input: Robinson announced he would retire from basketball after the 2002-03 season.  On June 15, 2003, in the finale of Robinson's career, the Spurs won another NBA title with an 88-77 victory over the New Jersey Nets in Game 6 of the 2003 NBA Finals. Turning back the clock, Robinson scored 13 points and grabbed 17 rebounds in his final game for the Spurs. He and the year's regular season and NBA Finals MVP Tim Duncan shared Sports Illustrated magazine's 2003 Sportsmen of the Year award.  Robinson averaged 21.1 points per game, 10.7 rebounds per game, 3 blocks per game, and 2.5 assists per game over 987 games in his NBA career. Also, he is one of only a very small group of players to have scored over 20,000 career points in the NBA, as well as being one of only four players to have recorded a quadruple-double (with 34 points, 10 rebounds, 10 assists, and 10 blocks against the Detroit Pistons on February 17, 1994).  He is also one of only six players to record 70 or more points in a single game with 71 points against the Los Angeles Clippers on April 24, 1994. Only Elgin Baylor (71 points), Wilt Chamberlain (70, 72, 73 twice, 78, 100 points), David Thompson (73 points), Devin Booker (70 points), and Kobe Bryant (81 points) have scored 70 or more points in a single game.  Robinson is also noteworthy for his harmonious relationship with Tim Duncan. Sportswriter Chris Sheridan noted that it was rare for someone like Robinson to have welcomed and mentored Duncan as willingly as he did.

Answer this question "Are there any other interesting aspects about this article?"
output: He and the year's regular season and NBA Finals MVP Tim Duncan shared Sports Illustrated magazine's 2003 Sportsmen of the Year award.

input: The first post-Crisis appearance of Captain Marvel was in the 1986 Legends miniseries. In 1987, Captain Marvel appeared as a member of the Justice League in Keith Giffen's and J. M. DeMatteis' relaunch of that title. That same year (spinning off from Legends), he was given his own miniseries titled Shazam!: The New Beginning. With this four-issue miniseries, writers Roy and Dann Thomas and artist Tom Mandrake attempted to re-launch the Captain Marvel mythos and bring the wizard Shazam, Dr. Sivana, Uncle Dudley, and Black Adam into the modern DC Universe with an altered origin story. Roy Thomas, a veteran comic book writer and editor, had been lured from Marvel Comics to DC in 1981 with the specific contractual obligation that he would become the main writer of Shazam! and the Justice Society of America characters. Before the Crisis, Thomas wrote several of the DC Comics Presents stories featuring the Marvel Family.  The most notable change that the Thomases, Giffen, and DeMatteis introduced into the Captain Marvel mythos was that the personality of young Billy Batson is retained when he transforms into the Captain. This change would remain for most future uses of the character as justification for his sunny, Golden-Age personality in the darker modern-day comic book world, instead of the traditional depiction used prior to 1986, which tended to treat Captain Marvel and Billy as two separate personalities.  This revised version of Captain Marvel also appeared in one story-arc featured in the short-lived anthology Action Comics Weekly #623-626 (October 25, 1988 - November 15, 1988), in which a Neo-Nazi version of Captain Mazi was introduced. At the end of the arc, it was announced that this would lead to a new Shazam! ongoing series. Though New Beginning had sold well and multiple artists were assigned to and worked on the book, it never saw publication due to editorial disputes between DC Comics and Roy Thomas. As a result, Thomas' intended revival of the Marvel Family with a new punk-styled Mary Bromfield/Mary Marvel (aka "Spike") who was not Billy's sister, and an African-American take on Freddy Freeman/Captain Marvel Jr., did not see print. Thomas departed DC in 1989, not long after his removal from the Shazam! project.  Other attempts at reviving Shazam! were initiated over the next three years, including a reboot project by John Byrne, illustrator of Legends and writer/artist on the Superman reboot miniseries The Man of Steel (1986). None of these versions saw print, though Captain Marvel, the Wizard Shazam, and Black Adam did appear in DC's War of the Gods miniseries in 1991. By this time, DC had finally ceased the fee-per-use licensing agreement with Fawcett Publications and purchased the full rights to Captain Marvel and the other Fawcett Comics characters.

Answer this question "How well did did the comic series do in the 80's?"
output: 

input: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums.

Answer this question "Who did they model their style after?"
output:
Every Time I Die, Norma Jean, Skycamefalling and Poison the Well;