Wonder Woman: Rebirth by Greg Rucka Omnibus

Injustice began as a tie-in to the fighting game and became one of DC's longest-running alternate universes, built on a single irreversible act: the Joker tricks Superman into killing Lois Lane and their unborn child. Injustice works because it takes its premise seriously: the heroes who side with Superman have reasons, and the ones who oppose him lose. It is the most accessible DC alternate universe on the shelf, with no continuity required, and this omnibus replaces three years of scattered digital-first collections with a single volume.

Wonder Woman by Gail Simone Omnibus collects the longest run any woman has written on the character, and the one most often named when readers argue about the best modern Wonder Woman. Simone writes Diana as a warrior who genuinely enjoys the fight, surrounds her with a real supporting cast, and never treats compassion and violence as opposites. Includes the landmark issue #600.

This third New Edition volume gathers the final stretch of William Moulton Marston and Harry G. Peter's original Wonder Woman run, with Joye Murchison and Robert Kanigher joining as Marston's health declined. Diana faces the criminal cartel Villainy Inc. led by Eviless, while her Amazon lore, Paradise Island, and the loving submission themes reach their fullest Golden Age form. These stories, meticulously restored, capture the character right before her creator's death reshaped the title.

Wonder Woman by George Pérez, collected complete as a pack of 3 oversized omnibus volumes and cheaper than buying them one by one. Wonder Woman by George Pérez Omnibus Vol. 1 focuses on George Pérez's relaunch of Diana, with Wonder Woman shaped by myth rebuilt, Amazon history restored and a heroine written through diplomacy, strength and compassion. The appeal is not only continuity; it is watching a specific DC period find its tone, cast and visual rhythm. Wonder Woman by George Perez Omnibus Vol. 2 expands the world Perez rebuilt around Diana, letting mythology, politics and character drama grow together. It is a confident continuation of the era that gave Wonder Woman renewed dignity, visual richness and a clear place at the centre of her own legend. Wonder Woman by George Pérez Omnibus Vol. 3 follows the closing stretch of Pérez's Diana, shaped by myth, diplomacy, moral courage and battles that test what Diana believes rather than just what she can survive. The appeal is seeing this DC period collected as one reading path, with its own tone, cast and visual rhythm.

Brian Azzarello and Cliff Chiang rewrote Wonder Woman for the New 52 as Greek mythology rather than superheroics: a family drama where the family are gods. Chiang and Azzarello redesign the entire Greek pantheon as unnerving modern figures, and the horror register they use for the gods is unlike anything else in DC's line. It is the most critically praised Wonder Woman run of the modern era and it reads completely standalone.

Wonder Woman by George Pérez Omnibus Vol. 3 follows the closing stretch of Pérez's Diana, shaped by myth, diplomacy, moral courage and battles that test what Diana believes rather than just what she can survive. The appeal is seeing this DC period collected as one reading path, with its own tone, cast and visual rhythm.

George Pérez wrote and drew Wonder Woman after Crisis on Infinite Earths, rebuilding the character from the Greek myths up. This second omnibus covers the run's later years. Pérez treats the Amazons as an actual civilisation with politics and religion, and Diana as a diplomat rather than a soldier. This volume contains the war with the Amazons of Bana-Mighdall and the Cheetah's origin, and Pérez's page compositions are as dense as anything in his Teen Titans work.

Wonder Woman by George Pérez Omnibus Vol. 1 focuses on George Pérez's relaunch of Diana, with Wonder Woman shaped by myth rebuilt, Amazon history restored and a heroine written through diplomacy, strength and compassion. The appeal is not only continuity; it is watching a specific DC period find its tone, cast and visual rhythm.

Gotham Central is one of the finest comics DC has ever published: a police procedural set in Gotham City, following the Major Crimes Unit as they investigate murders, kidnappings and crimes in a city where Batman exists. Greg Rucka and Ed Brubaker write cops who resent Batman's existence while simultaneously depending on him — a fundamental tension that makes every case morally complex. Michael Lark's noir art defines the visual language of Gotham as a real city rather than a superhero backdrop. An absolute masterpiece.

Road to No Man's Land is the run-up to DC's biggest Batman event of the nineties. A cataclysmic earthquake levels Gotham, and these are the months in which the city falls apart before Washington writes it off entirely. This is the volume most readers skip and then need: No Man's Land makes far more sense when you have watched Bane escape, Azrael struggle for legitimacy and Gotham's infrastructure fail one system at a time. Chuck Dixon coordinates a dozen titles into a single collapse, and the omnibus finally puts the whole crossover in reading order instead of scattered across four series.

No Man's Land is the year DC declared Gotham dead. After the earthquake of Cataclysm, the United States government evacuates the city, dynamites the bridges and leaves whoever stays behind to divide the ruins into territories. The premise strips Batman of everything except the city itself: no infrastructure, no law, and gang leaders marking blocks with spray paint. It is also where Cassandra Cain becomes Batgirl. Volume 1 is the opening third of the crossover, in reading order across every Bat-title, which is the only way it works.

Batwoman by J.H. Williams III and W. Haden Blackman is the most visually ambitious book DC has published this century. Williams draws each sequence in a different style depending on whether Kate Kane is in or out of costume, and builds page layouts shaped like bat symbols that still read correctly. Kate is also DC's most prominent lesbian lead, and the run treats her military discharge under Don't Ask, Don't Tell as central rather than background.

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.

The second act of No Man's Land, with Gotham still abandoned by the United States and divided into territories held by whoever can defend them. This is where the crossover stops being about survival and starts being about who gets to govern: the Penguin running an economy, Two-Face holding a courthouse, and Batman losing ground he cannot afford. Reading it in the omnibus order is the only way the parallel storylines make sense.

Bruce Wayne: Murderer and Fugitive is the year DC arrested Batman's alter ego for homicide and made the Bat-family investigate their own mentor. The interesting half is the second one: Bruce responds to the frame-up by deciding Bruce Wayne was always the disguise and refusing to go back, which forces everyone around him to argue that the man matters as much as the mask. It is the best use DC has made of the secret identity in decades.

Wonder Woman by Greg Rucka Omnibus gives Diana a run built on diplomacy, public scrutiny and myth rather than simple superhero spectacle. Rucka treats Wonder Woman as an ambassador with enemies in both Olympus and the modern world, supported by grounded political tension and the moral weight of representing Themyscira. The result is a character-led DC omnibus for readers who want Diana's ideals tested in public, private and divine arenas without reducing her to a supporting Justice League icon.