- Taschenbuch: 258 Seiten
- Verlag: Checker Book Publishing Group,US (4. Januar 2003)
- Sprache: Englisch
- ISBN-10: 0971024960
- ISBN-13: 978-0971024960
- Größe und/oder Gewicht: 26 x 17,2 x 1,3 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 622.143 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Alan Moore's Supreme Vol.2: The Return (Englisch) Taschenbuch – 4. Januar 2003
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Alan Moore follows his Eisner Award-winning "The Story of the Year" supreme script with "The Return," presented here in its entirety for the first time. Featuring the art of Chris Sprouse (Tom Strong) and ingenious flash-back sequences by Rick Veitch. Plus, cameos by Gil Kane and Jim Starlin.
Die Version für Kindle wurde so schlecht digitalisiert, dass es auf einem Tablet kaum lesbar ist.
Es wurden zwei Comic Seiten auf eine Seite gepackt und am Rand sehr viel Platz verschwendet.
Bei anderen Comics dagegen wurde sehr ordentlich gearbeitet. Sobald dies behoben wurde, werde ich meine Bewertung anpassen.
Vorher: Finger weg von der digitalen Edition.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Suprema: "He was...I sent him to the Prism world...but not before he'd sent a few hundred Bon Jovi fans there as well."
Supreme: "Oh well. Can't be helped."
As originally thought up by Rob Liefeld, Supreme was an uninteresting superhero, a humorless and uninspired character. One of the best things Liefeld ever did was convincing Alan Moore to take a crack at writing this series. Alan Moore went on to successfully revamp Supreme, this helping to win him the Harvey Award for Best Writer in 1999.
Moore took over in issue #42 and immediately began his overhaul of Supreme. Known for breathtakingly deconstructing superheroes (MARVELMAN, Watchmen) Moore instead chose to re-invent this series as a fond tongue-in-cheek homage to the Silver Age of comics and, even more specifically, to the Superman mythos. He accomplished this mainly thru the incorporation of flashback segments (drawn old school style) which served to introduce Supreme's vast, rewritten backstory. The trade paperback Supreme: The Story of the Year collected Moore's excellent first-half run (issues #42-52). SUPREME: THE RETURN is an equally superb collection and presents the final issues (#53-56) of Supreme's original series, as well as the entire run of his next and very short-lived series, SUPREME: THE RETURN, which lasted for only 6 issues before it was cancelled.
A wink of the eye, a nudge in the ribs. But respectfully done by Alan Moore, and he does throw in his own twists. So Sally (or Suprema) may take after Supergirl, but she's got a prudish way about her. Radar differs from Krypto in that he's as intelligent as anybody, only with a canine point of view. And, thanks to a strapped-on voicebox, Radar speaks. In "And Every Dog Has Its Day!" Moore doesn't hesitate to show the Hound Supreme's earthy side. Another twist of Moore's is that his time-travelling version of the Legion of Super-Heroes tends to recruit historical and mythical figures (Wild Bill Hickok, Achilles, Aladdin).
In the Silver Age tradition, Moore narrates multi-part single issues and makes use of retro text with its typically flagrant alliteration and hyperbole (ie, comic book writer Diana Dane is described as "the Woman of Whiteout" or the "Tigress of Typewriter"). For those unused to this style, just remember that it's intended as a tribute. Besides, I do think "the Woman of Whiteout" is kinda amusing. However, some of the pop culture references have gotten a bit stale ("This is unbelievable! This is completely O.J."). Still, this is Alan Moore, an imaginative, natural-born storyteller and the guy who wrote one of the best Superman stories ever. His instincts are good. So, in his hands, even the purposely hackneyed characters and trite situations are given added dimensions and interesting spins.
Moore capably juggles his nostalgic salutes with the contemporary superheroics. I enjoyed his take on Mxyzptlk, whose annoyance factor is addressed here. In "The Ballad of Judy Jordan" we learn of what befalls Supreme's longtime girlfriend. "Silence At Gettysburg" provides a fun time-travelling romp with the League of Infinity as Supreme wakes up one day to find himself in a reality where the South had won the Civil War and, in the present, he's a superhero called the Supremacist. Then, in the collection's most action-packed story arc, the frightening prisoners trapped in Supreme's mirror dimension escape, which gives us a chance to see Supreme matching up with the Shadow Supreme (his equal in might), the Televillain dropping in on an episode of Friends, and space-tyrant Korgo challenging President Bill Clinton to a fist fight.
