Read Supreme: The Story of the Year by Alan Moore Joe Bennett Rick Veitch Richard Horie J. Morrigan Mark Pajarillo Chris Sprouse Keith Giffen Online

supreme-the-story-of-the-year

Due to amnesia caused by a revision in time, comic book artist Ethan Crane, a.k.a. Supreme, fights to remember his past in flashbacks that range from the 1930s through the 1990s, with artwork reflecting the time periods he inhabits....

Title : Supreme: The Story of the Year
Author :
Rating :
ISBN : 9780971024953
Format Type : Paperback
Number of Pages : 332 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Supreme: The Story of the Year Reviews

  • Kirk
    2019-02-22 06:35

    Holy shit! It's a bird! It's a plane! It's . . .DC taking a dump on another idea by Alan Moore that could have easily been used to help their characters transcend the hokey golden age appeal they lost ages ago.At least that's the way I see it. If you look at a lot of Moore's early works, you'll see the parallels between DC's characters and those he uses in his own texts. Nite Owl and Batman, hell the whole of Watchmen and the Justice League. They aren't as thinly veiled as Supreme, and maybe it wasn't Moore's intention to initially write these stories using DC's characters, but I bet he would have been willing to bend a little before DC bent him over the desk against his will and used him as they pleased. Or maybe I'm just a little perturbed that this comic isn't a Superman comic, because it would have brought the Superman franchise the depth it deserved. I can't help but feel that DC is responsible in some way. This book isn't a parody. This is an in-depth exploration of the collective imagination of a readership and how the relationship between author and audience would be rendered in the fictional world if the dynamic could be encapsulated. It's a critique of the limitations of our seemingly perfect heroes and how they dodge modern problems that, despite their predominance in society, are constantly overlooked by the comic industry. And when they're not overlooked, you get one of three things, He-Man telling you not to let big people touch you in your private places, a token superhero of another race, or:And thanks to Marvel, that's how the alliance won the war.It doesn't take a brilliant mind to see that comic books are ill equipped to deal with real problems in the world. That's why they invented super villains whose greatest power is telling riddles about as difficult as the ones you find on a happy meal box. Alan Moore touches down on all of that, develops his notion of the collective imagination and the author/audience relationship that you find in his other works like Promethea, and neatly packages it with the help of some great artwork that harkens back to the golden age of comics. That's why this is one of my favorite works by Moore.

  • Mza
    2019-02-06 07:35

    It's not fair to complain about this clever and lovingly-detailed reconstruction of the Superman myth -- I knew what I was getting into just glancing at the first few pages -- life's not fair. Alan Moore unleashes his nerdiest self here, demonstrating an intimate familiarity with dusty corners of the Superman universe. Naturally, Darius Dax is Lex Luthor, Diana Dane is Lois Lane, and supremium is kryptonite; but Moore's thinly-veiled references are rolling hundreds deep, so numerous that DC Comics' lawyers' mouths must have watered. Moore could've defended himself by claiming parody, but he'd have been lying. His aim with this story (besides collecting a paycheck) can be understood perfectly without irony goggles: to awaken the same wonder children felt in the mid-20th century upon encountering Superman comix for the first time, using the exact same set of symbols.It's a game Moore is good at, and the structure he chooses -- alternating a framing sequence drawn in a 1990s Rob-Liefeld-esque style with flashback sequences drawn in various period styles -- is as fun as it is jarring. His skills as a storyteller, especially his ease with unexpected conceptual twists, are far beyond those of his Golden and Silver Age models. A theme emerges, too, regarding the power of nostalgia for good or ill, that distinguishes Supreme from ordinary comix for kids.Here's a potential problem: Moore's adult concerns, camouflaged as they are, bleed from every page of the book. His disdain for the so-called "gritty" copycat comix that came up out of the woodwork after Swamp Thing and Watchmen. His anti-nuke, anti-racist 1960s liberalism. His sadness over the impossibility of simpler heroes. To have all of these feelings bubble up just under the surface of a superconventional superhero story seems masochistic at best, a waste of his time and talent at worst. There's pleasure -- Rick Veitch's period simulations stand out, as does Chris Sprouse's sensitive treatment of the romantic tension between Ethan Crane (Clark Kent) and Diana Dane -- but it's mixed with a desire for more Moore. His gift for natural speech is not well spent on lines such as, "So, were you impressed? Did you get any ideas about how to handle superheroes in Omniman or Warrior Woman?" It's as if Moore wanted to test himself by shackling Rob Liefeld, Jim Lee, Todd McFarlane, and the entire bloated history of DC Comics to each of his limbs, to see if he could still fly. He can, but just barely.

