As individuals, their names are legend. Together, they are even greater than the sum of their parts. They are the Justice League of America, and they stand for truth, justice and the American way! Since they were first commissioned by renowned DC Comics editor Julius Schwartz in 1960, the Justice League has thrilled audiences across the globe in tales that span time and space. Now, for the first time, all of their original Silver Age adventures are available in an all-new series of trade paperback editions! This third volume of JUSTICE LEAGUE OF AMERICA: THE SILVER AGE collects the famed super-team's exploits from JUSTICE LEAGUE OF AMERICA #20-30, and includes the classic tales "Crisis on Earth-One!" "Crisis on Earth-Two!" and "The Most Dangerous Earth of All!"
Gardner Francis Cooper Fox was an American writer known best for creating numerous comic book characters for DC Comics. Comic book historians estimate that he wrote more than 4,000 comics stories, including 1,500 for DC Comics. Fox is known as the co-creator of DC Comics heroes the Flash, Hawkman, Doctor Fate and the original Sandman, and was the writer who first teamed those and other heroes as the Justice Society of America. Fox introduced the concept of the Multiverse to DC Comics in the 1961 story "Flash of Two Worlds!"
Charming, whimsical and very hokey are the words that immediately spring to mind, but that was the Silver Age.
A couple of the stories were absurd, and a couple were fun, especially the Crisis on Three Earths, but I knew it was going to be like that going in. However, I’d forgotten how gee whiz Snapper Card was and his Rick Jones-like ability to be annoying and age the book considerably due to his 60s cool-guy talk.
I’m still not clear what role he served in the Justice League beyond that, but at times it was a slog.
Volume three for The Justice League of America during The Silver Age contains the most fun adventures yet!
Volume three sees the League facing off against their Earth Three counterparts, teaming up with their Earth One allies, and more! This volume lives up to the idea of why people look back fondly at The Silver Age.
A great collection of Justice league adventures including the first two epic "Crisis" crossover stories featuring team-ups between the Justice League of Earth One and the Justice Society of Earth Two. Stories featuring those types of team-ups would be a staple of Justice League comics for many years and are some of my favorites.
11 more issues from '63-'64 here. Not much new ground here. A few cool stories of Earth-Two & Earth-Three characters and lots of the usual pseudo-science-mumbo-jumbo. A fun trip back in comics history.
I'll give credit to the writers. Even when there's a mashup of Justice Leagues and Justice Societies, with a gazillion superheroes running around, everyone manages to have a moment.
This volume is really disconcerting. I mean, these books have some strange pseudoscience in the 1960s volumes that they do a good job trying to make plausible, but this one really makes you suspend disbelief unless they are really supposed to be right-wing propaganda. Take, for example Headmaster Mind's of the School for Criminal Deeds and Conduct (a character so silly he has made only one subsequent appearance). He absorbs the cardiac energies of the superhuman members of the Justice League so that their powers backfire on them, leaving only Batman and Green Arrow to work on cases, embarrassing Green Lantern because the opening incident involves them rescuing Carol Ferris. Why is Superman so dumb this issue that Batman has to tell him what he's capable of doing without using his superhuman powers (232)? This issue sports a fascinating cover of the JLA, minus Batman and Green Arrow, picketing in front of the United Nations. A fascinating cover that appeals to contemporary protesters, but in the story, they are in a daze, with an odd look in their eyes, their picketing a direct result of Headmaster Mind's mental control (231).
This wouldn't be so disturbing if it didn't directly follow a story in which characters have a "success factor" and "defeat factor" that can tangibly ebb in and out of their bodies, which can render either them or an insubstantial villain called I inert. This seems to be intended (and possibly succeeded) at indoctrinating kids of the baby boomer generation to believe in Horatio Alger stories I (and the authors of the books I'm reviewing) derided in my reviews of Robert H. Frank's Success and Luck: Good Fortune and the Myth of Meritocracy and book Nicole Aschoff's The New Prophets of Capital. Page 214 at least has some backtracking--on the same page Green Lantern refers to the "defeat factor," private art collector Jason Markham decides to donate his collection to a public museum. I guess I've read too many Golden Age Superman stories for me to think of that character as a right-winger anymore, in spite of those JLA stories in the early 100s where other members of the team call the "new (leftist)" Green Arrow "sick" on a regular basis.
This story (issue #27) is also amusing for its teasing references to Hawkman, who would join the team in issue #31. There is also a reference to the Green Arrow/Martian Manhunter team up sported on the cover of The Brave and the Bold Team-Up Archives, which is now my next interlibrary loan request.
The book concludes with the second two-parter of the JLA/JSA team-ups and the introduction of a reverse world in which all the super-powered characters are criminals (and Clark Kent has bizarre spikes coming out of his shoulders (284), American Columbus discovered Europe, England won freedom from the United States in a Revolution, and actor Abraham Lincoln shot President John Wilkes Booth. (Eventually heroes would rise up against the Crime Syndicate, but not in this story).
There are some strange gaffes in this book like Atom unable to safely use his size and weight powers on page 234 despite Ray Palmer being shown on p. 222 (in these stories Palmer always wore the Atom costume, its molecules were imply two far apart to be visible when full sized). This is very different from just a few years later when Hank Pym was trapped at ten feet tall in Marvel Masterworks: The Avengers, Vol. 4. That was a more human story, and DC wasn't ready to go there yet. These stories are cleverly constructed and very plot-driven, having what Stan Lee would call a "hangnail," (a seemingly irrelevant point that is the answer to the mystery) compared to his more epic style of storytelling.
In my opinion the stories were weak and the art work was just okay. I had to read a couple of issues and set it down for awhile before getting back to it. I am glad that DC has been putting out these volumes since to buy the originals would cost a fortune. The only reason to read this is because it's a huge part of comic book history.