Marvel & DC Omnibus

Cable transforms the New Mutants into X-Force — a proactive, militaristic strike team that hunts threats before they strike. Rob Liefeld and Fabian Nicieza create the most extreme team of the 90s with Cable, Domino, Shatterstar, Warpath, Cannonball, Boom-Boom and Feral. Liefeld's hyper-muscular, pouch-heavy art and Nicieza's action-driven scripts defined the 90s X-Men aesthetic. This omnibus covers the team's explosive debut and early missions, including confrontations with the Mutant Liberation Front, Stryfe, and the Legacy Virus storyline that would affect the entire X-line for years.

Before Battleworld, there was the end of everything. Jonathan Hickman's New Avengers run introduced the concept of incursions — parallel Earths colliding and destroying each other — and built the philosophical and moral framework that made Secret Wars inevitable. This omnibus collects the prelude material that transforms the Illuminati into reluctant architects of extinction. Collects New Avengers #1–33 and Avengers #35–44, the core incursions storyline.

Scott Snyder and Greg Capullo relaunched Batman for the New 52 in 2011 and stayed for fifty issues, producing the best-selling Batman run of the modern era. The Court of Owls does something few writers manage: it adds a piece of Gotham history that feels like it was always there. Death of the Family then brings back a faceless Joker aimed at the whole Bat-family, and Zero Year retells the origin without repeating Year One. Capullo's Gotham is the visual reference point for the decade that followed.

Fall of the House of X and Rise of the Powers of X are the twin miniseries that end the Krakoan age, running in parallel: one on Earth as the nation falls, one across the timeline explaining why. Krakoa ran for five years and this is where it is dismantled, with Orchis winning on Earth while Moira and the Phalanx play out the long game. Including Resurrection of Magneto matters: it is the best single miniseries of the finale, and Storm bringing him back is the emotional centre of the whole ending.

Al Ewing's Loki: Agent of Asgard and the surrounding material represent one of the most ambitious character studies Marvel has produced in recent decades. Taking the young Loki established by Kieron Gillen, Ewing asks a deceptively simple question: can a god of lies become someone different? The answer unfolds across some of the most formally inventive Marvel comics of its era. It includes the Secret Wars tie-in material that concludes Ewing's arc.

Spider-Man by Roger Stern Omnibus collects Roger Stern's Spider-Man work across the period that gives the character the Hobgoblin mystery, sharp Peter Parker drama and memorable John Romita Jr. artwork. It is a focused creator-era volume for readers who want Stern's voice on Spider-Man in one oversized collection.

The third Uncanny omnibus covers the peak of Chris Claremont and Paul Smith, the years when the X-Men became Marvel's best-selling book and its most emotionally serious one. Two of the most important X-Men books ever published are in here: God Loves, Man Kills, which put religious bigotry at the centre of the metaphor and later became the basis for X2, and the Claremont/Miller Wolverine miniseries that invented the character's Japanese history. The Brood saga and Storm's mohawk are here too.

Web of Spider-Man launched in 1985 as the fourth Spider-Man monthly, taking over the numbering slot left by Marvel Team-Up and opening with the black costume turning out to be alive. The first issue is the one where the symbiote tries to bond with Peter permanently, and the Kraven's Last Hunt chapters from Amazing and Spectacular are collected alongside Web's own. That crossover is the best Spider-Man story of the eighties, and having its parts in one place is the main argument for this volume.

Wolverine debuted in Incredible Hulk #180 in 1974 as a one-issue antagonist and spent a decade becoming Marvel's most valuable character. The Claremont and Miller miniseries invented everything the character is known for — Japan, Mariko, the code of honour — and Hulk #181 is his first full appearance, one of the most valuable comics of the seventies. Hulk #340 is the Todd McFarlane fight everyone has seen on a poster.

Secret Invasion is the Marvel event that made paranoia the plot. Brian Michael Bendis spent years seeding Skrull replacements across the Avengers titles before the full infiltration exploded into a line-wide crossover. The premise — any hero could be a Skrull — destabilized reader trust in every character simultaneously. Collects the core Secret Invasion #1–8 limited series, plus key tie-in issues from New Avengers, Mighty Avengers, and the Secret Invasion: Who Do You Trust? one-shot.

Donny Cates built his entire Venom mythology toward a single apocalyptic event: the return of Knull, the God of the Symbiotes, an ancient dark god who created the symbiotes as weapons of darkness. King in Black is the conclusion of years of cosmic horror setup, and it brought the full Marvel Universe into the fight against a villain of genuinely overwhelming power.

Fabian Nicieza's Cable & Deadpool series is the rare superhero buddy-comedy that actually works: pairing the grimly messianic Cable with the anarchically self-aware Deadpool, the book used the contrast between two characters who shared a creator but couldn't be more different in temperament.