  • Giovanni Gelati
    2019-01-25 09:51

    I was pleasantly surprised by this graphic novel. Alan Moore was shooting for the “archetypical big guy superhero in a cape” and he succeeded. Supreme is the superhero’s superhero. Moore says this about what he was trying to do” What I want to do, is to do a really Supreme being. I see this as not being a retro book, not in the way 1963 was. What I’d like to do is to try to infuse this new ‘90’s model type superhero with all the imaginative power of the superheroes of the previous 50 years. To give it that sort of humor and grace and see if we can come up with some composite that’s viable for the next century.”Supreme is a very smart, well thought out story line. I was totally engrossed in it. Even though the character is many different superheroes put together, the plot lines are original and it altogether makes an amazing graphic novel. Supreme, although drawn and simply presented to be a very simple being, is very complex and well thought out. Supreme is also a very strong character. Basically, Alan Moore hits one out of the park on this one. Joe Bennett/ Rick Vertich do a great job with the illustrations. The way Moore has the plot line from time period to time period also makes Supreme shine. I was so amped up about this; I shared it with as many of my family members that would look at it. They all agreed it was a different type of superhero, one that was fun and exciting for all the right reasons. Check it out give it a go; this one is just plain fun.What are you reading today? Check us out and become our friend on Facebook. Go to Goodreads and become our friend there and suggest books for us to read and post on. You can also follow us on Twitter. Thanks for stopping by today; we will see you tomorrow. Have a great day.

  • Jemir
    2019-02-12 03:37

    There are some people that will say that there was an era when super hero themed comic books didn't the characters and worlds created seriously enough (essentially the golden and silver ages) and a time when creators may have taken the material TOO seriously (namely the "Dark and Gritty" era that dominated the 80's).With Alan Moore's take on Supreme he found a way to blend the more fantastic elements found in Superman comics of various eras - most noteably the silver age era with the shrunken cities, future worlds and super science villains - but presents it with a gravitas of a historian recounting the majesty of an ancient empire on paper. It's difficult to describe some of these expertly woven tales without spoiling some aspect of the overall story (literally every thing happens for a reason though not to the point of distraction) so I'll just say that whether your somewhat of a comic book hero historian or a casual reader looking for a fun, layered, read this Supreme collection 9no pun intended) has something for you.

  • Andrew
    2019-02-08 07:31

    Your enjoyment of this book hinges on two factors: 1) Your interest in the comic book industry and the history of English-language comics.2) Your tolerance for atrocious mid-1990's artwork. Supreme is an old-fashioned Superman analog attempting to make sense of the "gritty" and "extreme" world of 1990's superhero comics, while flashbacks tell the history of comics from the 1940-1990s. The flashbacks are homages to different eras and styles of comics. Moore and artist Rick Veitch pay tribute to Golden Age superhero books, E.C. horror comics, Mad Magazine, 1960's Romance comics, 1970's cosmic comics, and more. The art and writing are faithful, detailed recreations of each period and style, with Moore adding commentary on how different styles of comics reflected broader changes in culture. My favorite issue is the one with the E.C. and Mad pastiches. It examines the ways in which World War II-era superhero stories felt dated by the 1950's, and how horror and satire were better responses to the social changes of Post-War America. As wonderful as the flashbacks are, they are dragged down by the present-day sections. The general feel and tone of these stories is that of a slightly-snarkier Astro City, but the warmth and joy that comes naturally to Astro City feels forced here, and Supreme's (purposely? I think?) over-exaggerated 1990's artwork is painfully, distractingly ugly.

