Sunday comics

The Sunday comics or Sunday strip is the comic strip section carried in most western newspapers, almost always in color. Many newspaper readers called this section the Sunday funnies, the funny papers or simply the funnies.[1]

The first US newspaper comic strips appeared in the late 19th century, closely allied with the invention of the color press.[2] Jimmy Swinnerton's The Little Bears introduced sequential art and recurring characters in William Randolph Hearst's San Francisco Examiner. In the United States, the popularity of color comic strips sprang from the newspaper war between Hearst and Joseph Pulitzer. Some newspapers, such as Grit, published Sunday strips in black-and-white, and some (mostly in Canada) print their Sunday strips on Saturday.

Subject matter and genres have ranged from adventure, detective and humor strips to dramatic strips with soap opera situations, such as Mary Worth. A continuity strip employs a narrative in an ongoing storyline. Other strips offer a gag complete in a single episode, such as Little Iodine and Mutt and Jeff. The Sunday strip is contrasted with the daily comic strip, published Monday through Saturday, usually in black and white. Many comic strips appear both daily and Sunday, in some cases, as with Little Orphan Annie, telling the same story daily and Sunday, in other cases, as with The Phantom, telling one story in the daily and a different story in the Sunday. Some strips, such as Prince Valiant appear only on Sunday. Others, such as Rip Kirby, are daily only and have never appeared on Sunday. In some cases, such as Buz Sawyer, the Sunday strip is a spin-off, focusing on different characters than the daily.

Little Nemo 1907-09-29
Winsor McCay's Little Nemo in Slumberland (September 29, 1907), an example of a full-page Sunday strip. (Image from Little Nemo in Slumberland, So Many Splendid Sundays published by Sunday Press.)
An example of a classic full-page Sunday humor strip, Billy DeBeck's Barney Google and Spark Plug (January 2, 1927), showing how an accompanying topper strip was displayed on a Sunday page.

Popular strips

First Phantom Sunday strip
An example of an action-adventure strip is The Phantom (May 28, 1939). With Ray Moore art, this was the first Phantom Sunday strip.

Famous full-page Sunday strips include Alley Oop, Barney Google and Snuffy Smith, Blondie, Bringing Up Father, Buck Rogers, Captain Easy, Flash Gordon, and Thimble Theatre. Such classics have found a new home in book collections of recent years. On the other hand, numerous strips such as Bob Gustafson's Specs and Virgil Partch's The Captain's Gig are almost completely forgotten today, other than a brief display in the Stripper's Guide site run by comics historian Allan Holtz.

Many of the leading cartoonists also drew an accompanying topper strip to run above or below their main strip, a practice which began to fade away during the late 1930s. Holtz notes, "You'll hear historians say that the topper strip was a victim of World War II paper shortages. Don't believe a word of it—it's the ads that killed full-page strips, and that killed the topper. World War II only exacerbated an already bad situation."[3]

Role of the color press

After the publisher of the Chicago Inter-Ocean saw the first color press in Paris at the offices of Le Petit Journal, he had his own color press operating late in 1892.[4] At the New York Recorder, manager George Turner had R. Hoe & Co. design a color press, and the Recorder published the first American newspaper color page on April 2, 1893. The following month, Pulitzer's New York World printed cartoonist Walt McDougall's "The Possibilities of the Broadway Cable Car" as a color page on May 21, 1893. In 1894, Pulitzer introduced the Sunday color supplement.

The Yellow Kid is usually credited as one of the first US newspaper comic strips. However, the artform combining words and pictures evolved gradually, and there are many examples of proto-comic strips. In 1995, King Features Syndicate president Joseph F. D'Angelo wrote:

It was in Joseph Pulitzer's New York World that cartoonist Richard Outcault's legendary Yellow Kid made his newspaper debut in 1895, but it was Hearst's New York Journal that cannily snatched the Kid away from the rival sheet and deployed him as a key weapon in the historic newspaper circulation wars. The Kid led the charge in Hearst's trailblazing American Humorist comic supplement, with its famous motto: "Eight Pages of Iridescent Polychromous Effulgence That Makes The Rainbow Look Like A Lead Pipe!" Pulitzer fought back by hiring another artist to draw Outcault's character for the World. The publishers' fierce battle over the bald urchin in the yellow nightshirt led bystanders to refer to sensational, screaming-headline style newspaper combat as "yellow journalism." The popularity of that expression tainted the early comics as a less-than-genteel entertainment, but it also made it clear that the "funnies" had become serious business, seemingly overnight.[5]

