Is the whole post-crisis 'We weren't allowed to use major characters' era of the Justice League any good?

Is the whole post-crisis 'We weren't allowed to use major characters' era of the Justice League any good?

Jesus Christ are people on Sup Forums this new nowadays?

The comic in the OP is thirty years old. How old are you?

No, it sucks, you definitely shouldn't read it.

You probably shouldn't read comics at all, they're all terrible.

Better than the pre-crisis Detroit League by far.

Not him but, old enough to have read it when it was new.

Are you serious, OP.
It's the uncontested best JL run of all time.

>'We weren't allowed to use major characters'
>There's Batman and Martian Manhunter right there.

Morrisonfags will disagree.

But you're right.

>Batman
>Dr Fate
>Martian Manhunter
>Captain Marvel
>not major characters

And Oberon!

>Martian Manhunter
>major character

>is JLI any good

It's all Sup Forums faggots immigrating in from their shithole board

Filter them

I'll make you regret that! I'll just go into your mind and AAAAAAARRRRRGGGGGHHHHHH!!!!!!!!

Good stuff.

Do I have to read something before Giffen's JLI?

Legends. It's not funny, or even entertaining, but it sets up several things, like Superman and Wonder Woman's first meeting, the Suicide Squad's first mission, and the formation of the new Justice League.

I blame rebirth, DCEU and MCU. They're huge casual magnets.

Guys, I have been reading comics for like fifteen years, I just haven't read these post-crisis Justice League comics. Chill the fuck out.

Sounds like a problem that should have been rectified a long time ago faggot.

How is not reading a comic run a 'problem', autismo?

I liked it for a while. But around when they split to JLA and Europe it started to wear thin.

>is JLI good?

In Morrison's own words (and they're the objective truth).
>The Justice League of America had been assembled in 1960 to feature all of DC’s best and most popular superheroes in epic battles against foes that no single superhero, not even Superman, could hope to face alone. By 1995, the epic battle was against reader apathy, and in response DC had marshaled a team of Z-list heroes so defiantly useless that they often wasted entire issues doing nothing but eating and going to the toilet. This book seemed to be aimed at an audience embarrassed by superheroes who wouldn’t be buying it anyway, leaving a regular readership of somewhere around twenty thousand a month. The last time the once mighty Justice League title had dominated the bestseller charts was in the eighties. That league had been played as a witty soap opera, filled with dysfunctional, bickering superheroes. But it could easily switch gears to reflect cosmic horror and deadly seriousness, which kept its twists fresh and unanticipated. Its cowriter with Keith Giffen was J. M. DeMatteis, a smart and literate Brooklynite who nursed a mean streak but was also a devotee of Indian mystic Meher Baba. His dialogue played a dense and relentless sitcom call-and-response game that often obscured the artwork, and alternated between exhilarating and exhausting in the space of a few pages. It didn’t take long before the emphasis on humor caused the Justice League books to devolve into a series of increasingly unfunny, played-out shticks that snapped along like a slick, self-satisfied television hit on its final season prior to cancellation.

>By 1994, the year Jack Kirby died of a heart attack, the book was crawling on all fours with kryptonite around its neck, and in spite of writer Christopher Priest’s best efforts, the characters were creepy preforgotten no-hopers with names like Mystek and Bloodwynd. (And, no, it’s not just you: He does appear to have based his superidentity on some alarming rectal trauma.) DC’s flagship had simply lost its way, as the cataclysmic drop in sales confirmed. The Justice League title had been created to showcase the incredible adventures of the World’s Greatest Superheroes, so, as with Doom Patrol, I did the straightforward thing and went back to first principles. But this time I couldn’t get away with my own creations or characters based on my madcap, sometimes troubled, Bohemian friends. This time I was working with DC Comics’ biggest and longest-running franchise characters, with faces on lunch boxes and duvet covers.
>The 1960 Justice League comprised Superman, Batman, Wonder Woman, Aquaman, Green Lantern, and Flash, a pantheon of Pop Art divinities. Together with the 1950s stalwart, the green-skinned and noble superalien J’onn J’onzz, the Martian Manhunter, this was the roster of champions to which I immediately returned.

