Absolute All-Star Superman (New Edition)

The Death and Return of Superman is not just the day Superman falls; it is the whole shockwave after the fall. Doomsday turns the fight into a public wound, Metropolis has to imagine a world without Clark Kent, and four new figures step into the empty space where Superman used to stand. This omnibus keeps the event, grief and rebirth together as one huge DC turning point.

PRH presents this as Grant Morrison's bold New 52 reimagining of Superman. The run starts from a more raw, early-career Man of Steel and builds toward stranger, larger threats without losing the idea of Superman as a social and moral force. This is the compact shelf for Morrison's New 52 Superman: part origin energy, part cosmic experiment, part statement about what Superman means when the myth is rebuilt from the street upward.

In 1992 DC killed Superman and the story made the evening news. Thirty years later this edition collects it as a single book. Doomsday is the rare villain who works precisely because he has no personality, no motive, no dialogue, just forward motion, and the escalating panel counts across the final issues are one of the smartest formal tricks in mainstream comics. Whatever you think of the stunt, it is the best-selling comic story ever published.

Injustice: Gods Among Us, collected complete as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Injustice 2 keeps asking what happens after a world has already been broken by its heroes. Tom Taylor returns to a DC universe where trust is scarce, power has consequences and every alliance carries the memory of Superman’s regime. The result is not just a fighting-game tie-in; it is a sharp alternate-DC political thriller about rebuilding after tyranny. Injustice: Gods Among Us Omnibus Volume 1 collects the opening three-year block of the Injustice saga in one huge hardcover, giving DC readers a brutal alternate-universe shelf built around Superman's fall, Batman's resistance and a world under authoritarian pressure.

Superman: The Triangle Era, collected complete as a pack of 3 oversized omnibus volumes and cheaper than buying them one by one. Superman: The Triangle Era Omnibus Vol. 1 begins DC's 1990s weekly Superman machine, where Action Comics, Adventures of Superman, Superman and Man of Steel function as one coordinated reading order. The numbered triangles turn the line into a continuous serial rather than separate titles. Jurgens, Ordway, Stern and Simonson build the dense ecosystem that leads toward Death of Superman and the most interconnected Superman publishing era. Second volume with the central arcs of the Triangle Era experiment: the time when editorial coordination between the four Superman titles was at its creative peak, with weekly crossover sagas and consequences that spanned months. The heart of an entire decade of the character's history, culminating in the run-up to the Death of Superman. Roger Stern, Dan Jurgens, and Louise Simonson write complementary threads that reward reading in publication order. The most ambitious Superman publishing experiment ever attempted. Superman: Triangle Era Omnibus Vol. 3 keeps the 1990s Superman machine moving through linked weekly storytelling, where Clark's personal life, Metropolis, supporting cast and superhero threats all feed into one another. Dan Jurgens, Louise Simonson, Roger Stern, Jon Bogdanove and Tom Grummett make the line feel like a living city.

Superman: Our Worlds at War, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Superman: Our Worlds at War Omnibus Vol. 1 throws Superman and the wider DC universe into a conflict big enough to feel like a real planetary crisis. Joe Kelly, Doug Mahnke and the Superman line use cosmic scale to test Clark's role as protector when the threat is not just a villain, but war itself. Superman: Our Worlds at War Omnibus Vol. 2 focuses on DC's war-scale Superman event, with Superman shaped by cosmic conflict, grief, heroism under pressure and the cost paid by people around Superman. The appeal is not only continuity; it is watching a specific DC period find its tone, cast and visual rhythm.

Batman & Superman in World's Finest: The Silver Age, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Batman & Superman in World's Finest: The Silver Age Omnibus Vol. 1 collects the team-up series at its most inventive, when Superman and Batman shared a book every month and the plots involved body swaps, alien impostors and whatever else the writers could think of. Drawn largely by Curt Swan. Batman & Superman in World's Finest: The Silver Age Omnibus Vol. 2 continues the team-up run deeper into the sixties, with the plots getting steadily more outlandish and the Superman-Batman partnership settling into the shape it still has today.