In 1905, Winsor McCay's Little Nemo in Slumberland began. Stephen Becker, in Comic Art in America, noted that Little Nemo in Slumberland was "probably the first strip to exploit color for purely aesthetic purposes; it was the first in which the dialogue, occasionally polysyllabic, flirted with adult irony.[4]

By 1906, the weekly Sunday comics supplement was commonplace, with a half-dozen competitive syndicates circulating strips to newspapers in every major American city. In 1923, The Commercial Appeal in Memphis, Tennessee, became among the first in the nation to acquire its own radio station, and it was the first Southern newspaper to publish a Sunday comic section.[6]

For most of the 20th century, the Sunday funnies were a family tradition, enjoyed each weekend by adults and kids alike. They were read by millions and produced famous fictional characters in such strips as Flash Gordon, Little Orphan Annie, Prince Valiant, Dick Tracy and Terry and the Pirates. Leading the lists of classic humor strips are Bringing Up Father, Gasoline Alley, Li'l Abner, Pogo, Peanuts and Smokey Stover. Some newspapers added their own local features, such as Our Own Oddities in the St. Louis Post-Dispatch. There were educational strips, such as King Features' Heroes of American History. In addition to the comic strips, Sunday comics sections also carried advertisements in a comics format, single-panel features, puzzles, paper dolls and cut-and-paste activities. The World Museum gave readers instructions for cutting pictures apart and assembling them into a diorama, often with a subject from nature, such as The Grand Canyon or Buffalo Hunt. A page on covered wagons carried the headline, "Covered wagons shown in an easy-to-build model: Scissors, paste and wrapping paper are all you need to make this Western set."

Some radio stations across the United States featured Sunday morning programs in which an announcer read aloud from the Sunday comics section, allowing readers to follow action in the panels as they listened to the dialogue. Most notably, on July 8, 1945, during a New York newspaper deliverers' strike, New York mayor Fiorello H. La Guardia read comic strips over the radio.

Sunday strip layout

Sunday Comic Strip Layout Half Page
Sunday comic strip panel layout, designed to fill half a newspaper page.[7]
Sunday Comic Strip Layout Third Page
Sunday comic strip panel layout, designed to fill a third of a newspaper page. Note that the top two panels are omitted entirely.[7]
Sunday Comic Strip Layout Quarter Page
Sunday comic strip panel layout, designed to fill a quarter of a newspaper page.[7]

Early Sunday strips filled an entire newspaper page. Later strips, such as The Phantom and Terry and the Pirates, were usually only half that size, with two strips to a page in full-size newspapers, such as the New Orleans Times Picayune, or with one strip on a tabloid page, as in the Chicago Sun-Times.[8] When Sunday strips began to appear in more than one format, it became necessary for the cartoonist to follow a standardized strip layout, which provides newspapers with the greatest flexibility in determining how to print a strip.[7] One notable distinction among Sunday comics supplements was the supplement produced in a comic book-like format, featuring the character The Spirit. These sixteen-page (later eight-page) standalone Sunday supplements of Will Eisner's character (distributed by the Register and Tribune Syndicate) were included with newspapers from 1940 through 1952. During World War II, because of paper shortages, the size of Sunday strips began to shrink. After the war, strips continued to get smaller and smaller, to save the expense of printing so many color pages. The last full-page comic strip was the Prince Valiant strip for 11 April 1971. The dimensions of the Sunday comics continued to decrease in recent years, as did the number of pages. Sunday comics sections that were 10 or 12 pages in 1950 dropped to six or four pages by 2005. One of the last large-size Sunday comics in the United States is in the Reading Eagle, which has eight Berliner-size pages and carries 36 comics. Its banner headline is "Biggest Comics Section in the Land".[8] Another big-size comic section is that of The Washington Post which carries 41 strips in eight broadsheet pages although it also contains a sudoku and a Jumble puzzle. Canadian newspaper comic sections are unique not only because of being printed on Saturdays, but these usually are also part of the entertainment or lifestyle section. A notable exception is that of the Winnipeg Free Press which publishes an eight-page comic-only tabloid section.

In some cases today, the daily strip and Sunday strip dimensions are almost the same. For instance, a daily strip in The Arizona Republic measures 4​34" wide by 1​12" deep, while the three-tiered Hägar the Horrible Sunday strip in the same paper is 5" wide by 3​38" deep.

