Nero appeared in the newspaper Het Volk from 1947 on. Willy Vandersteen worked for a whole series of magazines, both in Dutch and French, but his main series Spike and Suzy appeared in De Standaard from 1945 on. These two artists dominated the Flemish comics scene until 1980, but even though Nero gets translated in French and German, the only success outside Flanders was Spike and Suzy, which became the most popular comic of the Netherlands and got a sizable audience in Wallonia as well, mainly because of the appearance of seven specially created stories in Tintin, which are commonly considered to be the best of the series. Due to this success, Vandersteen opened a Studio which produced hundreds of comics and gave many young local artists a steady job. However, contrary to the School of Marcinelle and to a lesser degree the Studios Hergé, very few artists had a successful independent career after leaving the studio. One of the major series of the Studio was Bessy, originally made for the Walloon newspaper La Libre Belgique in 1952, and which would only later find its way to Flanders and finally to a series of more than 1000 comic books in Germany. Meanwhile, many artists who would later become famous debuted on a small scale in the Walloon newspapers: Peyo, Greg, Albert Uderzo, René Goscinny, ... In the 1950s, the comics scene in Belgium is dominated by three main publishing methods: the main magazines Tintin and Spirou, coupled with the albums published afterwards by the editors Lombard and Dupuis; the daily newspaper comics in Flanders, with the cheaper black and white albums afterwards by De Standaard and Het Volk: and the weekly newspaper supplements of the French language newspapers, which mainly lacked subsequent albums. The number of other magazines slowly decreased, and the independent comic albums publishers without a magazine disappeared with the exception of Casterman, publisher of the comics by Hergé and a limited number of other comics. In this period, the Belgian comics had their Golden Age, a period of constant growth and expansion, with the start and continuation of many of the most popular Belgian series. Spirou expanded from 12 pages of newspaper quality to 52 full colour pages, and the number of American comics, reintroduced after the end of the war, dwindled to near nil in 1950. Their place was taken by Victor Hubinon and Jean-Michel Charlier