attracted some of their main colleagues from Spirou like Morris, Jijé, Charlier and Hubinon. Apart from Morris, they all continued working for Spirou as well, but the decline had started. Tintin suffered from the lack of new stories by Hergé. Greg became the new editor-in-chief in 1962 and stayed on until 1975, introducing a new, more adult style and content to the magazine, and introducing some major new artists like Hermann Huppen, William Vance, Jean Van Hamme and Dany. But despite the critical acclaim of these authors, the circulation slowly declined from the record high of 270,000 copies a week in France alone, and the different international editions of Tintin disappeared over the next decade, but not before launching a last major series with Thorgal by Rosinski. Spirou as well had to introduce new artists and series to fill the pages and keep their readers. It took many of them until around 1970 to become real stars, with the rise of Raoul Cauvin as the new main writer of the magazine. The biggest new series of the 1960s was Boule et Bill by Franquin-collaborator Jean Roba. It became the most popular series of the magazine together with Gaston Lagaffe after the disappearance of Lucky Luke in 1967. Around 1970, Berck (Sammy), Lambil (Les Tuniques Bleues), François Walthéry (Natacha), and Leloup (Yoko Tsuno) were the main new artists and series, with Raoul Cauvin as the most important writer. However, the top circulation of about 280,000 copies a week (France and Belgium combined), was no longer reached after 1966. In Flanders, the situation was very stable, with the limited local publication possibilities all taken by the established authors of the 1940s and 1950s, leaving no room for new talents after the disappearance of most magazines. New artists either started working in the large Studio Vandersteen or tried to get into Spirou and Tintin, thereby strengthening the bond between the comics scenes of both language groups. Comics fandom, started in the Netherlands and France in the 1960s, emerged in Flanders in 1966 with the different publications by Jan Smet, who also created the first Flemish comics award in 1972. This developed into the Bronzen Adhemar, the most important comics award of Flanders, named after the child prodigy character Adhemar in The Adventures of Nero. In Wallonia, it only seriously commenced in 1971, with the first awards (the Prix Saint-Michel in Brussels) and fanzine