Nexus, Dave Steven's Rocketeer and John Ostrander's GrimJack attracted some attention and garnered a number of awards. These creators were brought in by DC editor Mike Gold to create defining works such as Green Arrow: The Longbow Hunters by Grell, Blackhawk by Chaykin, and Hawkworld by Truman. With Alan Moore, Frank Miller, and Art Spiegelman's Maus (which would later receive the Pulitzer Prize), this period marks the summit of the artform per comics expert Scott McCloud. Fantasy and horror The Comics Code Authority was established in 1954, and specified that no comic should contain the words "horror" or "terror" in its title. This led EC Comics to abandon its horror comics line. Publishers such as Dell and Gold Key Comics did run an expanding line of silver-age horror and "mystery" titles during the early 1960s, and Charlton maintained a continuous publishing history of them, during the later 1960s, a gradual loosening of enforcement standards eventually led to the re-establishment of horror titles within the DC and Marvel lineups by the end of the decade. Since this genre's evolution does not neatly match the hero-dominated transitional phases that are usually used to demarcate different eras of comic books, it is necessary to understand this "silver age" and "bronze age" background. 1970s horror anthology series merely continued what had already been established during the late 1960s, and endured into the 1980s until they were markedly transformed into new formats, many of which were greatly influenced by, or directly reprinted, "pre-code" content and styles of the early 1950s. Starting with Alan Moore’s groundbreaking work on DC's Swamp Thing in the early 1980s, horror comic books incorporated elements of science fiction/fantasy and strove to a new artistic standard. Other examples include Neil Gaiman’s The Sandman (followed a few years later by Garth Ennis and Steve Dillon’s Preacher). DC's Vertigo line, under the editorship of Karen Berger, was launched in 1993, with the goal of specializing in this genre. Existing titles such as Animal Man, Doom Patrol, Hellblazer, and Shade, the Changing Man were absorbed into this new line. Other titles later were created for the line, which continued successfully into the 2010s. Starting in the 1990s and throughout the 2000s, a number of successful movie adaptations of comic books, partly due to improvements in special effect technology, helped to extend their market audience, attracting the attention of many new readers who previously had not