  • Rick
    2019-01-27 08:43

    Not surprisingly, Alan Moore has scripted several excellent metafictional texts. Among his best and least know example, Supreme: The Story of the Year re-createsRob Liefeld's Superman ripoff. In his initial story, Moore introduces the Supremacy, a place outside of reality that serves as the home for all previously retconned1 versions and variants of Supreme. Intriguing characters such as Macrosupreme, Son of Supreme, Sister Supreme, Suprememarch, Supreme White, Supreme Gold, Sally Supreme, Scrappy Supreme, and even a Squeak the Supremouse litter the story landscape. As new each "revision” occurs, the then-current Supreme is “canceled from existence” and journeys to the Supremacy. Moore successfully uses this idea to re-envision the previously dull character, giving it relevancy as far more than just another Superman clone.

  • Hamish
    2019-02-21 05:24

    I've developed a theory about Alan Moore: The seeds of his work are always other peoples' ideas. Swamp Thing, Batman, et al are all pre-existing characters. The Watchmen characters were all based on the old Charlton heroes, with the climax famously being cribbed from an episode of Outer Limits. V For Vendetta is rooted in the Guy Fawkes story. The League of Extraordinary Gentleman and Lost Girls use famous children's literature characters. From Hell dramatizes one of the more famous Jack the Ripper theories. And here we have Supreme, which is a thinly veiled pastiche of (mostly) silver age Superman. This is by no means a criticism of Alan Moore (though others have used it as one). Years ago it was discovered that the main concept of Lolita was borrowed from an obscure short story Nabokov had read. But the brilliance of Lolita wasn't in that idea, it was in the delivery of it and artistry of Nabokov's writing. The same is true for Moore.However, if you were going to make an argument for Moore as a reheater of cold ideas, Supreme would probably be your exhibit A. Because, for most of it, it alternates between mildly diverting stories of our protagonist in the present (drawn by the usual mediocre suspects of 90s Image) and flashbacks to older tales that humorously capture the tone of the various eras of comics they are parodying/paying homage to (all drawn by Rick Veitch, who is mind-bogglingly accurate in his ability to capture the look of each period). So these send-ups of classic Superman are incredibly on-point and often very funny, and you can't help but admire Moore and Veitch for being able to reproduce them so accurately, but at the same time they don't really feel like they're particularly impressive for any other reason (though if you're familiar with the source material, you will definitely get a few laughs).But then we get to our climax, which so perfectly pulls all these flashbacks and non-flashbacks into one brilliant, perfect punch that it redeems the whole thing.

  • Robert Wright
    2019-02-02 08:47

    Don't be fooled. This is by Alan Moore—yes, the same Alan Moore that wrote Watchmen—but you wouldn't know it from the work on display here. From the pen of almost anyone else, this might have eked out 2 stars, but Moore set a standard for himself early on that it is tough to live up to.I could even forgive him if this was just some well-done, light-weight fun. (Not everything can be a serious literary meditation on the nature of ... blah, blah, blah.) Unfortunately, Supreme is neither well done nor fun.For those eager to buy into the "literary genius with artistic integrity" narrative Moore peddles every time he's pissed at DC or some other publisher, take a look at this travesty. It shows that Moore is clearly "just" a comic book writer, quite often a good one, but just as capable of phoning it in and cashing in on his name as any of the numerous lesser-known hacks.

  • Marc
    2019-01-23 04:42

    Once again, Alan Moore does a great job of reinventing the superhero comic. This time around, he has fun with the idea of continuity within comic series by inventing a thinly-veiled (and purposely so) stand-in for Superman. As the title suggest, the hero's name is Supreme, and one of his main concerns throughout the graphic novel is trying to figure out where all of his memories went and why so many of them contradict each other. Complementing Moore's writing, the artwork draws on styles from many eras, including the Golden Age art of early Superman comics and the Jack Kirby-esque art of the Silver Age. An intriguing read for comics enthusiasts.

