input: While the actual ethno-linguistic affiliation of the Olmec remains unknown, various hypotheses have been put forward. For example, in 1968 Michael D. Coe speculated that the Olmec were Mayan predecessors.  In 1976, linguists Lyle Campbell and Terrence Kaufman published a paper in which they argued a core number of loanwords had apparently spread from a Mixe-Zoquean language into many other Mesoamerican languages. Campbell and Kaufman proposed that the presence of these core loanwords indicated that the Olmec - generally regarded as the first "highly civilized" Mesoamerican society - spoke a language ancestral to Mixe-Zoquean. The spread of this vocabulary particular to their culture accompanied the diffusion of other Olmec cultural and artistic traits that appears in the archaeological record of other Mesoamerican societies.  Mixe-Zoque specialist Soren Wichmann first critiqued this theory on the basis that most of the Mixe-Zoquean loans seemed to originate only from the Zoquean branch of the family. This implied the loanword transmission occurred in the period after the two branches of the language family split, placing the time of the borrowings outside of the Olmec period. However, new evidence has pushed back the proposed date for the split of Mixean and Zoquean languages to a period within the Olmec era. Based on this dating, the architectural and archaeological patterns and the particulars of the vocabulary loaned to other Mesoamerican languages from Mixe-Zoquean, Wichmann now suggests that the Olmecs of San Lorenzo spoke proto-Mixe and the Olmecs of La Venta spoke proto-Zoque.  At least the fact that the Mixe-Zoquean languages are still spoken in an area corresponding roughly to the Olmec heartland, and are historically known to have been spoken there, leads most scholars to assume that the Olmec spoke one or more Mixe-Zoquean languages.

Answer this question "What was their ethnicity?"
output: While the actual ethno-linguistic affiliation of the Olmec remains unknown, various hypotheses have been put forward.

input: Ed spans a range of Brown's interests, from political skepticism to scatological humour to vampires and werewolves. The story is dark and surreal, desperate and humorous.  Christian elements especially--largely sacriligeous--are prominent in the book. They are at first innocuous and unimportant: a zombie named Christian, another character who believes he has found Christ's face on a piece of adhesive tape. With the fourth issue of Yummy Fur, Brown's surreal take on Christianity becomes central: the cover depicts the Virgin Mary holding not just the infant Christ, but also a severed hand. Within is the story of Saint Justin, whose amputation becomes a key motif: Chet loses his own hand and finds another; his own appears mysteriously under Ed's pillow. Only by praying for forgiveness for his adultery and by murdering his lover is Chet's hand miraculously restored. According to the Lives of the Saints, the fictional Saint Justin severed his own hand, but in another version Brown presents, Justin's wife cuts it off with a woodaxe when she catches her husband masturbating after rejecting her advances. Despite Saint Justin's story's exposure to the reader as a fraud, Chet's faith in the official version restores his severed hand. The altered ending from 1992 has both Josie and Chet reunited in Hell, and the ghost of Chet's sister becomes a devil. As Brown mixes surreal sacrilege with the sort of moralism that compels him to condemn Josie for her bloody revenge, Brian Evenson calls Brown "deft at muddying the waters in a way that makes it very hard to pin him down as either belieever or satirist, as either anti-religionist or apologist".  While not part of the Ed story, Brown had been serializing straight adaptations in Yummy Fur of the Gospels of Mark and of Matthew during most of Ed's run. R. Fiore called these adaptations "the best exploration of Christian mythology since Justin Green's Binky Brown", comparing Chet's excessive Christian guilt with the "almost childlike retelling" of Mark. Yummy Fur readers also found "I Live in the Bottomless Pit", a short strip in which a man discovers the Antichrist, who after millennia underground has forgotten his mission--a paradoxical one, as he states his orders were from God.  Ed prominently features transgressive content including nudity, graphic violence, racist imagery, blasphemy, and profanity. Brown grew up in a strictly Baptist household in which he was not allowed to swear, as depicted in Brown's graphic novel I Never Liked You (1994). Brown challenged his own anxieties by tackling subjects such as scatological humour. Imagery such as the recurring Pygmy characters and their "ooga booga" language, Chris Lanier asserted, reinforce "old colonial imaging of 'third world natives' ".

Answer this question "Does one of the characters represent Jesus?"
output:
Christ's face on a piece of adhesive tape.