>it's bad to get new people into comics
You're right. This stupid children's hobby is only for the elitist of the elite. No one should be allowed within five-hundred feet of a comic shop without scoring an 80% or higher on a knowledge test followed by swearing a blood oath to Alan Moore.

>I had to fight to restore this original lineup and then put them front and center in a superhero title that sought to restore a mythic dimension to the DC universe. My quite reasonable demands were supported by my editor Ruben Diaz, a human fusillade of passion and positivity who teamed me with artist Howard Porter and the best inker in comics at the time, John Dell, whose thick, creamy black line could render incredible focal depth and create an illusion of 3-D. Porter combined the stocky solidity of the Image artists with a snarling gigantism that came from Jack Kirby and was well suited to tales of contemporary gods. Ruben even fought for us to bring Batman into the team against the wishes of Denny O’Neil, now in charge of the Bat-office and determined to make the Dark Knight’s adventures as real and convincing as possible. This meant no fighting aliens or visiting the moon. Diaz kept his creative team safe from the madness and made sure that we could do exactly what we wanted, and JLA no. 1 hit the racks as an instant success story.

user youre just old.

It hurts

>There would be no obtrusive postmodern meta-tricks in JLA, just unadulterated, gee-whiz, unadorned sci-fi myths in comic form, giving back to the superheroes the respect and dignity a decade of “realism” and harsh critique had stripped away. We awarded the team a modern Mount Olympus in the form of the new “Watchtower” on the moon, Earth’s first line of defense against invasions from beyond. What’s more, we added a few new members to adhere more closely to the lineup of Greek gods: Superman was Zeus; Wonder Woman, Hera; Batman, Hades; the Flash, Hermes; Green Lantern, Apollo; Aquaman, Neptune; Plastic Man, Dionysus; and so on.
>The wounded, sneering reject heroes of Doom Patrol had been easy for me to write, but the JLA crowbarred me into the mind-set of the traditional DC American superhero, where I had to bend my head to think on their level. It turned out to be powerful fun. By taking the characters and their world at face value, I hoped to show how the superheroes pointed to something great and inevitable in us all. We’ve always known we’d eventually be called upon to open our shirts and save the day, and the superhero was a crude, hopeful attempt to talk about how we all might feel on that day of great power, and great responsibility.

No, OP. It's terrible. You should never read it, ever. You'll hate it; we all do.

Read New 52 JLA instead, it's so much better.

Your crazy if you expect me to read all that. That's more words than the first trade of JLI.

>I carefully constructed adventures to allow the JLA to display its powers in clever combinations, and I was happy to draw inspiration from time-honored tales: for instance, JLA no. 5’s story about two mad scientists competing to create an artificial woman so complex that she developed a soul and betrayed them both was derived from “Blodeuwedd,” the eleventh-century Mabinogion tale of the sorcerers Math and Gwydion, who created a woman out of flowers to deceive and destroy the Welsh mythic superhero Lleu Llaw Gyffes. Set free from the leaden constraints of realism, JLA allowed me to perfect my own glowing, buzzing mutant strain of the superhero germ. If Weisinger represented Freud, it was about time for some Jung comics, I reasoned.
>It occurred to me that these characters, representing as they do specific human personality defaults, could function in a wider therapeutic context. The JLA were designed to solve any problem. Together there was no challenge, no matter how monumental or frightening, how unutterably nihilistic or ridiculous, that they could not overcome. In the realm of symbol, these, our imagined superselves, were indestructible. No god or devil could beat Superman and his pals in a fight. Ever. No heaven or hell could restrain them. Knock them down, blow them up, freeze them, lose them in time, brainwash them—and they came back stronger. So many ideas—fascism, pantisocracy, the mullet—fall apart under scrutiny, but the superhero meme refuses to die. Few flesh-and-blood heroes can stand up to the corroding effects of public scrutiny or simple age, but Superman, Batman, and their kin were conceived, designed, and unleashed to be unstoppable warriors on behalf of the best that the human spirit has to offer.