  • Oscar Salas
    2019-02-17 07:39

    En estos tiempos puede parecer repetitiva y forzada, pero hey, si lo parece es porque es la piedra angular de todo el genero revisionista de los superhéroes. Mas que perfección, Moore busca establecer, como en una tesis, los elementos esenciales mínimos del comic americano y su relación con su propia historia. Una calificación casi perfecta, si no fuera porque en su base no tiene argumento (el devenir es insignificante en contraste con la revisión de tópicos) y por el dibujo de Liefeld en algunas secciones, empaña el sorprendente oficio del titular Rick Veitch. A todas luces, indispensable.

  • Reyel2107
    2019-02-16 10:34

    alan moore saving the day !!!!! a real superheroe !!!!

  • David Frank
    2019-01-28 07:46

    An Alan Moore meta-on-meta pile driver on top of a heap of meta. I respect it, but what a slog.

  • Travis
    2019-02-08 08:46

    So, one of the best silver age superman stories you are ever going to read happened because Rob Linfield somehow convinced Alan Moore to help him try to salvage his Image creations...?Tired of all the grim and gritty that happened as everyone tried to copy him and Frank Miller, Alan Moore decided to do the complete opposite and go completely fun and light hearted in the hopes of tricking all the wannabes to do the same and make comics fun to read again.It didn't work, but we did great a great story and Rob Linfield got a massive comics universe that he completely failed to take advantage of.No plan is perfect.The beauty of this story is that Moore was able to leave nearly all self awareness, irony and snark behind and just create a fun, larger than life saga.Okay, there are two snarky, self aware bits: one is taking the piss out of 'serious' comic writers and the other is a throwaway gag about Wonder Woman's history that actually got a chuckle, so I will forgive him his lapses.Deserves all the praise it gets.Shame Rob completely dropped the ball and this entire universe collapsed once Moore moved on.