Superman: The Silver Age, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. The Silver Age Superman is the version most people picture: the Fortress of Solitude, Krypto, the bottle city of Kandor and a supporting cast that grew every month. This is where Superman's mythology gets built: Brainiac and Kandor in Action #242, Bizarro, Supergirl's arrival, and the Phantom Zone. The stories are constructed as puzzles rather than fights, Superman usually wins by working something out, which is a very different character from the one who preceded and followed. Superman: The Silver Age Omnibus Vol. 2 keeps the Man of Steel in full Silver Age invention mode: impossible transformations, strange science, secret identities, bright covers and the kind of story logic that treats imagination as a superpower. Curt Swan and Wayne Boring give the period its clean, iconic visual grammar.

PRH presents this as Grant Morrison's bold New 52 reimagining of Superman. The run starts from a more raw, early-career Man of Steel and builds toward stranger, larger threats without losing the idea of Superman as a social and moral force. This is the compact shelf for Morrison's New 52 Superman: part origin energy, part cosmic experiment, part statement about what Superman means when the myth is rebuilt from the street upward.

Grant Morrison's Animal Man is the 1988 run that made Buddy Baker famous and ends with the character meeting his own writer. The final issue, in which Buddy sits down with Morrison and asks why his family was killed, is one of the most discussed comics ever published. The run is also genuinely angry about animal cruelty, which almost no superhero book has attempted before or since.

Grant Morrison and Mark Millar wrote The Flash together in the late nineties, immediately after Mark Waid, with Wally West already established as the fastest man alive. The Human Race is the standout: an alien gambler challenges the Flash to a race across the universe with Earth as the stake, and Morrison writes it as pure high concept. The Black Flash, death itself, running to catch up, is the other lasting idea, and DC has used it ever since.

Grant Morrison spent seven years on Batman treating every story ever published as canon, including the ones nobody wanted to remember, and then built a single argument out of all of it. Morrison's premise is that a man who has survived everything published since 1939 would have to be extraordinary, and Batman R.I.P. is the stress test. Damian arrives here as an insufferable ten-year-old assassin and leaves as one of DC's most valuable characters. Everything in the Bat-books for the next decade starts in this volume.

The middle third of Morrison's run is the part where Bruce Wayne is not in it: presumed dead, travelling backwards through history while Dick Grayson wears the cowl. Dick and Damian invert the classic dynamic, a light Batman and a violent Robin, and it is the most purely enjoyable stretch of the run. Frank Quitely draws the opening. Putting the two series in reading order is the reason to own this: published separately, the two halves kept explaining each other out of sequence.

Grant Morrison relaunched the Justice League in 1997 with the original seven members and a simple thesis: they are gods, and the stories should be that size. Morrison writes each arc as an escalation that should be impossible to top and then tops it: angels, an invading White Martian fleet, and a villain who has already won by page one. Earth 2 with Quitely is the standout, a world where evil always wins, and the League cannot fix it. It is the template for every League run since.

Batman: Arkham Asylum The Deluxe Edition collects Grant Morrison and Dave McKean's painted graphic novel, one of the strangest and best-selling Batman books ever published. On April Fool's Day the inmates take the asylum and demand Batman walk in alone; interleaved with that night is the diary of Amadeus Arkham, the psychologist who built the place after his mother's death. McKean's mixed-media artwork, paint, photography and collage, makes it unlike any other Batman comic.

Grant Morrison and Frank Quitely wrote All Star Superman outside continuity in 2005, with a single premise: Superman is dying and has twelve labours left. Morrison treats every era of the character as true at once, the Silver Age absurdities, the Golden Age social crusader, the modern icon, and Quitely draws him as physically calm in a way nobody else manages. Issue #10 is widely considered the best single Superman comic ever published. It requires no prior reading at all.