Early strips

Early Sunday strips usually filled a full newspaper page, but over decades they shrank in size, becoming smaller and smaller. Currently, no Sunday strips stand alone on a page, and some newspapers crowd as many as eight Sunday strips on a single page. The last full-page Sunday strip was Prince Valiant, which was published as a full page in some newspapers until 1971. Shortly after the full-page Prince Valiant was discontinued, Hal Foster retired from drawing the strip, though he continued to write it for several more years. Manuscript Press published a print of his last Prince Valiant strip in full-page format; this was the last full-page comic strip, though it did not appear in that format in newspapers.[8]


During the 1950s, there were a few short-lived attempts to revive the full-page Sunday strip. Examples such as Lance by Warren Tufts and Frank Giacoia's Johnny Reb and Billy Yank proved artistic, though not commercial, successes.

Other formats

Other formats for Sunday strips include the half-page, the third of a page, the quarter page, the tabloid page or tab, and the half tab, short for half of a tabloid page. Today, with the ever-shrinking size of Sunday strips, many other smaller formats abound.[8]

Usually, only the largest format is complete, with the other formats dropping or cropping one or more panels. Such "throwaway" panels often contain material that is not vital to the main part of the strip. Most cartoonists fill the first two panels of their strips with a "throwaway gag," knowing that the public may not see them, and making them integral to the plot would likely be wasteful. Exceptions to this rule include Steve Canyon and, until its last few years, On Stage, which are complete only in the third format. An alternative is to have a separate strip, a "topper" (though it may appear at the bottom), so with the topper it comprises a three-tier half-page, and without it comprises a two-tier third-page.

Half-page Sunday strips have at least two different styles. The King Features, the Creators' and the Chicago Tribune syndicates use nine panels (with only one used for the title), while United Features and Universal Press' half-page Sunday strips (most of them use a third-page format instead) use two panels for the title (except for Jim Davis' U.S. Acres—which used the nine-panel format- during the 1980s, when most UFS strips -particularly Davis' more successful Garfield—would have a throwaway gag).

Currently, the largest and most complete format for most Sunday strips, such as Peanuts, is the half page. A few strips have been popular enough for the artist to insist on the Sunday strip being run in a half-page format, though not necessarily in a half-page size. Calvin and Hobbes was the first strip to do this, followed by Outland and later Opus. The Reading Eagle is one of the few newspapers that still run half-page Sunday strips.[8]

In some cases today, the daily strip and Sunday strip dimensions are almost the same. For instance, a daily strip in The Arizona Republic measures 4​34" wide by 1​12" deep, while the three-tiered Hägar the Horrible Sunday strip in the same paper is 5" wide by 3​38" deep.

See also


  1. ^ "funnies". Random House Webster's Unabridged Dictionary.
  2. ^ Robinson, Jerry (1974). The Comics: An Illustrated History of Comic Strip Art. G. P. Putnam's Sons.
  3. ^ Holtz, Allan. "Obscurity of the Day: Wimpy's Zoo's Who" March 17, 2008.
  4. ^ a b Becker, Stephen. Comic Art in America. Simon & Schuster, 1959.
  5. ^ "William Randolph Hearst and the Comics"
  6. ^ The Tennessee Encyclopedia of History and Culture
  7. ^ a b c d Watterson, Bill (1995). Calvin and Hobbes Tenth Anniversary Book. Andrews and McMeel. pp. 14–15. ISBN 0-8362-0438-7.
  8. ^ a b c d e Holtz, Allan. Stripper's Guide Dictionary Part 1: Sunday Strips, August 14, 2007.

Further reading

  • Blackbeard, Bill and Dale Crain, The Comic Strip Century, Kitchen Sink Press, 1995. ISBN 0-87816-355-7
  • Blackbeard, Bill and Martin Williams, The Smithsonian Collection of Newspaper Comics, Smithsonian Institution Press and Harry N. Abrams, 1977. ISBN 0-8109-2081-6
  • Horn, Maurice, The World Encyclopedia of Comics (1976) Chelsea House, (1982) Avon
  • Koenigsberg, Moses. King News, Moses Koenigsberg
  • Robinson, Jerry, The Comics: An Illustrated History of Comic Strip Art (1974) G.P. Putnam's Sons

External links

AP Newsfeatures

AP Newsfeatures, aka AP Features, was the cartoon and comic strip division of Associated Press, which syndicated strips from 1930 to the early 1960s.

