A:"SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's devoted boyfriend, to whom she is nonetheless unfaithful. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007. B:With what little we know about the events of this series, is it possible that one of the other main characters has a fling with Francine's boyfriend? Answer: copied
A:"SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's unfaithful boyfriend. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007. B:Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters? Answer: copied
A:The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general. B:Is it likely that other authors attempted to finish Dicken's unfinished work? Answer: kings
A:Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. This was a reflection of his age and of Christie's distaste for him. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works. B:Are there multiple possible reasons why Christie did this? Answer: kings
A:"SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's philandering boyfriend. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007. B:Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters? Answer: copied
A:"SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's devoted boyfriend, to whom she is nonetheless unfaithful. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007. B:Based on the brief description, would a reader consider Francine to have been victimized in her relationship with her boyfriend? Answer: copied
A:The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general. B:Is it likely that publishers still pushed to sell Dicken's work after his death? Answer: kings
A:The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general. B:Is it likely that Dickens had regrets about his last work before his death? Answer: kings
A:Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. This was a reflection of his age and of Christie's distaste for him. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works. B:Is the exact reason Christie did this known? Answer:
kings