Marvel & DC Omnibus

The second half of the Five Years Later run takes the Legion through the Terra Mosaic and into the reboot that ended it. The Bierbaums keep writing after Giffen leaves, Stuart Immonen arrives as an artist nobody had heard of, and the series finishes by rewriting its own continuity out of existence.

Darkseid's curse comes due, the Legion loses members permanently and Levitz spends five hundred pages showing what a superhero team looks like when the losses stick. The Curse is the run that followed The Great Darkness Saga and is the better half of the two.

Someone is stealing the most powerful beings in the universe and nobody can work out who. The Great Darkness Saga keeps its villain hidden for most of its length, and when the answer arrives it is the single best use anyone has made of Darkseid outside Kirby's own comics.

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.

It is 2048 and a teenager who went viral serving corn dogs has just been elected President of the United States. Mark Russell wrote the funniest political satire DC has published, and then it stopped being funny when most of the jokes turned out to be predictions.

The final volume of Alan Moore's fantasy epic puts Promethea on trial in the Immateria and then ends the world, calmly and on purpose. Moore and J.H. Williams III spend the last issues turning the comics page itself into the subject, and the result is unlike anything else in the medium.

Atrocitus builds a corps out of pure rage, gives some of them their minds back, and immediately regrets it. Milligan and then Charles Soule take the least promising Green Lantern spin off and turn it into a book about anger as an addiction, complete with a cat that is genuinely one of the best characters DC created that decade.

Easy Company fights its way across Europe and nobody comes home a hero. Joe Kubert drew Sgt. Rock for thirty years and the stories he wrote himself are the hardest of them, war comics that refuse the adventure and keep asking what the men are actually for.

Shade arrives from Meta wearing a dead man's body to fight the madness spreading through America, and the woman travelling with him is the daughter of the family his host murdered. Milligan and Bachalo turned a Ditko creation into the strangest road trip Vertigo ever published.

The second omnibus follows Shade past the point where the madness stops being outside him. Milligan keeps changing the format, the body and the narrator, and the run finishes as one of the few Vertigo series that got to end exactly how its writer wanted.

Jesse Custer is a small town preacher who loses his congregation, his church and most of his town in one night, and comes out of it with the voice of God and a reason to go looking for the real one. Ennis and Dillon open Preacher with the Saint of Killers on his trail and never slow down.

A student writing an essay about a forgotten fictional character discovers she has become that character, and that the place she comes from is made entirely of imagination. Alan Moore uses Promethea to teach the reader magic on purpose, and J.H. Williams III rebuilds the page layout for every single issue.

The middle volume is where Promethea stops being a superhero comic and becomes a guided walk up the Tree of Life, one sephirah per issue, with Sophie and Barbara talking their way through creation. It is the most formally ambitious stretch Moore has written for a monthly comic.

Marvel published Conan for two decades and Titan is putting the whole thing back in print, in order, for the first time since the licence moved. Collects the fifth run of Conan the Barbarian, written by J.M. DeMatteis and others with art by John Buscema and Gil Kane.

Marvel published Conan for two decades and Titan is putting the whole thing back in print, in order, for the first time since the licence moved. Collects the fifth run of Conan the Barbarian, written by J.M. DeMatteis and others with art by John Buscema and Gil Kane.

By the sixth volume Conan has outlived his own boom: the sword and sorcery fad is over and the book keeps running on the strength of its craft alone. Collects the sixth run of Conan the Barbarian, written by Michael Fleisher and Larry Yakata with art by John Buscema.

By the sixth volume Conan has outlived his own boom: the sword and sorcery fad is over and the book keeps running on the strength of its craft alone. Collects the sixth run of Conan the Barbarian, written by Michael Fleisher and Larry Yakata with art by John Buscema.

The seventh volume brings in Christopher Priest, who writes Conan as a man increasingly aware that the world he moves through is bigger than the sword in his hand. Collects the seventh run of Conan the Barbarian, written by Christopher J. Priest and Don Kraar with art by John Buscema, Alfredo Alcala and Ernie Chan.

The seventh volume brings in Christopher Priest, who writes Conan as a man increasingly aware that the world he moves through is bigger than the sword in his hand. Collects the seventh run of Conan the Barbarian, written by Christopher J. Priest and Don Kraar with art by John Buscema, Alfredo Alcala and Ernie Chan.

King Conan takes the character forty years forward: Conan on the throne of Aquilonia, older, heavier and with a son to worry about, which is a different story from the one he made his name in. Collects the first run of King Conan, written by Roy Thomas, Doug Moench and Alan Zelenetz with art by John Buscema and Marc Silvestri.

King Conan takes the character forty years forward: Conan on the throne of Aquilonia, older, heavier and with a son to worry about, which is a different story from the one he made his name in. Collects the first run of King Conan, written by Roy Thomas, Doug Moench and Alan Zelenetz with art by John Buscema and Marc Silvestri.

The third King Conan omnibus follows the king through the last years of the Marvel run, when the writers were free to take the character wherever they wanted because nobody was watching. Collects the third run of King Conan, written by Don Kraar and Christopher J. Priest with art by John Buscema, Mike Docherty and Geoff Isherwood.

The third King Conan omnibus follows the king through the last years of the Marvel run, when the writers were free to take the character wherever they wanted because nobody was watching. Collects the third run of King Conan, written by Don Kraar and Christopher J. Priest with art by John Buscema, Mike Docherty and Geoff Isherwood.

The Savage Sword of Conan was a black and white magazine, which meant no Comics Code, no colour and no page limits. It is where the best Conan comics were published. Collects the fifth run of The Savage Sword of Conan in black and white, with art by John Buscema and Ernie Colon.