In the STORY OF THE YEAR trade we learned what happens to superheroes when they get written out of the story. In "A World Of His Own!" Supreme's genius archnemesis, Darius Dax, who's died twice, suffers his own brand of revisionism. The next issue ("The Three Worlds of Diana Dane") focuses on Supreme's courtship (kind of) of Diana Dane, followed by a funny story showcasing Radar, the Hound Supreme. "And Every Dog Has Its Day!" is followed by a short League of Infinity back-up tale. The penultimate story is probably my least favorite. It centers on Supreme's old foe, the Supremium Man, whom I find boring. Finally, "New Jack City" is an all-out nod to Jack Kirby and his creations. Rob Liefeld actually does a decent job of mimicking Jack Kirby's bombastic style in this issue. Jim Baikie (I think it's Baikie) also covers Kirby's style in one segment of "The Three Worlds of Diana Dane."
Penciller Chris Sprouse and inker Al Gordon provide a consistent look to the first half of this volume, with Rick Veitch nicely handling the flashback sequences. In the wake of Sprouse's departure, a slew of artists came onboard and, while their talents were certainly good enough, the lack of a regular artist was a bit jarring. On the other hand, it's hard to diss folks like Gil Kane, Jim Starlin, Matt Smith, and Jim Baikie. But Sprouse was missed.
Alan Moore's work on Supreme paved the way for what he'd do later with his Tom Strong series. And while Moore's Supreme wouldn't resonate as strongly or be as archetypal as Tom Strong, the stories here are inventive and charming enough (and, sometimes, snarkily humorous enough) that they're still very much worth reading. I mean, it IS Alan Moore. So, I say, pull up a sofa, get your milk and cookies, and catch up with Ethan Crane, mild-mannered illustrator for Dazzle Comics who becomes, in time of need, the "Alabaster Avenger." SUPREME: THE RETURN - it's a read supreme.
The art on the previous volume was hit-and-miss, but Moore has adopted regular penciler Chris Sprouse, whose attractively stiff rendition of rock-jawed superheroes makes a clever counterpoint to Rick Veitch's organic, loving homages to artists long gone in the flashback sequences.
Unfortunately, the book's final two chapters are as-yet unpublished, thanks to the untimely demise of Rob Leifeld's Awesome Comics. The book ends on a high note, with Moore, Veitch, and Leifeld's eye-popping Jack Kirby tribute, but several plot threads are left unresolved. Still and all, this book is the best classic super-hero work on the market right now, and should be on any Superman aficionado's shelf.
Moore makes use of his greatest assets (strong dialoge, clever plotting and a sense of humor), but also indulges in a few of his weaknesses. The first story, in particular, is too clever by half. Who really cares that there have been hundreds of versions of 'Supreme' printed in comics that you will never read in this world? What does that really have to do with the character and stories at hand? Once Moore moves to the Darius Dax plot-line, the title picks a lot of steam. 'The Return' left me wanting more, which is a good thing.
The art is fairly inconsistent. A variety of artists worked on this title and some of them are far better suited to an Alan Moore story than others. Chris Sprouse is by far the best of the lot. Moore relies heavily on the 'acting' of characters. Poor rendering of facial expressions neuters his work to some degree. Sprouse is second only to Dave Gibbons in drawing facial expressions and clean panels.
It is worth reading, but it certain to make you long for a run of issues written by Alan Moore on the REAL Superman.
Writer Alan Moore, who single handily is reshaping the comic book genre, has great fun exposing all the flaws of a character like Superman. Moore's character, Supreme, can build a futuristic space fortress in no time, battle dozens of villains at once, but is a little slow when it comes to common sense. He can't even figure out why people don't recognize him as his alter ego when all he really does is put on glasses. By the end of this book Supreme is confrounted with the ultimate truth...that he is nothing more than a comic book hero, unfortunately he's too dense to get it.
The writing and art pay tribute to those comic creators that came before them; there are respectable nods to Captain Marvel, Legion of Superheroes, Jack Kirby, and Superman. It's not a spoof of comics; it's just Alan Moore pulling the curtain back far enough for us to see him winking in our general direction.
I highly recommend more of Mr. Moore's work including, "Watchman" and "From Hell"
Still, it's a wild and enjoyable ride, knowingly evoking the Superman of the Silver Age, the Superman of Mort Weisinger, Julius Schwartz, Curt Swan and Murphy Anderson.
It would have been a blast to see Moore continue on this title, but there you go.