Awkward Zombie

Awkward Zombie is an ongoing video game webcomic by Katie Tiedrich. Starting in 2006, the webcomic parodies the unusual aspects of video games in a comedic fashion. Initially gaining steam by parodying Super Smash Bros., Awkward Zombie is known for covering a broad selection of games. The webcomic has been featured by various gaming-related websites.

C. W. Kahles

Charles William Kahles (pronounced Kah'-less) (January 12, 1878 – January 21, 1931) was a prolific cartoonist responsible for numerous comic strips, notably Hairbreadth Harry. He is credited as the pioneer of daily comic strip continuity with his Clarence the Cop, which he drew for the New York World in the latter 1890s, introducing to newspapers the innovation of continuing a comic strip story in a day-to-day serial format.The cartoonist and comics historian Ernest McGee called Kahles the "hardest working cartoonist in history, having as many as eight Sunday comics running at one time (1905-06) with no assistants to help him." Between 1898 and 1931, Kahles drew a total of 25 comic strips, in addition to paintings, book illustrations and advertisements. At the same time he was contributing single-panel cartoons to Life, Judge, Puck, Browning's Magazine and the Pleiades Club Year Book.

Comic Strip Live (TV series)

Comic Strip Live is a weekly, late-night, hour-long stand-up comedy showcase that aired on the Fox network from 1989-1994. It started as a local show at Igby's comedy club, originally hosted by John Mulrooney and filmed at the club. Jamie Masada, owner of the Laugh Factory, proposed that they take the show national; Fox agreed, and moved the show to the Laugh Factory in Hollywood. Mulrooney was replaced by Gary Kroeger for the second season, then Wayne Cotter for the remaining seasons.

The show was successful enough that Fox created a prime time version called The Sunday Comics.

Comic strip

A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. Traditionally, throughout the 20th century and into the 21st, these have been published in newspapers and magazines, with horizontal strips printed in black-and-white in daily newspapers, while Sunday newspapers offered longer sequences in special color comics sections. With the development of the internet, they began to appear online as webcomics. There were more than 200 different comic strips and daily cartoon panels in South Korea alone each day for most of the 20th century, for a total of at least 7,300,000 episodes.Strips are written and drawn by a comics artist or cartoonist. As the name implies, comic strips can be humorous (for example, "gag-a-day" strips such as Blondie, Bringing Up Father, Marmaduke, and Pearls Before Swine).

Starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers, Tarzan, and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s. All are called, generically, comic strips, though cartoonist Will Eisner has suggested that "sequential art" would be a better genre-neutral name.In the UK and the rest of Europe, comic strips are also serialized in comic book magazines, with a strip's story sometimes continuing over three pages or more. Comic strips have appeared in American magazines such as Liberty and Boys' Life and also on the front covers of magazines, such as the Flossy Frills series on The American Weekly Sunday newspaper supplement.

Comic strip formats

Comic strip formats vary widely from publication to publication, so that the same newspaper comic strip may appear in a half-dozen different formats with different numbers of panels, different sizes of panels and different arrangement of panels.

Eugene A. Leahy

Eugene A. "Gene" Leahy (May 8, 1929 – January 18, 2000) was Mayor of Omaha, Nebraska from 1969 to 1973. Gene Leahy Mall in Downtown Omaha is named after him. His unorthodox style endeared him to many Omahans. He would often wear a clown suit for poor children's celebrations and he championed the retention of football at the University of Nebraska at Omaha when the Nebraska University System wanted to cut it.

Mayor Leahy was also well known for reading the Sunday comics on a local television station.

His long range planning for the city was done in a fashion which did not draw attention to his own guidance and vision yet has been one of the enduring backbones which the subsequent city leaders have built upon.

Flak Magazine

Flak Magazine was an early American online magazine, founded in 1998 by James Norton, Benjamin Fowler, Justin Knoll, Nicholas Coleman and others, mostly alumni and students at the University of Wisconsin-Madison. The chief editor was James Norton, the managing editors were Ben Fowler, Eric Wittmershaus and Joey Rubin. As of 2005, it reported over 250,000 unique visitors monthly. In 2008, Flak suspended publication.

