Batman by Grant Morrison Omnibus Vol. 2

Scott Snyder and Greg Capullo defined Batman for the New 52 era, and this pack brings their entire run together in two oversized omnibus volumes. It opens with The Court of Owls, a secret society hidden inside Gotham's history, runs through Death of the Family and Zero Year, and closes with Endgame, the definitive Joker war, plus Superheavy and Bloom. One of the most acclaimed and best-selling Batman runs of the modern era, collected complete.

Tom King's Batman ran for eighty-five issues and is the defining modern take on the character: a run about trauma, love and whether Bruce Wayne is allowed to be happy. This is the first half of the run, with David Finch and Mikel Janín on art, and it is where King establishes the pattern: superhero plots used as delivery mechanisms for emotional argument. I Am Suicide alone reframes how Batman talks about his own death drive. Volume 1 is the entry point, and the omnibus format is the only one that keeps the crossover chapters in place.

Injustice began as a tie-in to the fighting game and became one of DC's longest-running alternate universes, built on a single irreversible act: the Joker tricks Superman into killing Lois Lane and their unborn child. Injustice works because it takes its premise seriously: the heroes who side with Superman have reasons, and the ones who oppose him lose. It is the most accessible DC alternate universe on the shelf, with no continuity required, and this omnibus replaces three years of scattered digital-first collections with a single volume.

James Tynion IV and Freddie Williams II crossed Batman with the Teenage Mutant Ninja Turtles three times, and the result outsold almost every other DC/IDW crossover attempted. The setup is a dimensional accident engineered by Krang to rid himself of the Turtles and the Foot Clan at once — which dumps Shredder into Gotham. What makes it work is that Tynion plays both worlds straight: Ra's al Ghul and Killer Croc against ninja mutants, with Splinter and Bruce Wayne sizing each other up as the two mentors they are.

James Tynion IV took over Batman after Tom King and immediately escalated: The Joker War is a full assault on Bruce Wayne's fortune, his allies and the city itself, drawn by Jorge Jiménez. Tynion's premise is simple and brutal: strip Batman of his money and see what remains. Having the crossover chapters from Nightwing, Batgirl, Red Hood and Catwoman in the same volume matters here, because the story is deliberately told across the whole Bat-family rather than in one title.

Batman: Knightfall Omnibus Vol. 1 begins the Bane saga by turning Gotham into a gauntlet. Arkham's inmates are loose, Batman is forced through fight after fight, and Bane waits for exhaustion to do what brute strength alone cannot: make the Dark Knight break.

Road to No Man's Land is the run-up to DC's biggest Batman event of the nineties. A cataclysmic earthquake levels Gotham, and these are the months in which the city falls apart before Washington writes it off entirely. This is the volume most readers skip and then need: No Man's Land makes far more sense when you have watched Bane escape, Azrael struggle for legitimacy and Gotham's infrastructure fail one system at a time. Chuck Dixon coordinates a dozen titles into a single collapse, and the omnibus finally puts the whole crossover in reading order instead of scattered across four series.

No Man's Land is the year DC declared Gotham dead. After the earthquake of Cataclysm, the United States government evacuates the city, dynamites the bridges and leaves whoever stays behind to divide the ruins into territories. The premise strips Batman of everything except the city itself: no infrastructure, no law, and gang leaders marking blocks with spray paint. It is also where Cassandra Cain becomes Batgirl. Volume 1 is the opening third of the crossover, in reading order across every Bat-title, which is the only way it works.

Grant Morrison took over Doom Patrol in 1989, a cancelled team book about disfigured heroes, and turned it into the strangest thing DC has ever published under its own name. This is the run that launched Morrison's career: the Brotherhood of Dada, Danny the Street, Flex Mentallo and Crazy Jane, whose sixty-four personalities each have a different power. It is surrealism played completely straight, and it is also the direct origin of Vertigo as an imprint.

This omnibus gathers the twenty-first century Phoenix stories: every attempt Marvel has made to bring Jean Grey back, and the event that used the Force as a weapon against the Avengers. Grant Morrison's Here Comes Tomorrow, Avengers vs. X-Men and Phoenix Resurrection in one volume is a genuinely useful pairing: the first imagines a future without her, the second turns five X-Men into gods, and the third finally brings the original Jean back after fourteen years. It is the complete modern argument about the character.

Grant Morrison took over X-Men in 2001 and rebuilt it as science fiction about a species: the school opened to hundreds of students, mutants became a culture with fashion and drugs, and the costumes went black. Morrison's premise is that mutants are winning demographically and nobody has noticed, which reframes the whole franchise. Genosha's destruction in the first issue kills sixteen million people and the book never lets you forget it. Frank Quitely, Igor Kordey and Chris Bachalo draw it, and every X-Men run since has been either extending this or reacting against it.

Batman by Grant Morrison, collected complete as a pack of 3 oversized omnibus volumes and cheaper than buying them one by one. Batman by Grant Morrison Omnibus Vol. 1 opens Morrison's Batman saga with Batman & Son, The Black Glove and Batman R.I.P. It introduces Damian Wayne, pushes Bruce Wayne through psychological pressure and starts the larger mystery that reshapes the Dark Knight across three omnibus volumes. Batman by Grant Morrison Omnibus Vol. 2 follows the saga after Batman R.I.P., with Dick Grayson and Damian Wayne operating as Batman and Robin while Bruce Wayne fights his way back through time. It collects the middle movement of Morrison's run, where legacy and identity become the main engine of the story. Batman by Grant Morrison Omnibus Vol. 3 closes Morrison's Batman project with Batman Incorporated. Bruce Wayne turns Batman into a global network, drawing allies around the world into the fight against Leviathan and pushing the symbol far beyond Gotham.

The final third of Morrison's Batman is Batman Incorporated: Bruce Wayne going public as the franchise's financier and recruiting a Batman for every country. The idea — that Batman's real superpower is money and organisation — is the most modern thing anyone has done with the character. It also ends with Damian's death, which Morrison had been building toward since the first volume and which DC did not undo for years. This is the payoff of the whole seven-year argument.

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.

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.

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.