Superman & Batman: Generations Omnibus

The Death and Return of Superman is not just the day Superman falls; it is the whole shockwave after the fall. Doomsday turns the fight into a public wound, Metropolis has to imagine a world without Clark Kent, and four new figures step into the empty space where Superman used to stand. This omnibus keeps the event, grief and rebirth together as one huge DC turning point.

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.

In 1992 DC killed Superman and the story made the evening news. Thirty years later this edition collects it as a single book. Doomsday is the rare villain who works precisely because he has no personality, no motive, no dialogue, just forward motion, and the escalating panel counts across the final issues are one of the smartest formal tricks in mainstream comics. Whatever you think of the stunt, it is the best-selling comic story ever published.

Injustice: Gods Among Us, collected complete as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Injustice 2 keeps asking what happens after a world has already been broken by its heroes. Tom Taylor returns to a DC universe where trust is scarce, power has consequences and every alliance carries the memory of Superman’s regime. The result is not just a fighting-game tie-in; it is a sharp alternate-DC political thriller about rebuilding after tyranny. Injustice: Gods Among Us Omnibus Volume 1 collects the opening three-year block of the Injustice saga in one huge hardcover, giving DC readers a brutal alternate-universe shelf built around Superman's fall, Batman's resistance and a world under authoritarian pressure.

Superman/Batman, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Superman/Batman Omnibus Vol. 1 is built around the simplest DC contrast and one of its strongest: Superman and Batman together, friends despite everything that should make them opposites. Jeph Loeb and Ed McGuinness lean into scale, speed and iconography, making the partnership feel huge without losing the personal spark. Superman/Batman ran for eighty-seven issues on a simple format: the two characters narrating the same events in alternating captions, each convinced the other is doing it wrong. The dual narration is the reason the book works, the reader sees both men misreading each other in real time. This second volume includes the Sons of the Father arc and the Annuals, which are self-contained stories by rotating creative teams and among the most enjoyable single issues DC published that decade.

Superman: The Triangle Era, collected complete as a pack of 3 oversized omnibus volumes and cheaper than buying them one by one. Superman: The Triangle Era Omnibus Vol. 1 begins DC's 1990s weekly Superman machine, where Action Comics, Adventures of Superman, Superman and Man of Steel function as one coordinated reading order. The numbered triangles turn the line into a continuous serial rather than separate titles. Jurgens, Ordway, Stern and Simonson build the dense ecosystem that leads toward Death of Superman and the most interconnected Superman publishing era. Second volume with the central arcs of the Triangle Era experiment: the time when editorial coordination between the four Superman titles was at its creative peak, with weekly crossover sagas and consequences that spanned months. The heart of an entire decade of the character's history, culminating in the run-up to the Death of Superman. Roger Stern, Dan Jurgens, and Louise Simonson write complementary threads that reward reading in publication order. The most ambitious Superman publishing experiment ever attempted. Superman: Triangle Era Omnibus Vol. 3 keeps the 1990s Superman machine moving through linked weekly storytelling, where Clark's personal life, Metropolis, supporting cast and superhero threats all feed into one another. Dan Jurgens, Louise Simonson, Roger Stern, Jon Bogdanove and Tom Grummett make the line feel like a living city.

Superman: Action Comics by Dan Jurgens, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Dan Jurgens returned to Superman for DC's Rebirth initiative in 2016, at a moment when there were two Supermen in continuity and neither the reader nor the characters knew why. Jurgens had written the Death of Superman twenty-five years earlier, and Rebirth let him write the reunion: a Superman with a wife and son, restored after five years of a version DC had struggled to sell. The mystery of the second Clark Kent is also the cleanest piece of continuity repair DC has managed. The second Dan Jurgens Action Comics omnibus continues his Rebirth run, with Superman balancing a family, a legacy and threats that keep escalating. Jurgens writes Superman as a working father, which is the version he has always been best at, and the run keeps returning to the question of what Clark owes Jon. The Mr. Oz storyline, the mystery of who has been watching Superman since Rebirth began, resolves here, and the answer is one DC had been holding for years.

Superman by Phillip Kennedy Johnson, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Phillip Kennedy Johnson's Superman sends Clark Kent to Warworld, powerless, to free a population that has never heard of him. The Warworld Saga is the best-reviewed Superman run in years and its premise is unusually hard: a Superman with no powers, no sun and no way home, who has to organise rather than punch. Superman and the Authority by Grant Morrison is here too, which is where the volume's setup comes from. Superman by Phillip Kennedy Johnson Omnibus Vol. 2 continues the run that sent Superman to Warworld to free its slaves, stripped of most of his power and with no guarantee of coming back. Kennedy Johnson writes him as a man who keeps going because stopping is not available to him.

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.

John Byrne's Spider-Man work spans two very different moments: his early team-up issues in the seventies and Spider-Man: Chapter One, his 1998 attempt to retell the origin. The Team-Up issues are Byrne learning Marvel's house style in public, and the Captain Britain material is his first work with a character he would return to for years. Chapter One is the controversial part — a retcon Marvel abandoned — but it is a genuine artefact of how the character was being handled in the late nineties.

The Thing Omnibus focuses on Ben Grimm outside the normal Fantastic Four frame, with solo adventures that show the humor, stubbornness and bruised heart behind The Thing. It works especially well for Fantastic Four collectors who want Ben Grimm's solo corner and the Marvel texture around his own supporting cast and conflicts.

John Byrne wrote and drew She-Hulk in the late eighties and made her the only Marvel character who knows she is in a comic. Byrne breaks the fourth wall constantly and structurally: She-Hulk argues with the letterer, walks between panels and complains about the plot. It predates Deadpool by years and is funnier, and the run is also a genuine argument about how superhero comics are made.

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.

The continuing adventures of the original X-Men, reunited as X-Factor! In the wake of Apocalypse's attack, X-Factor battle the Avengers, the bouncing Beast becomes blue and furry once more and the team goes public! But when Cyclops and Marvel Girl begin a search for Scott's missing son, bizarre mysteries are uncovered - and the flames of an Inferno begin to flicker!

Wonder Woman by John Byrne Omnibus collects the run in which Byrne wrote and drew Diana himself, introduced Cassie Sandsmark as Wonder Girl, and killed Diana off to make her a goddess on Olympus. It is the most eventful stretch of 1990s Wonder Woman and the source of characters still in use today.

John Byrne relaunched Doom Patrol in 2004 with a full reboot, wiping the continuity Grant Morrison and Rachel Pollack had built and starting from the original team. The JLA issues are where Byrne reintroduces the team, and the reboot itself is a genuine curiosity: DC let a creator delete two celebrated runs and then quietly restored them a few years later. Byrne's version plays the concept straight as science fiction, which is the version the character had before 1989.