Marvel & DC Omnibus

The second Byrne Fantastic Four omnibus covers the conclusion of his major run, including Sue Storm's evolution from Invisible Girl to Invisible Woman, the extended Secret Wars connection, the Thing's return from self-imposed exile, and a major Doctor Doom conflict that reinforces Doom as one of the team's defining enemies.

Marv Wolfman's Fantastic Four run represents the final pre-Byrne era — the creative tenure immediately before John Byrne's major reinvention of the team. Wolfman introduced the Frightful Four's most ambitious membership configuration, developed the Nova connection between his simultaneous run on that character and the FF, and used the team format to explore large-scale cosmic threats that his successor Byrne would later ground in more character-focused directions.

The fifth Fantastic Four omnibus continues Roy Thomas's run through the transition to Len Wein and other writers, covering the period when Marvel was experimenting with the team's format — including the Thing's solo focus, the shifting relationship dynamics post-Medusa's team membership, and the introduction of new antagonists that would define later FF eras. This volume documents the book's creative search for a post-Kirby identity before Byrne's eventual major reimagining.

The third Fantastic Four omnibus covers the final period of the Lee/Kirby collaboration — the run toward Kirby's departure to DC, featuring the introduction of the Him/Warlock concept, Crystal's full integration into the team after Sue Storm's pregnancy, and the complete Kree/Skrull setup that Thomas would develop in Avengers. These late Kirby issues show a creator pushing against the creative constraints of the Marvel system before leaving for DC and the New Gods concept that would be his ultimate artistic statement.

Fantastic Four Omnibus Vol. 2 continues the Lee and Kirby run as the series expands from family adventure into full Marvel mythology, with cosmic scale, recurring villains and the sense that every issue can add a new piece to the universe.

The first Fantastic Four omnibus collects the genesis of the Marvel Universe — Jack Kirby and Stan Lee's creation of the concept that would define American superhero comics for six decades. The Fantastic Four #1 through the early issues introduced not just four characters but the entire conceptual framework of the Marvel approach: fallible heroes with genuine relationships, science fiction adventure grounded in human drama, and a shared universe that was being invented issue by issue. These are the issues that changed everything.

No Surrender was Marvel's 2018 weekly Avengers event — a 16-part storyline published weekly across four months with rotating creative teams coordinating to tell a single continuous story. The Grandmaster and the Challenger wager on an Avengers-related game using Earth as the board and the Avengers as unwitting pieces, with the team simultaneously dealing with an escalating global crisis while their members fall one by one. No Road Home followed as a direct sequel, a nine-issue weekly series sending the Avengers into a mythological realm to recover a cosmic object stolen from Nyx, goddess of night.

Rick Remender's Uncanny Avengers launched immediately after Avengers vs. X-Men as the flagship title of Marvel NOW! — a Unity Squad of Avengers and X-Men working together to fulfill Charles Xavier's dream of human/mutant coexistence, led by Captain America and Havok. Remender used the format to address the damage Cyclops's actions had done to the mutant cause, positioned Havok as a controversial spokesperson for a post-AvX mutant identity, and built toward the Apocalypse Twins storyline — a massive alternate future/time-travel epic where the villains literally won.

Avengers by Busiek & Pérez Omnibus Vol. 2 pushes the run into its most intense phase, with Ultron Unlimited turning superhero spectacle into a story about horror, survival and what the Avengers mean when the enemy has already won. Pérez gives the team scale and emotion without losing the human cost of the attack.

Kurt Busiek and George Pérez rebuild Avengers as a character-led team book after the turmoil of the 1990s, restoring scale, continuity and emotional clarity without making the run feel like nostalgia alone.

Jonathan Hickman's Avengers Vol. 1 launches his massive, interlocking Avengers/New Avengers run — one of the most ambitious sustained narratives in Marvel history, building across four years toward Secret Wars. This first volume establishes the Avengers as a planetary defense system responding to universal-scale incursion threats, while simultaneously in New Avengers the Illuminati discover that parallel Earths are colliding and destroying each other, a phenomenon called incursions that will eventually consume the entire multiverse.

Geoff Johns and Olivier Coipel's Avengers era follows the Busiek/Pérez period with early-2000s stories such as World Trust, Red Zone, Search for She-Hulk, Lionheart of Avalon and Once an Invader. It is a bridge shelf between classic-modern Avengers and the next wave of Marvel team books, with Coipel bringing clean scale and expressive superhero drama to the run.

