Marvel & DC Omnibus

Ed Brubaker and Darwyn Cooke rebuild Catwoman as Gotham crime noir: less jewel thief fantasy, more street-level survivor with a neighbourhood to protect and a past that refuses to stay buried. Selina Kyle returns to the East End, where old streets, old wounds and a string of murders pull her back into the life she thought she had escaped. This is one of the strongest Catwoman eras for readers who want atmosphere, moral ambiguity and Gotham seen from below.

DC Versus Marvel Omnibus brings the rare cross-publisher meetings back into one oversized volume: Superman and Spider-Man, Batman and Captain America, the X-Men and Teen Titans, Punisher crossovers and the DC/Marvel battles that were out of print for decades.

John Byrne's Fantastic Four run is the second-greatest creative achievement in the character's history after Lee and Kirby's founding run — a systematic reinvention of the team that returned to their core dynamics while introducing major concepts including She-Hulk's substitution for Thing, the death and rebirth of Galactus, the introduction of Frankie Raye as Nova, and the extended Reed Richards trial before the Shi'ar Imperial Guard that is one of the most conceptually ambitious single storylines in 1980s Marvel.

Captain America's Silver Age comeback — the Stan Lee and Jack Kirby run that redefined the character for a new generation. This omnibus collects Cap's return from suspended animation in Avengers #4 and the subsequent solo adventures that grappled with themes of displacement, identity, and heroism in a changing world. Lee and Kirby brought genuine emotional depth to a man out of time, and the stories here — including the introduction of the Falcon and key HYDRA storylines — remain some of the most influential in Cap's history. A cornerstone of any serious Marvel Silver Age collection.

The Marc Spector: Moon Knight series ran through the late eighties and nineties and is the longest continuous stretch the character has ever had. This second omnibus covers its final years and the transition into the 1998 and 1999 revivals. This is where the series stops treating Marc's condition as a gimmick: his serial-killer brother returns, the Punisher wants him dead, Doctor Doom and the Infinity War push the suit past its limits, and neither Mister Fantastic nor Doctor Strange can fix what is actually wrong. Collecting the two short-lived revivals alongside it closes the era properly.

Batman: Knightfall Omnibus Vol. 2 collects Knightquest, the middle movement of the saga where Jean-Paul Valley takes over as Batman. Gotham gets a more violent Dark Knight, while Scarecrow, the Joker, Gunhawk and others test what happens when the symbol is worn without Bruce Wayne's restraint.

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.

Kelly Thompson took Carol Danvers in a bold new direction, grounding the cosmic hero in a street-level setting while expanding her supporting cast dramatically. The result was one of the most character-rich Captain Marvel runs in decades, introducing the Merry Band and redefining Carol's relationship with her community.

Cosmic X-Men gathers the storylines where the team leaves Earth entirely: the Shi'ar Empire, the Starjammers, the Brood and the Summers family's very complicated space genealogy. The X-Men's space material is usually scattered across decades and hard to follow; putting it in one volume makes the through-line visible — the Shi'ar keep coming back because the Summers family will not stop marrying into their problems. It also contains the run that gave Carol Danvers her cosmic power set.

Peter J. Tomasi and Patrick Gleason wrote Green Lantern Corps as a workplace book: the Corps as an interstellar police force with shifts, politics and casualties. Tomasi and Gleason are the reason the Corps works as an ensemble rather than as Hal Jordan's supporting cast: Guy Gardner and Kyle Rayner get genuine arcs, and the alien Lanterns are written as people with jobs. It runs alongside the Johns material and covers the parts his book had no room for.

Robert Venditti's first Green Lantern omnibus picks up after the Third Army, with Hal Jordan, John Stewart and Guy Gardner rebuilding a Corps that has just been decimated. Following Geoff Johns is a hard brief, and Venditti's answer is to break the thing Johns built: the spectrum destabilises, the rings stop being reliable, and Hal has to lead without the certainty the franchise was founded on. It is a more interesting response than continuing the formula.

Batman: Urban Legends was an anthology series giving Gotham's supporting cast the space the monthly titles never had. The Red Hood serial is the reason this got attention: Zdarsky spends six chapters on Jason Todd finally processing his own death, and it is better than most of what the main titles were doing that year. The anthology format also means each story is complete, which makes it an easy book to dip into.

