Justice League of America The Bronze Age Omnibus HC Vol 1 Hardcover – 4 April 2017

A book of two halves, or, more pedantically, three thirds. It picks up exactly where the preceding "Silver Age Volume Two" stopped, reprinting the stories and cover art from JLAs #77 (December 1969) through 113 (September/October 1974), excepting only issues 85 and 93 (for which we get cover art only, as those issues reprinted earlier stories). The story art throughout is by Dick Dillin, with various hands, including Gil Kane, Joe Kubert, Carmine Infantino, Neal Adams and Nick Cardy, dealing with the cover art (some hands, wot?). Adams also contributes a few pages of story art to #94, while #97 incorporates some elements from earlier writer/artist team Gardner Fox and Mike Sekowsky. Oh yes, I mentioned three thirds. Well, there are three distinct story periods within: the stories written by Denny O'Neill (#'s77-86, the latter co-written with Mike Friedrich, and including a fill-in by Robert Kanigher in #84), the Mike Friedrich era (#'s 86-99) and the Len Wein run (#100 and upwards). Friedrich and Wein actually appear as characters in a couple of the stories, as do Steve Englehart and Gerry Conway, both of whom would go on to write JLA in the late seventies. The book also includes a preface by Roy Thomas which appears to have been written for a slightly different book (as it doesn't discuss any story later than issue 92) and some biographical notes on the contributors at the end. Confused yet?Coming back to the three thirds, then. First up, the O'Neill period, which started in the previous volume, was essentially an attempt to update (read: "Marvelise") the series by adding more characterisation and continuity (which, unkindly, could be taken to be ANY characterisation and continuity) than series creators Fox and Sekowsky had ever bothered with. As an attempt to keep up with the demands of a changing comics market, it's understandable, but somewhat half-hearted, possibly because of DC's institutional conservatism and possibly because it's hard to do too much with characterisation and continuity when all the characters have their own series elsewhere (this was much less of a problem over at Marvel, where Roy Thomas had the luxury of characters who were only appearing in The Avengers and X-Men, giving him much more scope to work with them). These stories are okay, but uninspired - at best, they reach the quality levels of second-tier Marvel books of the era. Not bad, but not that good either.The Friedrich run is notable only for its young author diving deep into the well of "relevance" (i.e. socially-conscious stories), which characterised a lot of Marvel and especially DC comics of the time, but rarely to this extent. They're well-intended but naive and clumsy period pieces, with, to be honest, little to commend them but historical interest and admiration for an attempt, however ham-fisted, to expand the scope of the superhero genre.If this book contained only the O'Neill and Friedrich stories, it would struggle to achieve three-star status: the Wein era is a solid five stars, and is, for me, the finest run in the whole of the original JLA series (and yes, I do know the Englehart era, and Englehart's my favourite comic book writer, but Laughin' Len takes the prize here). Wein took the brilliant decision to drop both the O'Neill angst and the Friedrich relevance, and to restore the best of the Fox era - fast-paced, tightly plotted adventures on a cosmic scale - combined with the more sophisticated storytelling techniques of the period. It is, if you like, Fox substance coupled with Marvel style. It probably helped that the book's then-bimonthly schedule meant that Wein's 14 issues include three JLA/JSA team-ups, including the legendary and epic reintroduction of the Seven Soldiers of Victory, the almost as legendary and epic reintroduction of the Quality Comics heroes later known as the Freedom Fighters, and a poignant tale featuring the original Sandman. All the stories, team-ups or nay, are so breathless and event-packed there's no real need for complex character development, but the characters are drawn deftly and clearly nevertheless. It works brilliantly and holds up remarkably well 45 years later. Len Wein was on fire in this era - creating Swamp Thing with Bernie Wrightson, writing the best Phantom Stranger run ever, and, moonlighting across town, co-creating Wolverine - but for me his JLA is the best writing of his career, and one of the best runs of any superhero team-book outside the Kirby-Lee FF, Englehart's Avengers and the Claremont-Cockrum-Byrne X-Men. Coming in fourth behind that lot is no mean feat. These are GREAT superhero comics.But hark, I hear you say, what of the artwork? Indeed, for verily it is written that the comic book is a visual medium and focusing on writers alone is insufficient. So let us now praise Dick Dillin, who pencilled every issue of JLA from 1968 till his early death in 1980. Dillin was a solid journeyman and while his work was rarely lovely (though it looks like Klimt compared to predecessor Mike Sekowsky), he was a bold, clear and dynamic storyteller who could occasionally turn out a really arresting page layout. He's probably DC's equivalent of Marvel workhorses like Herb Trimpe and Sal Buscema, though in my eyes rather more interesting and appealing than either, because he didn't, as they did, fall back on hacked-out stock poses and layouts, but continued to display energy and imagination long after they'd given up the ghost (the Marvel duo continue to get more love from fans just because they worked for the "cool" company. So it goes). Unfortunately, most of the stories here see Dillin inked by Joe Giella, a fellow journeyman whose basic inking style did few artists any favours and which emphasises Dillin's occasionally awkward figure and face drawing. In the Wein era, however, Dillin is inked by Dick Giordano, who on a good day could make even Ernie Bushmiller look like Al Williamson*, and the polish brings out the best in Dillin's art, smoothing away its crudities whilst never smothering its strengths. Like pretty much everything Giordano ever inked, it's gorgeous.In conclusion, the Wein stories are essential to any serious superhero comic book library, and this volume is recommended on that basis alone. That said, it's a hefty price (and with over 850 pages, it's a hefty tome), so if you ever come across a book containing just the Wein stories, opt for that instead, as the other stuff here is of historical interest only. But till then, if you're serious about superhero comics, you need this volume.*NB I have no actual evidence that Dick Giordano ever did, in fact, ink Ernie Bushmiller.

Superb book with lovely quality of pages and artwork reproduction. Enjoyed these comics back in the early 70s, this makes them even better ... a pleasure to read from start to finish. Wish DC would add a few extras as Marvel generally does but it is a minor issue. Definitely be getting the others in the series

great book and came in gooe condition very pleased with my order

I can't complain so far I'm enjoying the read, good content. Font size reasonable and art in colour.