Batman by Tom King Omnibus Vol. 2

The animated-continuity Batman comics, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. The Batman Adventures was the comic spun off from Batman: The Animated Series, written for the same audience and, as it turned out, for everyone else too. Mad Love alone justifies the volume: Paul Dini and Bruce Timm's Harley Quinn origin, which won an Eisner and became the version DC has used ever since. The rest is the animated house style at its best, clean, self-contained stories that work for a child and hold up for an adult, which is rarer than it sounds. The Batman & Robin Adventures followed The Batman Adventures, continuing the animated-series comic after Robin joined the cast and the show's design changed. The Lost Years is the reason collectors chase this: it fills the gap between the original series and The New Batman Adventures, explaining where Dick Grayson went and how Tim Drake arrived. The rest is the same discipline as the first omnibus, short, complete stories with no continuity homework, aimed at any age.

Jeph Loeb and Tim Sale worked on Batman across seven years and four projects, building a single continuous account of Gotham's transition from mob city to costumed city. This omnibus puts all of it together. Read in sequence these are not four books but one: Harvey Dent's fall, the aftermath that creates a new Robin, and Selina Kyle's search for a father, all told in the same seasonal structure. It is also the single most direct comics source for Nolan's trilogy, which the Nolan and Goyer conversation makes explicit.

Batman debuted in Detective Comics #27 in 1939 as a pulp vigilante with a gun, and within two years had acquired a sidekick, a code against killing and most of the rogues' gallery still in use today. Everything the character is built on was invented in about eighteen months, and this is that stretch. The Joker and Catwoman both appear in Batman #1, which is one of the strongest single issues in comics history by sheer consequence. The stories are short and strange, and read closer to pulp fiction than to modern superhero comics.

The Batman Adventures was the comic spun off from Batman: The Animated Series, written for the same audience and, as it turned out, for everyone else too. Mad Love alone justifies the volume: Paul Dini and Bruce Timm's Harley Quinn origin, which won an Eisner and became the version DC has used ever since. The rest is the animated house style at its best, clean, self-contained stories that work for a child and hold up for an adult, which is rarer than it sounds.

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.

Bruce Wayne: Murderer and Fugitive is the year DC arrested Batman's alter ego for homicide and made the Bat-family investigate their own mentor. The interesting half is the second one: Bruce responds to the frame-up by deciding Bruce Wayne was always the disguise and refusing to go back, which forces everyone around him to argue that the man matters as much as the mask. It is the best use DC has made of the secret identity in decades.

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 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.

Tom King and Phil Hester go back to 1961 and tell Gotham's original sin without Batman in it. Private investigator Slam Bradley takes the kidnapping case of Helen Wayne, heir to the Wayne fortune, and what he finds is a city already rotten with police corruption and racial violence long before anyone put on a cape.

Absolute Power Omnibus collects Mark Waid and Dan Mora's event and its tie-ins, in which Amanda Waller finally does what she has been building towards for years: strips every metahuman on Earth of their powers at once and leaves the heroes to fight back with nothing. Collected complete in a single oversized hardcover.

Supergirl: Woman of Tomorrow The Deluxe Edition collects Tom King and Bilquis Evely's eight-issue western in space, told by a teenage girl named Ruthye who hires Supergirl to help her hunt her father's killer across the galaxy. Kara is not the narrator, and seeing her through someone else's eyes is exactly what makes the book work. Evely and colourist Mat Lopes produced some of the most beautiful pages DC has published this decade.

A girl hires Supergirl to help her hunt the man who killed her father, and the journey across eight worlds turns into an argument about whether revenge is worth what it takes. King and Evely wrote the Supergirl story the film was built on, and it is a western more than a superhero comic.

Scott Free escaped Apokolips, escaped Granny Goodness and escaped every trap ever built for him, and then one day he tries to kill himself. King and Gerads use the nine panel grid to tell a story about depression, marriage and a war on New Genesis that may or may not be happening at all.

Christopher Chance makes a living impersonating the people who want to stay alive. He takes a bullet meant for Lex Luthor, gets twelve days to live, and spends them investigating his own murder with the entire Justice League International as suspects. King and Smallwood play it as a 1960s cocktail party with a countdown running.

A Green Lantern is taken hostage by a group DC calls terrorists and their side of the story turns out to be the one that holds up. King wrote The Omega Men straight out of the CIA and it shows: the book is about occupation, propaganda and what the word terrorist is doing in that sentence.

Batman by Tom King, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. 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. The second half of Tom King's eighty-five issue Batman run, where the wedding arc collapses and the consequences take over the book. Volume 1 sets up the proposal; this is where King collects on it. Bane's plan turns out to be psychological rather than physical, Batman is taken apart by people who know exactly where the joints are, and the run's argument, that Bruce Wayne is not permitted happiness, is stated outright. The Flash crossover chapters are here in place.