established artists like Frans Van Immerseel in Zonneland and the expressionist painter Frits Van den Berghe in Bravo, or new names like Jan Waterschoot in Zonneland or Eugeen Hermans (aka Pink) in Ons Volkske, a weekly newspaper supplement inspired by Le Petit Vingtième. The most important comics writer for Bravo and Zonneland was John Flanders, who would continue to provide stories for the Flemish magazines until the 1960s. World War II During the war, many magazines had to stop publication or scale back their activities due to paper shortage and the limitations imposed by the German occupiers. Le Petit Vingtième was dissolved after the German invasion, and Hergé started working for the collaborating newspaper Le Soir, where he had to change from a weekly double page of Tintin to a daily strip. Paper shortage also forced him to reduce the number of pages per album from the previous 120 to 62. To compensate for this, the editor Casterman decided to start publishing the albums in colour instead of black and white. This became the post-war standard for all albums by the Walloon and Brussels publishers: From the 1960s on, almost all Flemish comics have been printed in colour. Other magazines tried to continue publication, but had to replace the forbidden American comics with local material. This was an opportunity for new talent to emerge. In Spirou, Jijé was joined by Sirius and the young illustrator Maurice Tillieux. The Flemish magazine Bravo, started in 1936 with almost exclusively American comics, had to change course in 1940, and created a French-language version as well, attracting a number of young Belgian artists like Edgar P. Jacobs, Jacques Laudy, Raymond Reding and the Flemish Willy Vandersteen, together with the already well-known illustrator Jean Dratz. Another way out for young artists were a number of small animation studios, created when the popular American animated movies of the 1930s might no longer be shown. In Antwerp, Ray Goossens and Bob de Moor started with AFIM, and in Brussels, André Franquin, Eddy Paape, Peyo and Morris worked for CBA. 1944–1958 The end of World War II was a second caesure, with again many magazines disappearing or changing hands, while a huge amount of new magazines appeared now that censure and paper shortage were coming to an end. Spirou, which had disappeared at the end of 1943, reappeared in 1944 with the same authors. Bravo on the other