>“ARE WE DOING TOO MUCH OR TOO LITTLE?” Wonder Woman asked, cradling a dying bird in a dust-bowl landscape. >“WHEN DOES INTERVENTION BECOME DOMINATION?”
>“I CAN ONLY TELL YOU WHAT I BELIEVE, DIANA,” Superman replied. >“HUMANKIND HAS TO BE ALLOWED TO CLIMB TO ITS OWN DESTINY. WE CAN’T CARRY THEM THERE.”
>Then the Flash countered with: “BUT THAT’S WHAT SHE’S SAYING. WHAT’S THE POINT? WHY SHOULD THEY NEED US AT ALL?”
>“TO CATCH THEM IF THEY FALL,” said Superman, gazing nobly at the sky. Issue no. 1 of the relaunched Justice League of America in 1987 had depicted its characters from an overhead perspective, giving the reader an elevated position that allowed us to look down on a newly humanized and relatable group of individuals.
>At my request, Howard Porter drew our first cover shot of the JLA from below, endowing them with the majesty of towering statues on Mount Olympus, putting readers at the level of children gazing up at adults. JLA was a superhero title kids could read to feel grown-up and adults could read to feel young again.
I asked Howard to open the book with an image that I felt summed up its themes, of a vast flying saucer hovering above the White House. Quite independently, the same image appeared on the promo for Roland Emmerich’s 1996 alien invasion film Independence Day, advertised, coincidentally, on the back cover of JLA no. 1.

>We launched that same year. Sales went immediately from 20,000 to 120,000, and JLA stayed as DC’s top-selling book for the rest of the decade. I had a genuine mainstream comic-book hit on my hands.
Readers responded to the optimism of the book, as I suspected they might. We’d seen superheroes sobbing and rending their capes in anguish, and it wasn’t really what they did best. It was time to watch them wrestling with angels and tugging worlds on chains.
>It was time they got their act together and gave us something to live up to.

Read the first 2 paragraph faggot, that sums up pretty much how miserable JLI is and how you should never fall for the "based Giffen, based JLI, based comedy, based relatable characters" meme. All of this is for the faggots who'll meme about how JLI is the best Justice League run when it's nowhere near as complex or fun as Morrison's JLA.

>Read the first 2 paragraph
No. I read none of it.

Dennis O niel felt bad for the writers so he let them use batman, and they just used Guy Gardener for the fun of it. Which was fucking worth it.

I know, you are a faggot. I'm just having fun posting the objective reasoning of why JLI is mediocre at best and JLA is the pinnacle team narrative of the post crisis DC.

You clearly didn't read shit since Morrison praises Giffen and DeMatteis' take. The ones he takes a shit on are the runs that came later, like Jurgens or Vado, who tried and failed to capture the same magic the original team had going.

Morrison is an asshat sometimes. He let animal man join the justice league. He did an issue with the JLE. When did he write this? like in 2010?

It's great.

Dogmatic thinkers are the worst, this hardline fascist approach to the Cult of Morrison helps no one. Read , then read your Supergods excerpts again.

Giffen and JM weren't the problem, people trying to desperately trying to ape their style fucked it up.

Why does modern Giffen suck so much now? I have my theory but am curious what the general speculation is as to why his works from the past years have sucked so much ass.

He hates the whole concept of that shitty excuse of a Justice League book. Also
>His dialogue played a dense and relentless sitcom call-and-response game that often obscured the artwork, and alternated between exhilarating and exhausting in the space of a few pages. It didn’t take long before the emphasis on humor caused the Justice League books to devolve into a series of increasingly unfunny, played-out shticks that snapped along like a slick, self-satisfied television hit on its final season prior to cancellation.
You really can't say whether Morrison is talking about shittier writers that came afterwards or the original team, it holds true for the both.

Yes, it's the only Justice League comic I enjoy. I own the whole thing in floppies, all the way to Breakdowns and the first few Quarterly issues.

Honestly though I really don't care for the two sequel series Formerly Known As and I Can't Believe It's Not the Justice League. They both fail to recapture the magic

>He let animal man join the justice league.
Really doubt he was in charge of that.
>When did he write this? like in 2010?
Yes, it's from Supergods.
Read

Read

That is some Hypercrisis shit
Nice dubs too

>being this obtuse
For what reason?

Honestly I think he just got burned out in the 90's, the controversy about him swiping art probably didn't help either.

Because he fucking died for 30 seconds and that shit changes a man.

He was always a hack writer, pretty good artist though. Dematteis also isn't carrying his ass most of the time so there's that.