Frank Miller returned to Daredevil twice after his original run, and this companion volume gathers that later work with the industry's best artists. Born Again is widely considered the best Daredevil story ever published and one of the best superhero comics of the eighties: David Mazzucchelli draws it, the Kingpin takes everything, and the recovery is slower and more religious than anything Marvel was publishing. It is the direct source for the Netflix series' third season.

Jonathan Hickman's Secret Wars is the culmination of his entire five-year Marvel run — from SHIELD to Avengers to New Avengers — compressed into a single reality-ending event. When the multiverse collapses, Doctor Doom remakes existence in his own image. Battleworld is the result: a patchwork planet of Marvel's greatest alternate realities, ruled absolutely by a god named Doom. Collects the complete Secret Wars #1–9 main series (), plus key tie-ins.

The second Deadpool Classic omnibus covers the end of Joe Kelly's run and the years that followed, including the period when the character was cancelled and relaunched under a different name. Agent X is the curiosity: Marvel cancelled Deadpool, launched a book about an amnesiac mercenary who might be him, and let the mystery run for fifteen issues. Gail Simone writes much of this volume, and her Deadpool is funnier and meaner than the version that later became a brand.

War of Kings is the crossover where Marvel's cosmic line collided with its mutant one: Vulcan, Cyclops' lost brother, ruling the Shi'ar Empire and going to war with the Inhumans. Abnett and Lanning's cosmic run is the best sustained space opera Marvel has published, and this is its centrepiece. Having the Uncanny chapters, Nova and Guardians in one volume matters because the event is genuinely shared: the X-Men side sets up Vulcan, the cosmic side deals with what he does. The fault line it opens leads directly to The Thanos Imperative.

PRH presents this as Brian Michael Bendis colliding the past and present of the X-Men. The premise is simple and sharp: the original young team sees the modern mutant world, and the modern X-Men have to live with that mirror. This is the Bendis-era entry shelf for readers who want the emotional engine of the original five in the present day. It works as both a character experiment and a pressure test for modern X-Men continuity.

X-Men Revolution was the 2000 relaunch: a six-month time jump, new costumes, and Claremont writing both flagship titles with a deliberately disorienting opening. The jump forward means the reader arrives after something has already gone wrong, which is a genuinely unusual way to open a relaunch. Claremont uses it to bring in the Neo and to restage his own Australian-era ideas. It is also the last extended run he wrote on the main titles, which gives the volume a clear historical place.

Amazing Spider-Man by David Michelinie and Todd McFarlane Omnibus collects the era where Venom's first full appearance and McFarlane's visual reinvention change the look and energy of Spider-Man. Michelinie builds Eddie Brock and the symbiote's focused hatred, while McFarlane pushes the webs, poses and New York detail into a new late-1980s style.

Collects the entire Tangled Web anthology (2001-2003), the series that handed Spider-Man to some of comics' strongest voices and let them look away from the hero. Garth Ennis and John McCrea's Rhino two-parter, Greg Rucka and Eduardo Risso's noir, and Peter Milligan and Duncan Fegredo's tales sit alongside work by Brian Azzarello, Darwyn Cooke and Paul Pope, all in one hardcover.

Uncanny X-Men Omnibus Vol. 4 catches the Claremont era in a rich, unstable stretch, with Arthur Adams, John Romita Jr. and the art team giving the mutant world sharp visual range. The team’s relationships, fears and transformations keep expanding, making the volume feel like long-form character drama disguised as superhero adventure. For collectors, the attraction is the density of the Claremont period: every relationship has history, every transformation leaves residue, and the superhero plots keep feeding a larger emotional machine.

PRH frames this volume around Marc Silvestri beginning to define his X-Men legacy during a high-pressure late-1980s stretch. It is a period of new characters, new creators and escalating danger for Marvel's mutants. This is a dense Claremont-era shelf for readers who want the X-Men moving from survival horror into mythic reinvention. It has crossovers, limited-series pressure and the visual handoff that helps define the next stage of the franchise.

The Twelve was Chris Claremont's return to the X-Men after nine years away, built around a prophecy he had planted in the eighties: twelve mutants whose combined power would decide the species. This is where Cyclops merges with Apocalypse, which removed him from the books for a year and gave Jean Grey the strongest material she had had in a decade. The volume also captures a specific moment: Marvel bringing Claremont back to fix a line that had drifted, and the friction that came with it.

Untold Tales of Spider-Man was Kurt Busiek's mid-nineties series set between the earliest Amazing Spider-Man issues, written for readers who wanted the character without thirty years of continuity. Busiek's rule was strict: nothing could contradict the Lee and Ditko issues, so every story had to fit in the gaps. The result is one of the best Spider-Man runs of the decade, published at a quarter of the price of the main titles and largely ignored at the time. Pat Olliffe draws it in period style.