Marvel Zombies started as a five-issue joke about a devoured universe and turned into a permanent corner of Marvel. This second Zomnibus gathers the sprawl that followed the original. The range is the appeal: a Christmas Carol retelling, a Secret Wars Battleworld domain, a border war against Ultron, and Resurrection, which plays the concept straight as horror rather than comedy. Deadpool carrying a decapitated zombie Headpool around for thirteen issues is exactly as ridiculous as it sounds, and the omnibus is the only way to own the run without chasing nine separate collections.

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.

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.

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.

The second New 52 Justice League omnibus covers the back half of Geoff Johns' run, when the team's internal politics became the plot. Trinity War is the crossover where three Justice League teams fight each other over a murder none of them committed, and it is the best structured event DC published in the New 52. Johns also finally writes the Superman and Wonder Woman relationship as a decision with consequences rather than a marketing beat.

Jeph Loeb and Tim Sale followed their Halloween specials with a thirteen-issue murder mystery set during Batman’s early years, when Gotham still belonged to the Falcone family and the costumed criminals were only beginning to appear. It was conceived as a direct sequel to Frank Miller’s Year One and became the template for a generation of Batman crime stories. The Long Halloween is one of the few Batman stories that works equally as detective fiction and as tragedy: the mystery holds up, but the real subject is a good man being destroyed in slow motion. Tim Sale’s silhouettes and Gregory Wright’s seasonal colour make each chapter feel like a different month. It is the book Christopher Nolan drew on most heavily for The Dark Knight, and it remains the standard recommendation for a reader’s second Batman purchase after Year One.

Jason Aaron's Avengers Forever is the cosmic-scale companion to his main Avengers run — a multiverse-spanning series bringing together Avengers variants from across the Marvel omniverse to battle the Multiversal Masters of Evil, a team of the most dangerous villains from different realities assembled by a version of Doom who conquered his entire universe. Aaron used the multiverse premise to comment on the Avengers concept itself, asking what the team means when its existence replicates across every possible reality.

The second Golden Age volume covers the early 1940s, when Batman was appearing in three titles at once and the tone shifted from pulp menace toward adventure aimed at children. This is where the Batmobile, the Batcave and the utility belt settle into their permanent form, and where Alfred first appears. The wartime material is also a genuine historical document: Batman selling war bonds on covers while the interior stories quietly avoid the war entirely.

Before The Long Halloween, Jeph Loeb and Tim Sale produced three Halloween specials for Legends of the Dark Knight between 1993 and 1995. They are where the pair worked out the seasonal structure and noir framing that would define their later work together. Haunted Knight is short, and that is its strength: three complete stories that show Loeb and Sale finding their voice in real time. Read before The Long Halloween it supplies context; read after it works as a set of character studies about fear and obligation. For collectors of the Loeb/Sale run, it is the missing first volume.

Sean Gordon Murphy pitched a Batman story set outside continuity and was given something rare: full control of script and art, and a Gotham of his own that DC has since expanded into a whole line. White Knight is the strongest recent entry point for a reader with no Batman background: no crossovers, no prior reading, one authorial voice on script and art. It also commits to its argument instead of walking it back in the last chapter, which is rare for a Batman story that questions Batman.

The Black Mirror was Scott Snyder’s first major DC work, published while Bruce Wayne was absent and Dick Grayson was wearing the cowl. It established Snyder as a Batman writer and led directly to his New 52 run with Greg Capullo. This is Gotham written as horror rather than crime: the threat is a quiet, articulate young man who explains himself calmly, and the tension comes from a father who already knows what his son is. It also makes the strongest case ever published for Dick Grayson as Batman, which is why it stands alone even for readers who skip the surrounding continuity.

The Killing Joke was published in 1988 as a one-shot in which the Joker sets out to prove that one bad day is all it takes to break anyone. Bolland finishes his own art and the control is the point: the Joker is terrifying because the drawing never flinches. The recolouring is genuinely different from the 1988 version, flatter, colder, with the flashbacks in near-monochrome, and it is the reason this edition exists. It remains the most cited Joker story ever published.