The PC Magazine wrote that Flak Magazine was "founded on the back of a placemat, prides itself on covering a little bit of everything. Topics vary wildly from music and book reviews to a feature story on the Unclaimed Baggage Center."The content of Flak was classified into features, opinion, books, film, music, web, TV and miscellaneous. It is an independent publication whose owners claim that making money is not among their goals.Among the list of writers who've written for Flak were Will Leitch, author and journalist Rob Walker, Kickstarter cofounder Yancey Strickler, Yahoo Sports blogger and author Andy Behrens, columnist Bob Cook and actor Kevin Murphy.

Over the years, it published interviews with artists including Daniel Clowes, Bruce Campbell, David Eggers, James Schamus, Seth MacFarlane and They Might Be Giants. Its Sunday Comics section includes contributors such as Stephen Notley, Nicholas Gurewitch and David Malki!.

In 2006, Flak began producing a weekly podcast featuring James Norton, Taylor Carik and The Al Franken Show producer Joel Meyer. In 2007, the podcast was nominated for a regional Emmy for "Online Personality."

Greg Evans (cartoonist)

Greg Evans (born November 13, 1947) is an American cartoonist and the creator of the syndicated comic strip Luann. He received the 2003 National Cartoonists Society Reuben Award for the strip. He has been nominated four other times for the same award.

In 100 Years of American Newspaper Comics, Dennis Wepman wrote that Evans "taught junior and senior high school art in his native California, worked as promotion manager and graphic artist for a TV station in Colorado, and entertained with a robot at trade shows and fairs before he sold Luann to News America Syndicate in 1984."Evans wrote a musical based on Luann, Luann: Scenes in a Teen's Life, which debuted March 2008 at Palomar College in San Marcos, California. It was directed by Dana Case.

Prior to Luann, Evans published the comic strip Fogarty, distributed free to high school newspapers. It featured the character Mr. Fogarty, who continues in the same role as a character in Luann.

Evans lives in San Marcos, California, near San Diego. With his wife Betty he has three children, including daughter Karen, whose own experiences as a teenager influenced Luann.One of Evans' children, Rhonda, born around the time Evans had met his wife in college, was put up for adoption. 30 years later, Rhonda discovered that she was adopted. When reading the Sunday comics, she realized that an artist's name matched the name on her adoption papers. She contacted Evans, who was shocked. Evans and his wife eventually met Rhonda, whose story was told in an episode of the PAX-TV series, It's a Miracle.

List of Cyborg 009 media

This is a list of Cyborg 009 manga volumes and anime episodes.

Reiji Yamada

Reiji Yamada (山田玲司, Yamada Reiji, born January 1, 1966, Tokyo) is a Japanese manga artist. His first big hit was a romantic comedy B Virgin, and he is also known for the manga adaptation of Zebraman. He is very concerned with societal problems, and has spent the last several years drawing Zetsubō ni Kiku Kusuri, a series of manga interviews with people he believes are setting a positive example.

Rising Stars of Manga

Rising Stars of Manga (RSoM) was an English-language comic anthology published by TOKYOPOP from 2002 to 2008, and a contest held by the same company. It was originally semi-annual, but switched to annual beginning with the 6th volume.

Each volume represented the results of a contest, in which aspiring comic book artists from all over the U.S. each submit a 15-20 page one-shot comic. Tokyopop staff select the best entry in each genre category (Comedy, Action, Mystery, Romance, Drama, Sci-Fi, Fantasy and Horror) to publish in the anthology. Each winner received a $1000 prize. In addition, a People's Choice winner was decided from around 20 entries by votes from online viewers or users of the Toykopop website. The People's Choice winner was awarded $500 and published in the anthology as well (although a genre winner could also be selected as a People's Choice winner). Before the seventh RSoM competition (in 2007), the staff of TOKYOPOP picked one grand-prize winner, a Second and a Third prize winner, and eight runners-up with no distinctions in genre.

The youngest entrant to become a finalist was 15 and the youngest to be published in the anthology was also 15, and the oldest had been 39. Finalists were offered a chance to submit a proposal to create a series of books, usually lasting three volumes. Other finalists have parlayed the exposure provided by the contest into manga/comics jobs at other companies.

A few of the winners had the beginning chapters of their comics serialized by syndication in the Sunday comics of various American newspapers (Peach Fuzz, Van Von Hunter and Mail Order Ninja), through the Universal Press Syndicate.


Tankōbon (単行本, "independent/standalone book") is the Japanese term for a book that is complete in itself and is not part of a series or corpus. In modern Japan, though, it is most often used in reference to individual volumes of a single manga, as opposed to magazines (雑誌, zasshi), which feature multiple series.The largest imprint labels for manga tankōbon publications include Jump Comics (for manga originally serialized in Weekly Shōnen Jump and other Jump magazines), Shōnen Sunday Comics, and Shōnen Magazine Comics.

