The same could be said of his run on Supreme which used many goofy Silver Age-style ideas and stories. Extra points for the fact Moore also made a parody of a parody, taking the MADSuperman parody Superduperman and writing one based on Supreme, who himself is a Superman analogue.
1963 is an Affectionate Parody of the stories and characters of the Silver Age, but more of a pointed Take That to the creators behind them, with the letters pages implying that "Affable" Al Moore (Moore's fictionalised version of himself within the 1963 universe and a clear take-off of "Smilin'" Stan Lee) is an egotistical tyrant who shamelessly takes credit for the achievements of others.
Affectionate towards Jack Kirby and a Take That towards Lee.
It's an absolute distillation of the superhero genre. No plot lines, characters, emotions, nothing whatsoever. It's people posing in the street for no good reason. It is people getting kicked, and then exploding.
Marvel Comics frequently does this in its own media. One of the most prominent examples is the world of Peter Porker: The Spectacular Spider-Ham, an anthropomorphic animal version of the Marvel Universe. Alternate reality storylines, such as the ones in Excalibur, also included humorous parodies.
Really, this was the entire point of the What The title, with one issue featuring Man-Thang and Swamp-Thang getting into a largely ineffective fight over who stole whose origin; Frank Casket, the Pulveriser, and his Cloud Cuckoolander war against crime; and Wrillimean, a Wolverine spoof who spoke entirely in "Slice and dice! No quarter! I'm the best at what I do and I ain't pretty!"
Little Ego, by Vittorio Giardino, was an erotic parody of Little Nemo In Slumberland. Though the art style was a lot more realistic, it retained the color, odd plot shifts, multi-panels and, of course, the main character waking up in his bed at the end.
Runaways uses this as well, especially with Victor Mancha, who is programmed to worship in-universe superheroes and often plays straight man to the more smarter of the group.
Calvin's alter egos are often used to spoof their various genres. Tracer Bullet covers Film Noir, Spaceman Spiff is a parody of Sci-fi adventure stuff like Flash Gordon, and Stupendous Man... well, guess. Occasionally, the comics Calvin was actually reading would be used to give a not-so-affectionate critique of the ultraviolent Dark Age of Comic Books.
Word of God states that Kyle Rayner's stint as Parallax during the Sinestro Corps War was meant to be a parody of Kyle's interactions with Hal Jordan when he was Green Lantern and Hal was Parallax.
1982's The Fantastic Four Roast, written and laid out by Fred Hembeck and issue #34 of Marvel's What If...? series (first version), was some of the gut-bustingly funniest send-ups drawn straight ever.
Doug TenNapel's one-shot comic, Solomon Fix, is an affectionate parody of the British. It was inspired by the "fancy Englishmen" TenNapel worked with while making Earthworm Jim.
MAD magazine was for nearly its entire run defined by its parodies of major TV shows and movies...and real life as well.
Superlópez: In Spain, the Supergroup stories are considered one of the finest parodies of the superhero genre.
Colt Noble and the Megalords was a one-shot from Image that is this in regards to Masters of the Universe, though very much more "affectionate" than "parody" as it doesn't directly mock any of the elements lifted from He-Man so much as create comical situations around them (such as the characterization of Prince Jaysen/Colt Noble as a horny idiot and Archfiend as the world's worst boyfriend). The continuation in Mini Comics Included did parody one specific element of the original He-Man toyline: namely, the premise behind He-Man impersonator Faker, who has blue skin and orange hair. The Faker equivalent, Duper, is fired by Archfiend because he can change shape but not colors, but ends up fooling Colt's love interest Mareea because she's colorblind.
Ultimate Adventures is a parody of the Batman franchise, in which the vigilante is a deluded billionaire who relies heavily upon his teenaged sidekick.
Bongo ComicsRadioactive Man parody of 1980s comics, Who Washes the Washmen's Infinite Secrets of Legendary Crossover Knight Wars, is a shining example of how to do this. It is spot-on and obviously written and illustrated by creators who love those comics. Just as importantly, it is very funny - so funny, in fact, that you don't even have to know what they're parodying to enjoy it.
Largely the point of Planetary, in which each issue explores a skewed version of a particular pop-culture icon through the eyes of the main characters; Japanese kaiju movies one issue, 1960s super-spy thrillers another, and so on. It was often Played for Drama, however, in that while the writers were clearly affectionate towards many of the things they were drawing upon, they were also willing to criticise as well; to illustrate, one issue featured a group of characters clearly based on the Vertigo Comics characters of the 1980s and 1990s, and while one of them passionately champions their political and social relevance and edginess, another bluntly points out that when taken out of that specific set of contexts and appearing in the present day, they can't help but look a bit silly.