  • Doyle
    2019-02-20 08:42

    This is hands down my favorite comic story, although I have no idea how something so amazing came to be given the creators associated with it. Alan Moore had been absent from superhero comics for almost a decade before returning to write some of his worst stories ever published (Alan Moore's Complete WildC.A.T.s, Violator, Violator vs. Badrock). Rob Liefeld, a flashy comic artist turned publisher notorious for blowing deadlines left and right, had created an army of brainless comics for teenage boys. Liefeld somehow wooed Moore into taking over one of his most brainless titles, Supreme, a character that was created by simply asking "What if Superman were an enormous dickhead?". No one could have predicted that the results of this has-been author taking over the writing chores on a poorly selling Superman-ripoff book would become pure magic.This is a comic story written for fans of comic books. The story reads like a history of comic books in America from WW2 to present (then the grim 90’s) and makes commentary on each of the major fads from those decades. Each issue contains flash-back scenes expertly drawn by Roarin’ Rick Veitch who is able to somewhat adapt his style to emulate the time period being represented, whether that be a lifeless 1940’s Golden Age superhero look, a 1950’s EC Comics horror/sci-fi title, or a psychedelic 1970’s cosmic story. The stories for the most part were done-in-ones, with elements bleeding over into following issues and culminating in the giant-sized final issue that tied everything together nicely. Think of it kind of like a season of Dr. Who from when Russell Davies was the head writer and it was still good. Each issue/episode is a self contained story, but contains seemingly inconsequential hints as to the major threat/villain that will plague our hero at the end.This story is Alan Moore’s love-letter to Silver Age Superman, and ironically is the greatest Superman story ever told (even though it doesn’t feature anyone called Superman). Moore introduces his take of each of the key characters and plot devices that make up the essential Superman mythos as was first introduced under editor Mort Weisinger beginning in Action Comics 241. There is a Legion of Superheroes, Supergirl, Brainiac with his Bottled City of Kandor, Phantom Zone, Fortress of Solitude, Lex Luthor, Justice League of America and Justice Society, two versions of Bizarro, a Kryptonite Man, and a Krypto. The only element of Silver Age Superman omitted from Supreme’s roster that I can think of is a Streaky the Supercat.The non-Veitch art is pretty much the standard Liefeld-imitation that was the standard in Liefeld's publications at the time, which falls somewhere between tolerable and pretty bad. Interestingly, neither Joe Bennett nor Mark Pajarillo, who each provided art for 3 issues of the "current" storyline did not get thier names on the spine of Checker's leatherbound edition while Chris Sprouse, who only provided art in one issue collected in this book, got second billing (even above Rick Veitch?!?).I can’t help but think that part of Alan Moore’s motivation in writing the best Superman story ever for Rob Liefeld’s Image/Maximum/Awesome would be that it gave him one last chance to give DC Comics the finger (or whatever it is British people call it when they do their version of flipping the bird). Moore had left DC over a disagreement about royalties (specifically, a Watchmen pin set), and would go to great lengths to never work for DC (or Marvel) ever again (so far) in his career. By writing an amazing Superman story, but calling it “Supreme,” Moore is telling his ex-published “you could have had this, but you had to fuck it all up over a couple measly dollars.” Ironically, another future scuffle over Watchmen would later cause Moore to again completely leave mainstream comics when a producer on the Watchmen movie (incorrectly) claimed that Alan Moore gave his full blessing to their silver screen adaptation. Moore would go on to have his name removed from anything produced by DC or Marvel, and insist any meager royalties he might earn be instead paid to his co-creators. He’s just such a stubborn bastard. I love him. ...And yes, I am mostly writing this review just because the current top review is full of unsubstantiated conjecture and plain misinformation. My favorite comic story deserves better than that. -----------------------------------------------Rick Veitch provided an amazing array of art styles for the flashback sequences....but some of the current storyline art is garbage.

  • Fizzgig76
    2019-01-29 05:31

    Reprints Supreme (1) #41-42, Supreme: The New Adventures #43-48, and Supreme (2) #49-52 (August 1996-September 1997). Supreme is returning to Earth…only to find that Earth isn’t how he remembers it. Supreme learns that he’s the latest in a long line of Supremes and that he’s going to be “the Supreme” as he faces the latest revision. Now, Supreme is headed back to Earth and uncovering his past again…for the first time. His origin, his sister Suprema, and his faithful dog Radar are all returning with Supreme…along with some of his old enemies.Written by Alan Moore, Supreme: The Story of the Year is the Alan Moore relaunch of the Supreme character which first appeared in Youngblood (1) #3 (October 1992) as part of Image’s original universe. The comic’s publisher changed from Image to Maximum Press to Awesome Entertainment through the course of this run and the collection was published by Checker Book Publishing. Moore’s writing won an Eisner Award for the series and was widely praised.Alan Moore can do little wrong in my book, and Supreme really shows how he could turn one of the most generic characters into one of the most interesting characters. By combining aspects of the Superman mythology, Supreme became a great comic with one issue.Alan Moore brings a real world feel to the Superman rip-off. His retro style of storytelling combined with a modern character really took off in the mid-’90s and lead to other comics having more of a Golden/Silver Age throwback feel. Not long after Supreme it felt like Krypto returned to Superman and more respect for the foundations in which the modern comics were built upon.Half the fun of this series is the flashback stories. Moore nails classic comic book storytelling which still being creative with it. From fast friendships (and adoptions) to mistaken battles and adventures into the future, Moore’s flashbacks are perfect recreations of the old comics.The collection is loaded with great art. Moore’s writing allows for a lot of fun for the artists handling the flashbacks. The modern events are good, but the style of the flashbacks really add to the story…and Moore smartly wraps them back into the modern comic. In addition, Alex Ross has provided some great art for the comic.Supreme: The Story of the Year is one of my favorite Alan Moore titles and currently it is no longer in print which is a shame. It isn’t V for Vendetta or Watchmen, but it also doesn’t feel like either of those titles. Supreme felt original at the time it was written and now even almost (gasp) twenty years later, it still feels really fresh. Supreme: The Story of the Year is followed by Supreme: The Return.