The Indianapolis Star

The Indianapolis Star is a morning daily newspaper that began publishing on June 6, 1903, in Indianapolis, Indiana, United States. It has been the only major daily paper in the city since 1999, when the Indianapolis News ceased publication. It won the Pulitzer Prize for Investigative Reporting twice, in 1975 and 1991. It is currently owned by the Gannett Company.

The Sunday Comics

The Sunday Comics is a prime time showcase of comedy broadcast in the United States by Fox Broadcasting Company in 1991 and 1992.

The Sunday Comics showcased not only standup comedy but also variety acts, and film shorts produced by comics including Bruce Baum, Gilbert Gottfried, Rich Hall, and Rick Overton. The program's primary venue was the Palace Theatre in Hollywood, but the show also made visits to other locations.

The program was originally hosted by Jeff Altman, but he left the show in June 1991 and was replaced by Lenny Clarke. Clark's tenure as host ended in October, and for the rest of the year (until the show's December cancellation), guest hosts were used.

Edited reruns of the show were shown on FOX in February and March 1992.

Topper (comic strip)

A topper in comic strip parlance is a small secondary strip seen along with a larger Sunday strip. In the 1920s and 1930s, leading cartoonists were given full pages in the Sunday comics sections, allowing them to add smaller strips and single-panel cartoons to their page.

Toppers usually were drawn by the same artist as the larger strip. These strips usually were positioned at the top of the page (hence their name), but they sometimes ran beneath the main strip.Toppers were introduced by King Features Syndicate during the 1920s, enabling newspaper editors to claim more comic strips without adding more pages. The practice allowed newspapers to drop the topper and place an additional strip or an additional advertisement into the Sunday comics section. They also made it possible to reformat a strip from full-page size to tabloid size.In 1904, Frederick Opper drew his And Her Name Was Maud, about the kicking mule Maud, into comic strips, books and animation, but on May 23, 1926, Opper positioned And Her Name Was Maud as the topper to his Happy Hooligan, and it ran along with Happy Hooligan until both strips came to a conclusion on October 14, 1932. On May 16, 1926, Harold Knerr began Dinglehoofer und His Dog, a topper to The Katzenjammer Kids, which ran until two years after his death. By 1936, to avoid any association with Adolf Hitler, the dog's name was changed to Schnappsy (a.k.a. Schnapps). Knerr's strip was reformatted for reprints in Magic Comics in the early 1940s.

Billy DeBeck's topper for Barney Google was Parlor Bedroom and Sink, which evolved into Parlor Bedroom and Sink Starring Bunky and eventually was titled simply Bunky. In the mid-1930s, DeBeck added alongside Bunky a single-panel topper, Knee-Hi-Knoodles, depictions of kids' funny remarks (contributed by readers). Bunky spawned the catchphrase, "Youse is a viper, Fagin." A big fan of Bunky was pulp author Robert E. Howard, who liked to quote from the strip, as noted by his friend Tevis Clyde Smith:

His affection for Bunker Hill - "Youse is a viper, Fagin." Kept up with the strip, and retold it in a charming way. Liked to talk Brooklynese, and once entered a local dry goods store, and asked to see a shoitel.

Yuu Watase

Yuu Watase (渡瀬 悠宇, Watase Yuu, born March 5, 1970 in Kishiwada, Osaka) is a Japanese shōjo manga artist. She received the Shogakukan Manga Award for shōjo for Ceres, Celestial Legend in 1997. Watase debuted at the age of eighteen with her short story "Pajama de Ojama" ("An Intrusion in Pajamas"), and has since created more than 80 compiled volumes of short stories and continuing series. In October 2008, Watase began her first shōnen serialization, Arata: The Legend in Weekly Shōnen Sunday.

Her name is romanized as "Yû Watase" in earlier printings of Viz Media's publications of Fushigi Yūgi, Alice 19th, and Ceres, Celestial Legend while in Viz Media's Fushigi Yūgi Genbu Kaiden and Absolute Boyfriend her name is romanized as "Yuu Watase". In Chuang Yi's English-language versions of Fushigi Yugi (spelled without a macron or circumflex), her name is romanized as "Yu Watase". Yuu Watase is a pen name. She chose "Yuu" because she liked the name.

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