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Those were the days: Superman wrestling an angel, Batman taking down martians, Wonder Woman taking down a heavenly chariot, Martian Manhunter connecting every one telepathically, Aquaman begrudgingly spending time away from Atlantis, Kyle containing a supernova, Wally's "flash facts", Connor learning to use his dad's boxing glove arrow, Steel and Plastic Man palling around, trips to the 853rd century, phantom zone, 5th dimension...

I think he was the only JLA writer to understand Batman as a detective and not a superhero in the team dynamic.

It’s kinda funny that in the 90s putting Superman Batman and Wonder Woman on the JLA was considered a radical idea.

We need more books like this these days. Optimistic, mythical and hopeful. Especially since cynical deconstruction is in vogue these days and while it has it’s place, it becomes boring when it’s the default. Old school yet high concept superhero fun like this seems like a breath of fresh air.

An important footnote of Morrison's JLA run is how it had a major impact on Marvel's "Avengers." Twice. Critically as Marvel responded with Kurt Busiek and George Perez' Heroes Return relaunch, then commercially with Bendis' "New Avengers" which decided to turn the team into an equivalent squad of A-listers.

Ah yes, Morrison JLA. Can’t wait for this. It’s crazy how much good stuff that Morrison has written over their entire career.

The thing about Morrison's revamp of JLA that still shocks me is how much pushback they got from other DC writers for using the Big 7; according to Morrison in one interview, the other writers couldn't believe that when Morrison got the gig to take over JLA that they wanted to use them. Those other writers thought the Big 7 were bland and boring characters compared to the kinds of B and C listers that the JLI era writers had more freedom to explore as well as not having to deal with the headache of having to work around the solo books the Big 7 had. And honestly, I can see where they were coming from, the freedom Giffen and DeMatteis had with the characters in their JLI definitely helped that book, but it was definitely time for a back to basics approach in 1997 after all the underwhelming stories that followed the Giffen and DeMatteis run. To me, the lesson to learn from both eras/approaches (as well as the success of the JLU show) is to use both - have a big 7 JL book with big plots and big action set pieces to appeal to that audience, and a more character and subplot driven JL book full of fan favorites without their own solo books where the drama comes more from character arcs and fleshing out characters who are closer to blank slates than the big 7; the JLI era showed with the right creative teams, you can spin-off multiple sustainable JL "franchises," however I think if you go past 2 ongoing at the same time, the risk for audience burnout and diminishing returns in story quality are too high (maybe rotating mini-series focusing on different JL "franshises" as a kinda-sorta 3rd book could work?)

I just can't get over how Morrison going back to the Big 7 was seen as a radical idea, that it wasn't an editorial edict but something Morrison chose to do when they had the freedom to pretty much choose whatever roster they wanted (I know midsummer nightmare came out before it, but as I recall it was either made after Morrison had chosen to go with a Big 7 lineup and was meant to be a prelude to test the reader appetite for a big 7 book or was meant to be a one off story getting them back together while Morrison was still allowed to choose a roster as they saw fit).

And I honestly love the electric blue superman issues and Porter art; I know a lot of fans don't care for either and kind of see this run as a flawed masterpiece because of them, but I wouldn't change either. The electric blue superman appearances give the run some cool moments that honestly feel more memorable just for how bizarre those powers and costume were (as well as how the comic just rolls with those changes without really stopping to acknowledge or explain them, like they're a totally normal things you dont even blink at when they happen), as well as a quirky element to set the run apart from others. And I've just always liked Porter's art a lot on this book; like any artist, he isn't for everyone but I personally like cartoony guys like him and his pages always had this dynamic energy to them that really paired well with Morrison's frenetic, action/plot advancement heavy stories in this run.

Morrison's JLA is what fully pulled me into the DC universe from Marvel. Even new readers can see and feel the passion from the team behind this title.

I was reading Morrison's "supergods" and just got past the chapter they discuss their run in the JLA when this was recommended to me. Morrison's chaos magic has no limits.

i was so happy when batman left the black 89 movie style suit behind and went classic grey and blue again

Zauriel is such a brilliant idea/character that it makes me angry he's been forgotten. He should be as popular as Magik is now.

The Mark Waid stories that dotted the Morrison run are also wonderful.

I read Grant Morrison's Doom patrol so I can imagine how crazy his Justice League stories would be.

My generations JLA. it was so cool seeing Kyle and Wally rub elbows with the big shots.

Morrison took JLA And brought it back to it's Roots and Morrison being Morrison has some crazy shit man

Really enjoyed this! The Morrison/Porter JLA run was the first Justice League series I ever read, and along with the Mark Waid run that followed, stands out to me as a paradigm of Justice League storytelling.

After several attempts, trying out Morrison's run was what brought me into the DC fold. It had the perfect amount of accessibility and deference to history to bring in new readers and have them seek out other and older DC titles.

Morrison really dragged the JLA out of the TERRIBLE spot they were in from the 80's and 90's.  They dropped all the way down to that era Avengers level mediocrity and obscurity

You forgot Aztec sacrifice his life to Mageddon