  • Printable Tire
    2019-02-11 04:45

    This isn't Watchmen, but it's certainly fun. Whereas Watchmen was a playful and meandering narrative with some subtext concerning the essence of superheroism, Supreme is much more of a shallow, loose narrative, a superficial but enjoyable tale concerning a shitty Rob Liefeld character whom Moore ingeniously uses to parody Superman.Like Moore and Veitch did to Marvel in Image's 1963 comic series, Supreme is basically an excuse for the two to parody/pay homage to DC's Golden and Silver Age comics, by means of comic book "flashbacks". They're show-off pieces, illustrating both's ability to mimic early comic book styles, and they add really nothing to the overall story of the modern Supreme in the 90's, but they're also the only reason I picked this book up in the first place. Indeed, whenever the comic slipped back into the "modern" era, with its crappy 90's bluejeans style I was just counting pages until the story slipped back to another fun flashback.The flashback comics can be a little mean-spirited (it's easy for nerds to spoof the corniness of old comics while forgetting they were initially throwaway junk intended for children) but they are all spot-on impersonations of the weird, wonderful world of DC comics in all its various incantations, be it superhero or pun-ishing horror story. The characters and situations are delightfully peculiar and original while still being plainly knockoffs and parodies. Some old characters are even improved: Instead of Green Lantern, for example, there is a Golden Age character named Blackhand who uses a light on his chest to project shadow puppets it can control. The over-arching story, that of a modern 90's Supreme in the "modern" 90's, is admittedly pretty fun too, despite my reservations concerning the stylized, fluid 90's art. Thankfully Moore doesn't spend too much time here trying to compare the so-called "gritty" 90's with the more kooky comic book world but instead basically messes around with every post-modern metaphysical paradox you can imagine, and some you cannot. This book will scramble your mind all over the place, which I for one find to be a fun procedure.Ultimately there really isn't anything new to be found in Supreme: Moore (and Rick Veitch, who is simply outstanding here) is yet again showing he's a master at adapting comic book styles, which he manipulates to both elucidate and entertain. But there's a whole lot of fun to be found in these Pages Supreme, a lot of bang for your buck. It may not be high-brow literature but it's certainly high-brow pop art.

  • Thomas
    2019-02-04 08:52

    I've got mixed feelings about this book. It is just about the only material I skipped from Alan Moore since I discovered his work during his run on Swamp Thing. I guess it was the horrible 90's Image style artwork by Joe Bennett, and the fact that Supreme was created by Rob Liefeld, that turned me off. But when I finally gave this collection a look, I was surprised to see the excellent flashback sequences drawn in classic styles by great artists like Rick Veitch and Chris Sprouse. That's what compelled me to buy the trade, and I'm glad I did. The writing is as sharp as Alan Moore has ever been. I agree with another reviewer that it is very much in the vein of Tom Strong. The problem here is that aside from the excellent flashbacks, drawn to resemble Mad, Tales From The Crypt and golden age superhero art, the rest of the art is really ugly. I almost get the feeling (and I've never heard anything that substantiates this idea) that Moore is playing a joke on the Image guys he was working with, gently calling them out for their excess of testosterone and lack of anatomical understanding by contrasting their look with echoes of classic illustration. Certainly that was the effect it had on me seeing the difference in approach. Also, although I've been knocking the 90's style art, I have to admit that at least there are some intricate backgrounds, something many Image comics from this era lack- due to the discovery of the gradiant sunburst fill!When I was in the midst of this collection, I read a hysterical interview with Liefeld where he talks some shit about working with Alan Moore. It is funny; like Paulie Shore explaining why Shakespeare is stupid:http://blogs.ocweekly.com/navelgazing...