Avengers: The Crossing is one of Marvel's most ambitious and divisive mid-90s storylines — a complex conspiracy narrative revealing that Iron Man had been a secret agent of Kang the Conqueror for years, manipulating events from inside the team. The storyline required the teenage alternate-universe version of Tony Stark to replace the compromised adult, a desperate editorial solution to the dead-end the Crossing's plot had created. Bob Harras coordinated a crossover that remains historically fascinating for how thoroughly it was reversed in subsequent years.

Avengers: The Gathering collects the material that Kurt Busiek and George Pérez used to set up their major Avengers run — the prelude issues, the Thunderbolts crossover material, and the gathering of heroes following the extended period when the main Avengers were missing after the Onslaught event. Busiek's preparatory work established the emotional and narrative foundation for one of the best-received Avengers creative runs in the team's history.

The sixth Avengers omnibus covers the conclusion of Englehart's run, centered on the Celestial Madonna storyline — one of the most ambitious Bronze Age Marvel narratives, weaving Mantis's mysterious origin through past, present, and future while simultaneously resolving the Swordsman's arc with his death in combat. Englehart used the Vision and the Scarlet Witch's relationship as the emotional spine of the era, building toward their eventual marriage in a standalone special that remains one of Marvel's most unusual romantic narratives.

Steve Englehart's Avengers run is the most politically sophisticated in the team's history — he used the book as a direct commentary on the Watergate era, with the Secret Empire storyline revealing a vast government conspiracy reaching to the highest levels of power, a conclusion so resonant with contemporary events that Marvel editorial forced Englehart to leave the outcome implicit. The Avengers-Defenders War gave way to something more psychologically complex: Englehart's Avengers were a team operating in a country whose institutions were actively corrupt.

The fourth Avengers omnibus continues Roy Thomas's era into the period of the legendary Avengers-Defenders War — the first major inter-title crossover in Marvel history, where the two teams were manipulated into fighting each other by Loki and Dormammu across eight issues spanning both books. The crossover established the template for Marvel's event publishing model and proved that interconnected storytelling across separate titles could work as a commercial and narrative strategy.

Neal Adams and John Buscema provided the artwork for this era's most ambitious stories, and Thomas demonstrated that the Avengers format could sustain multi-issue epic storytelling without losing character focus.

The second Avengers omnibus continues the Silver Age run through the period when the team fully established its identity distinct from its founding members — the Cap's Kooky Quartet era, where Captain America led a team of reformed villains (Hawkeye, Scarlet Witch, Quicksilver) while the original Avengers stepped back. Stan Lee and then Roy Thomas built a book that proved the team concept could work without relying on its most popular members, a structural experiment that defined how Marvel managed ensemble casts going forward.

Wolverine: Old Man Logan Omnibus follows an older Logan through a ruined future where survival has replaced heroism and the past refuses to stay buried. Mark Millar and Steve McNiven build the story as a western road trip through Marvel wreckage, with Wolverine’s silence carrying as much weight as his claws. For Wolverine collectors, the value is seeing violence treated as history rather than style: Logan’s body heals, but the stories keep asking what memory and guilt do with everything that remains.

Death of Wolverine Omnibus follows Logan at his most exposed: stripped of his healing factor, hunted by enemies who suddenly have a real chance, and forced to face what remains when survival is no longer guaranteed. It is a closing chapter built around mortality, legacy and the weight of a life spent as Marvel’s most relentless survivor.

Return of Wolverine is Charles Soule's five-issue miniseries bringing Logan back from the death established in Soule's own Death of Wolverine: completing the narrative circle of a writer who stewarded the character through both his end and his revival.

Taylor brought genuine warmth to a character whose origin was defined by trauma, made the Clone Saga subplot (Laura's younger clone Gabby) into one of the most beloved supporting character introductions in recent Marvel history, and delivered a run that works on its own terms without requiring knowledge of Wolverine's wider mythology.

X-23 is the most fully realized Wolverine spin-off character ever created — Craig Kyle and Christopher Yost conceived her as a female clone of Wolverine weaponized from birth, used as an assassin by the Weapon X program offshoot known as the Facility, and their work establishing her origin in the animated series was adapted into the comics in one of the medium's most harrowing backstory sequences. The first omnibus covers her origin and early missions, establishing the psychological damage that Tom Taylor would later translate into Marvel's best all-ages superhero series.