(Rantanplan), both by André Leborgne, and the first specialized shop and republisher of old material, Michel Deligne. The Institut Saint-Luc in Brussels created a comics department with teachers like Eddy Paape, and was largely responsible for the new, more adult-oriented authors who came to the fore in the 1980s and 1990s. Expositions with the major artists were organized throughout the country, some by amateur enthusiasts, some endorsed by the government. 1978–present The last decades have shown the further decline of the traditional publication systems of the Belgian comics, and the end of the dominance of the Belgian authors in European comics. Reflecting the shift from the dominance of weekly youth comics to longer adult comics was the demise of Tintin and the start of A Suivre in 1978, the more adult oriented monthly magazine of publisher Casterman. It published longer "chapters" of the main European authors of graphic novels, with artists like Hugo Pratt and Jacques Tardi. Among them, room was still reserved for the best Walloon and Brussels' talents, including Didier Comès, Benoît Sokal, and François Schuiten. The magazine, seen as the more intellectual reply to French magazines like Métal Hurlant who were more oriented towards graphical innovation, was a big success and had a lot of influence, but turned out to be relatively short-lived. The Dutch language edition, started in 1980, folded in 1989 (the same year Pilote ceased publication), and in 1997 the French language edition disappeared as well, further demonstrating the demise of the magazine format in a market where most people prefer to immediately buy the albums. In Flanders, a final experiment with a youth comics magazine was started in 1993 with Suske en Wiske Weekblad by Standaard Uitgeverij: with a mix of classic comics and new series and carried by the most popular Dutch language series and a sizable promotional campaign, it got a sizable audience at first, but slowly lost momentum and disappeared in 2003. The only comics magazine to survive is Spirou, but with the end of the Dutch version Robbedoes in 2005, when the circulation had dropped to only about 3,000 copies, no mass-market comics magazines for the Flemish audience remained, making it harder for young Flemish artists to gain a larger audience. Spirou, meanwhile, after a decline during the 1970s and 1980s from 280,000 to 160,000 copies, holds on to a quite steady circulation, and is a mix of a