  • B
    2019-02-06 09:31

    That Moore, I think he has a real future in the comics biz. This book is a "classic" Superman waking up in the then-modern era and contrasting it with his past, with secrets from his past causing the flashbacks to form part of a coherent whole. This is kind of a common story, especially to Moore. There are real echoes of Whatever Happened to the Man of Tomorrow and the first two volumes of Tom Strong. Also, Superfolks, for instance. But this is very well done with its comments on the superhero industry and excellent flashback visual styles. If anything, the "old" styles make the "90s styles" look really ugly. I even wonder if they over-Liefeld'd on purpose. There's a little oddity in the book in that Supreme is clearly meant to be Superman. Not a parody. But Superman. There are so many aspects of the story with a 1:1 fit. Sometimes it's entertaining picking out the analog. Sometimes, it just feels a little weird. Strongly recommended if you've ever read and enjoyed any issues of Superman. Also, any comics fan. There's not much resonance beyond those already interested in the genre.

  • Don
    2019-02-14 04:24

    Alan Moore's pastiche of Silver Age Superman stories is a pretty interesting experiment. The riffs on specific stories are pretty spot-on; for instance, if you've ever read Superboy's first encounter with the 30th century Legion of Super-Heroes, you'll be amazed at how incredibly well-executed the homage story is. Structurally, what most fascinates is how Moore contrasts the Silver Age stories with the state of then-current superheroes circa 1990; short "flashback" tales in each issue are illustrated by Rick Veitch in a style which absolutely evokes the comic art from those earlier decades, while the "present" storyline which provides the framing for these is illustrated by Joe Bennett and other artists in the style that was still at least somewhat in vogue. (Note that these stories came out from Rob Liefeld's publishing house.) If you're up on your Silver Age Superman stories you'll pick up on any number of well-researched easter eggs - but even if you're not, it's a pretty enjoyable read.

  • John Kirk
    2019-02-11 10:45

    With a book like this, you need to know what you're getting. Basically, there's a framing sequence and lots of flashback stories, written and drawn to resemble comics of previous decades. It's not a straight copy of Superman, but there's a strong resemblance there, and to other DC characters.I think that the "tributes" are skillfully done, but you probably won't appreciate them unless you recognise the source material. So, if you've only read comics from the 1990s onwards, this isn't the book for you. Equally, if you have read the older comics then you may find the stylised modern artwork (in the framing sequence) a bit grating.The best part about this book is the genuine affection for the source material. For instance, (view spoiler)[when a British comics writer (on "Omniman") visits Supreme's citadel, he sees a giant ape and comments that it couldn't possibly exist due to the cube/square law, i.e. the creature wouldn't be able to support its own mass. Supreme simply replies "I'm sorry, but it did. It must be that radiation that I mentioned." (hide spoiler)]

  • Afa
    2019-02-22 07:27

    Sesiapa yang tidak pernah membaca Miracleman/Marvelman dan Superman sebelum membaca Supreme, pasti tak akan faham perihal Supreme. Sementara komik-komik vintage yang terpilih dipetik untuk dimuatkan di dalam Miracleman adalah komik asli yang diulangcetak karya Mick Anglo, komik-komik vintage yang dipaparkan di dalam Supreme adalah rekaan atau parodi semata-mata. Ini adalah teknik tribute yang saya kira teliti dan menghiburkan, kerana stroke lukisan dan gaya penulisan juga terikut sama era/zaman lampau tersebut. Moore, berjaya merangkum ketidaktentuan plot semasa di tangan Liefeld dengan bijak menerangkan punca kejadian tersebut. Saya setuju ini adalah komik superhero yang baik, cuma lukisan pelukis utamanya seringkali bertukar membuat pembaca agak sukar mengikut rentak penceritaan. Sesuai dengan tajuk, story of the year, bagi saya.

