In this task, you're given a question, along with a context passage. The passage will not have a direct answer to the question, but can include some information and a clue for the answer. Assuming you can only obtain information about one entity in the passage, your job is to determine whether information from the passage can be used to answer the question. Indicate your choice as `a` for Yes or `b` for No.

Q: Question: How many years were there between the release of the Super Famicom and the beginning of Mother 3 development? Passage:Mother 3 was originally developed for the Super Famicom (Super Nintendo Entertainment System) beginning in 1994. Shigeru Miyamoto, head of Nintendo Entertainment Analysis & Development and Mother 3 producer, said that Mother 3 was "a commercial decision", since Mother 2 (EarthBound outside Japan) had sold well. By this point, Mother series creator Shigesato Itoi had worked on the series' earlier games and Itoi Shigesato no Bass Tsuri No. 1 and was experienced at pitching video games, so Miyamoto provided a team willingly. The Mother 2 development team carried over to the new game's development, though several people left and the team grew in size. They forewent the usual prototyping phase and went straight into development expecting to create something unprecedented. Itoi said he wanted to make the game like a Hollywood film. In September 1994, he predicted that Mother 3 development would end around 1996 with a release on Nintendo's then-upcoming console. The team was inspired by Super Mario 64 and felt that they too could creatively flourish by making a 3D world without restrictions. Their early technical specifications exceeded the capabilities and memory limits of the platform. About halfway through development, the team attempted to scale back its large scope and changed its development platform to the 64DD, a Nintendo 64 expansion peripheral. At E3 in June 1997, Miyamoto speculated that Mother 3 would be one of the four titles for the then-expected 1998 launch of the Japan-only peripheral, but the game was instead converted to a Nintendo 64 cartridge-only format upon the commercial failure of the repeatedly delayed 64DD.


A: b
****
Q: Question: What city that was chosen for filming Aeon Flux has the largest population? Passage:The screenplay was written by Phil Hay and Matt Manfredi, and directed by Karyn Kusama. It was based on the animated TV series by Peter Chung, who had a minor role in this film version of his work. In the early stages of production, actress Michelle Rodriguez was considered for the part of Æon. She had previously worked with Kusama in Girlfight. Kusama had originally suggested filming in Brasília, the capital of Brazil, because the 20th-century modern architecture of that city fit with her vision of Bregna. The producers rejected the idea because Brasília lacked the infrastructure and technical expertise to support a major film production. After several cities were scouted, Berlin and Potsdam in Germany were chosen for filming. Berlin had several locations that fit into the organic yet structured world of Æon Flux. The crew gained permission to film in several locations that had never allowed such access before, including the Treptow Crematorium, the Adlershof Trudelturm and Windkanal wind tunnel facility, and the Haus der Kulturen der Welt ("House of the World's Cultures"). Additional locations included the Bauhaus Archive and a dissection theatre built in 1790 to train veterinarians, part of the Berlin animal shelter. It was used as the Handler space. Filming was temporarily suspended for a month during September 2004 while Theron recovered from a neck injury she sustained during stunt-work on the tenth day of shooting. She was hospitalized in Berlin for five days and required about six weeks of physiotherapy to recover.


A: b
****
Q: Question: Who else was on the board of the Performing Right Society while Mitchell was chairman of that same board? Passage:Mitchell was born in London, and educated at Brightlands Preparatory School and Dulwich College, London. In 1943 he registered as a conscientious objector and his war-time service was spent in the Non-Combatant Corps. After the war, he taught at Oakfield Preparatory School, London and in 1947 founded and edited the journal Music Survey; several issues appeared before he was joined in 1949 by Hans Keller and the journal was re-launched in the Music Survey's so-called 'New Series' (1949–52), whose uncompromising critical standards and pugnaciously pro-Britten and pro-Schoenberg stance brought it renown and notoriety in equal measure. Mitchell studied at Durham University 1949-50. In the 1950s he was a regular contributor to the journals Musical Times and Musical Opinion. In 1958 he became editor of Music Books at Faber and Faber and in the same year was appointed Editor of Boosey & Hawkes's music journal Tempo, until 1962. From 1963 to 1964 he was a special music adviser at Boosey & Hawkes with particular responsibility for contemporary music and the acquisition of contemporary composers. He was responsible for Peter Maxwell Davies and Nicholas Maw joining the publisher's list. In 1965, with the encouragement of Benjamin Britten he founded the music-publishing firm of Faber Music, and was its first Managing Director (vice-chairman, 1976, chairman, 1977, president, 1988–95). In 1972 he became the first Professor of Music at Sussex University (until 1976). Following the death of Benjamin Britten, Mitchell became a senior trustee of the Britten-Pears Foundation; in 1986 he became the Foundation's director and chairman of the Britten Estate Ltd. From 1989 to 1992 he was chairman of the Performing Right Society. He was appointed a CBE in the 2000 New Year Honours, and died on 28 September 2017.


A:
a
****
