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Following a “Reality revision” the superhero of the title discovers that he is just the latest incarnation in a long series of heroes bearing the same name. This seems to explain his patchy memories of his past, so he sets out on a voyage of rediscovery and revisits the scenes of various episodes in any generic superhero’s evolution: origin, small-town childhood, teenage love, first super-group and so on. This allows Alan Moore and the artists to produce spot-on pastiches of comic books from the 1950s, 60s and 70s. Supreme is Superman in all but name. He shares the Man of Steel’s convoluted and often ridiculous past, he has the same limitless powers, and a very familiar supporting cast. And Moore has lots of fun with the more bizarre aspects of Superman’s history. All the superhero conventions are observed: the various masked characters continually refer to each other by their superhero names so we can keep track of who they all are; there is the typical superheroic coyness about profanity, “Great galaxies!” is the favoured outburst; and, of course, there are complex explanations of the plot delivered mid-punch. Only superheroes can talk and fight at the same time! It’s all done in a knowing, ironic post-modern way assuming that we see the joke as much as the author. The linking story is illustrated by Rob Liefeld of Youngblood fame so there is plenty of striking artwork of extremely heroic men and women. Supreme’s inflated muscles seem to increase in size as the story progresses and Glory’s costume grows ever more skimpy. Again, we can see this as an ironic statement or we can just ogle the art. Rick Veitch’s artwork in the flashback sequences is remarkable, he produces a perfect recreation of comics from the 50s and 60s. There are other nice touches which will strike a chord with regular comic readers: Supreme's alter-ego works as a comic book illustrator. His comic character 'Omniman' has just ben taken over by a British writer who has been brought in to radically revise the book. I also liked the portrayal of the 1960s Batman equivalent who always wears a beaming smile. So different to the grim dark-knight he has become. So, there’s lots of fun going on here but does it go anywhere? The linking story doesn’t seem to gather any speed and just peters out at the end. There are a couple of typical Moore moments, in particular the hero’s discovery that the arch-nemesis who he thought was dead is at large again. Moore first used this device with Arcane in Swamp Thing, and Gargunza in Marvelman (or Miracleman, as marvel comics insist we call him). Alan Moore has already produced 2 great Superman stories: “Whatever happened to the man of tomorrow?” (S#423 and AC#583) and “The Man who has everything” (Superman annual 1985). Both stories dealt affectionately with some of the dafter aspects of Superman’s history. Both were much better than Supreme. Should you buy this book? Depends. If you are new to Alan Moore and want to see what the fuss is about then order “Watchmen”, a contender for the title of greatest comic ever written and discover why “Alan Moore knows the score!”. But if you have a fondness for comic books from the time before Hollywood rediscovered them; or if you have read and enjoyed Michael Chabon’s “The Amazing adventures of Kavalier and Clay”; or if you just want to see how many thinly disguised characters from the DC universe you can spot then get Supreme.
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