  • Anthony Bello
    2019-01-28 08:48

    The book is essentially Alan Moore's take on the entire of the DC universe except with more creative control, and he knows it. For most of it, I was surprised at myself for having concluded that so little of it surprised me. Ultimately, it's a smart book that allowed Moore to overcome some residual bitterness over how DC forced him to create new characters for Watchmen instead of using the original DC properties as Moore intended. Even the nod to MAD Magazine attests to the book's status as a step-sister to Watchmen.Regardless, Supreme is a good step-sister to Watchmen. The ending is great and well worth reading the rest of the tp. It was so great, that I had to google the equally great JLA Classified to see if Moore preceded or followed Morrison's idea of a superhero team having a fight across different timelines with a time traveler; Supreme did it first, and Supreme did it best.

  • Ginger
    2019-02-23 03:47

    I consider myself just on this side of nerdy, but since everyone is reading all sorts of things, and I want to be able to converse with them all, I ideally want to read at least something from every genre, so I was determined to give at least one comic book a try.And... I'm pretty sure this genre is just not for me. This Supermany style comic was earnest and funny and classic, but I just didn't *get* the appeal of comic book mythology. I couldn't embrace the cheese, but I'm still glad I "read" it. It was unlike anything I'd every encountered. An easy read, and a good introduction to the comic book genre. But I'm not sure I'll revisit comics.

  • Matt
    2019-01-26 10:35

    This is such a great romp into comics. Alan Moore taking a Superman analog and delving deep into not just Superman's (um, Supreme's) own history, but the history of superhero comics themselves. The rotating main pencillers can get a little jarring, but Rick Veitch's "flashback" sequences always please. Chris Sprouse has a great run of about five or six issues, plus there are great little guest spots from Melinda Gebbie, Gil Kane, and Jim Mooney. This is a great read for a genuine comics enthusiast.

  • Alexander Veee
    2019-02-18 05:47

    "That being dropped out of nowhere! He's made out of pure Supremium and he seems intent on entering your house!""Nor shall you prevent me! Destiny urges me on!""We'll see about that! Even your logic-defying abilities must have a limit!""Not at all! Very soon, I shall be the most powerful being in the whole of infinity! I shall truly be Supreme......while you will be a tawdry scrap of trash culture, as you have always been!"

  • Oliver Hodson
    2019-01-23 07:25

    It was kind of like looking at one of da vinci's lesser works. I enjoyed it, it was supremely well crafted, amazing, but couldn't see the masterpiece in it. It was a comprehensive romp through superman's past but I don't think it made any big statements about the character or the genre, and it wasn't as caustic good fun as 1963, which I thoroughly enjoyed. Worth checking out, but not ground breaking.

  • Feather Mista
    2019-02-08 04:47

    Lo releí (y lo tengo) en la edición de 6 tomos de Dolmen. Si no me equivoco, esta edición usa la misma traducción, así que me tomo la libertad de votarla como si fuera la misma. Eso sí, espero que los errores de aquella hayan sido subsanados en esta. Y aunque no, no creo que lleguen a ameritar que le baje una estrellita a esta obra maestra.

  • Joel
    2019-02-19 02:40

    Starts of strong but gets a bit weak in the middle. Has lots of typical Alan Moore crazy and profound ideas about comics history, but some of the best ideas aren't developed fully. People not interested and well versed in comics history, particularly Superman history, will likely not understand or appreciate this story as it is essentially a postmodern retelling of Superman's mythology.

  • Rosa
    2019-02-02 10:35

    So I spent a lot of time trying to read too much into this book. I felt like I was supposed to be getting some deep literary meaning out of the meta at the beginning and was making myself a little bit nuts about it. However, once I sat back and just enjoyed the silly older stories and watching Supreme relearn about his life, friends and foes I liked the book. It was a good laugh.

  • Shane
    2019-02-13 05:33

    Supreme: The Story of the Year is Alan Moore's love letter to silver and bronze age Super Hero comics and Superman in particular. Moore really captures the fun and spirit of those goofy old comics while still displaying his wit and talent as a master of the medium.