Alan Moore is known as the greatest writer in comics. So anything he wrote usually sparks a heavy amount of interest and hype. Yet this time around there is something very special about reading Supreme #63, it’s a comic that fans had dreadfully resigned as being a project that would never be seen in the public’s eye. It’s special to see something brilliant canned by forces outside of an artist’s control. Examples include Stanley Kubrick’s brilliant screenplay Napoleon or Alan Moore’s ingenious pitch for a crossover called “Twilight of the Superheroes”. The aforementioned works are charming and a frustrating reminder that something brilliant could have been created if other forces had not tampered in it being realized.

Written over a decade ago as the penultimate issue for Alan Moore’s second story on Rob Liefeld’s Superman analogue Supreme, Supreme #63 is very easy to pick up (as marketed) yet at the same time a fairly good conclusion to Alan Moore’s run on the character. While the door is left wide open for Erik Larsen to go in any direction he wants (this clearly is not a definitive ending) it reads as a good comic that is simaltaneously a fond farewell to characters and a world while equally an excellent starting off point.

Alan Moore’s metatextual commentary still has it’s charm with Moore examining Golden and Silver-age villains in this issues which works as a magnificent counter to the original opening issue of Moore’s run on Supreme, which is yet another reason why this issue feels like the full circle ending to a great writer’s run on a character while leaving enough loose ends for another writer to take over.