aren't on the Internet?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10577 | 5acf8dae77cf76001a685229 | Comics | 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. | Webcomics reach small audiences and new what? | Webcomics reach small audiences and new what? | [
"Webcomics reach small audiences and new what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10578 | 5acf8dae77cf76001a68522a | Comics | 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. | Webcomics reach large audiences and old what? | Webcomics reach large audiences and old what? | [
"Webcomics reach large audiences and old what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10579 | 5acf8dae77cf76001a68522b | Comics | 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. | With webcomics, readers have no access to what? | With webcomics, readers have no access to what? | [
"With webcomics, readers have no access to what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10580 | 5acf8dae77cf76001a68522c | Comics | 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. | Held back by size limits, webcomics are said to have a what? | Held back by size limits, webcomics are said to have a what? | [
"Held back by size limits, webcomics are said to have a what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10581 | 56e0388a231d4119001abfdd | Comics | 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. | Storyboards and what are thought to be comics by some? | Storyboards and what are thought to be comics by some? | [
"Storyboards and what are thought to be comics by some?"
] | {
"text": [
"Wordless novels"
],
"answer_start": [
247
]
} |
gem-squad_v2-train-10582 | 56e0388a231d4119001abfde | Comics | 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. | Storyboards are used a lot by what? | Storyboards are used a lot by what? | [
"Storyboards are used a lot by what?"
] | {
"text": [
"Film studios"
],
"answer_start": [
60
]
} |
gem-squad_v2-train-10583 | 56e0388a231d4119001abfdf | Comics | 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. | Storyboards are not considered what? | Storyboards are not considered what? | [
"Storyboards are not considered what?"
] | {
"text": [
"an end product"
],
"answer_start": [
197
]
} |
gem-squad_v2-train-10584 | 56e0388a231d4119001abfe0 | Comics | 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. | Who does not often see storyboards used in film making? | Who does not often see storyboards used in film making? | [
"Who does not often see storyboards used in film making?"
] | {
"text": [
"the public"
],
"answer_start": [
235
]
} |
gem-squad_v2-train-10585 | 56e0388a231d4119001abfe1 | Comics | 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. | A book with pictures with no captions that tell a story are called what? | A book with pictures with no captions that tell a story are called what? | [
"A book with pictures with no captions that tell a story are called what?"
] | {
"text": [
"Wordless novels"
],
"answer_start": [
247
]
} |
gem-squad_v2-train-10586 | 5acf8e0f77cf76001a685232 | Comics | 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. | Storyboards and what are thought to be comics by all? | Storyboards and what are thought to be comics by all? | [
"Storyboards and what are thought to be comics by all?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10587 | 5acf8e0f77cf76001a685233 | Comics | 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. | Storyboards are not used a lot by what? | Storyboards are not used a lot by what? | [
"Storyboards are not used a lot by what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10588 | 5acf8e0f77cf76001a685234 | Comics | 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. | Scripts are used a lot by what? | Scripts are used a lot by what? | [
"Scripts are used a lot by what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10589 | 5acf8e0f77cf76001a685235 | Comics | 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. | Storyboards are considered what? | Storyboards are considered what? | [
"Storyboards are considered what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10590 | 5acf8e0f77cf76001a685236 | Comics | 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. | A book without pictures with no captions that tell a story are called what? | A book without pictures with no captions that tell a story are called what? | [
"A book without pictures with no captions that tell a story are called what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10591 | 56e038cc7aa994140058e3b5 | Comics | 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. | What has not been reached as far as defining comics is concerned? | What has not been reached as far as defining comics is concerned? | [
"What has not been reached as far as defining comics is concerned?"
] | {
"text": [
"consensus"
],
"answer_start": [
60
]
} |
gem-squad_v2-train-10592 | 56e038cc7aa994140058e3b6 | Comics | 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. | R. C. Harvey, Will Eisner and others are considered to be comic what? | R. C. Harvey, Will Eisner and others are considered to be comic what? | [
"R. C. Harvey, Will Eisner and others are considered to be comic what?"
] | {
"text": [
"Theorists"
],
"answer_start": [
209
]
} |
gem-squad_v2-train-10593 | 56e038cc7aa994140058e3b7 | Comics | 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. | What are there prominent examples of in comic history? | What are there prominent examples of in comic history? | [
"What are there prominent examples of in comic history?"
] | {
"text": [
"pantomime comics"
],
"answer_start": [
393
]
} |
gem-squad_v2-train-10594 | 56e038cc7aa994140058e3b8 | Comics | 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. | Comic critics, such as McCloud, stressed that sequences of what should be primary? | Comic critics, such as McCloud, stressed that sequences of what should be primary? | [
"Comic critics, such as McCloud, stressed that sequences of what should be primary?"
] | {
"text": [
"images"
],
"answer_start": [
346
]
} |
gem-squad_v2-train-10595 | 56e038cc7aa994140058e3b9 | Comics | 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. | What century had forgotten comic forms rediscovered? | What century had forgotten comic forms rediscovered? | [
"What century had forgotten comic forms rediscovered?"
] | {
"text": [
"20th"
],
"answer_start": [
572
]
} |
gem-squad_v2-train-10596 | 5acf8e7077cf76001a685258 | Comics | 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. | What has been reached as far as defining comics is concerned? | What has been reached as far as defining comics is concerned? | [
"What has been reached as far as defining comics is concerned?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10597 | 5acf8e7077cf76001a685259 | Comics | 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. | R. C. Harvey, Will Eisner and others are not considered to be comic what? | R. C. Harvey, Will Eisner and others are not considered to be comic what? | [
"R. C. Harvey, Will Eisner and others are not considered to be comic what?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10598 | 5acf8e7077cf76001a68525a | Comics | 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. | What aren't there prominent examples of in comic history? | What aren't there prominent examples of in comic history? | [
"What aren't there prominent examples of in comic history?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-10599 | 5acf8e7077cf76001a68525b | Comics | 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. | Comic critics, such as McCloud, stressed that sequences of what should be secondary? | Comic critics, such as McCloud, stressed that sequences of what should be secondary? | [
"Comic critics, such as McCloud, stressed that sequences of what should be secondary?"
] | {
"text": [],
"answer_start": []
} |
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