Gerry Conway

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.

Justice League of America: The Bronze Age, collected as a pack of 4 oversized omnibus volumes and cheaper than buying them one by one. Justice League of America: The Bronze Age Omnibus Vol. 1 opens a more textured era for the League, still heroic and direct but increasingly shaped by shifting casts, social unease and a DC universe learning to carry more continuity. Gardner Fox, Dennis O'Neil, Len Wein, Mike Friedrich and Dick Dillin bridge classic team adventure with a richer 1970s mood. The second Bronze Age Justice League omnibus covers the early 1970s, when the team left their secret New England cave for a satellite in orbit and the stories went cosmic. This is where the JLA/JSA team-ups settle into their yearly rhythm and the multiverse becomes a working part of DC's storytelling rather than an occasional gimmick. It is also the era that established the League as DC's legends rather than just its biggest team. The third Bronze Age omnibus covers the late seventies, when Gerry Conway took over the Justice League and gave it the longest continuous run of its classic era. Conway wrote the League for years and used the length: long-running subplots, a rotating roster and the arrival of Zatanna as a permanent member. The JLA/JSA crossovers in this stretch are also the most ambitious of the run, bringing in the Legion of Super-Heroes and the New Gods across multiple Earths. The fourth Bronze Age omnibus takes the Justice League into the early eighties, the last years before Crisis on Infinite Earths changed everything. The Leaf Candy mini comic is a genuine curiosity, a promotional giveaway that has never been collected anywhere else. The main run includes the New Gods crossover in #183-185, which is Gerry Conway writing Darkseid at full scale, and the Firestorm and Titans tie-ins that show DC's line starting to interconnect.

House of Mystery: The Bronze Age, collected as a pack of 3 oversized omnibus volumes and cheaper than buying them one by one. House of Mystery: The Bronze Age Omnibus Vol. 1 collects the start of DC's great horror anthology after the Comics Code loosened, hosted by Cain and drawn by a roster including Bernie Wrightson, Neal Adams and Alex Toth. Short stories with twist endings, and some of the best art of the era. House of Mystery: The Bronze Age Omnibus Vol. 2 collects more of DC's great horror anthology, hosted by Cain and drawn by a roster that reads like a list of the best artists of the era. Short, sharp stories with twist endings, from the period when DC horror was at its peak. The third Bronze Age volume of DC's horror anthology, where Cain introduces short stories that run from genuinely nasty to openly comic. This is the era when the Comics Code loosened and the artists on these books, Wrightson, Aparo, Toth and Kaluta, were allowed to draw what they wanted.

The sixth Amazing omnibus covers the late seventies, including Marv Wolfman's complete run as writer and editor on the title. Wolfman's stretch introduced the Black Cat, who has been in Spider-Man's life ever since, and pushed the book toward the crime-adjacent tone it kept through the eighties. The F.O.O.M. and calendar material is the kind of thing that only appears in omnibus editions and never gets reprinted otherwise.

Web of Spider-Man was the fourth monthly Spider-Man title, launched in 1985, and it spent its run being the place where other people's ideas got tested. The writing roster alone is the argument: Gerry Conway, Christopher Priest, Peter David, Fabian Nicieza, Steve Gerber and David Michelinie, each getting a few issues. It also carries the Inferno crossover chapters and Spider-Man's brief run with cosmic powers, both of which are hard to find collected elsewhere.

The fourth Amazing omnibus is the Gerry Conway and Ross Andru era in full: Peter Parker after Gwen's death, working out how to keep going. This stretch contains the original Clone Saga — the 1975 storyline that Marvel would revisit disastrously twenty years later — plus the debuts of the Punisher, Hammerhead and the Jackal. It is also where Mary Jane moves from background character to lead, which is the quiet structural work that made the next four decades possible.

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.

Amazing Spider-Man Omnibus Vol. 5 continues Peter Parker's Bronze Age stretch after the first Clone Saga, with Gerry Conway, Roy Thomas and Ross Andru shaping a Spider-Man who feels older, more socially rooted and increasingly defined by relationships. Mary Jane, Aunt May, the Daily Bugle and a changing Marvel New York give the run its texture.

Marvel Team-Up launched in 1972 with a simple format: Spider-Man plus one other Marvel character, every month, no continuity required. The format is the appeal: each issue is a complete story, which makes this the most readable seventies Marvel omnibus for someone dipping in rather than committing. It is also a survey of the whole line at that moment, since the guest star rotates through every book Marvel was publishing.

Peter Parker, The Spectacular Spider-Man Omnibus Vol. 1 collects the companion series that lets Spider-Man stay closer to campus life, street-level trouble and the supporting cast around Peter. Bill Mantlo, Gerry Conway and Sal Buscema use the title to explore friendships, smaller villains and the parts of Peter's world that do not always fit inside Amazing Spider-Man.

Spider-Man Vs. Venom Omnibus gathers the rivalry between Peter Parker, Eddie Brock and the symbiote legacy as it spreads through Spider-Man and Venom stories. The focus is the black-suit fallout, Venom's early threat, Carnage-era escalation and the way the conflict turns personal instead of simply monstrous.

Before Carol Danvers became Captain Marvel, she was Ms. Marvel — and her origin is one of the most significant in Marvel history. Gerry Conway wrote the character's debut series, establishing the framework of a hero who would eventually become one of Marvel's most important figures after decades of evolution. This omnibus collects the foundational Ms. Marvel material including Carol's debut and origin as a superhero, her early adventures establishing her powers, rogues gallery, and supporting cast.

Sensational Spidey adventures - most of which have never been reprinted! Peter Parker gets more than he bargained for as a substitute teacher at his old school - including a rematch with the Living Brain! Spider-Man battles the Hobgoblin and the Looter - but on a trip to Las Vegas, the wall-crawler is out of his weight class when he encounters Mr.

The third Daredevil omnibus covers the mid-seventies, the years immediately before Frank Miller arrived and changed the character permanently. The Amazing Adventures material is the Black Widow's first solo series, which is difficult to find collected anywhere else. The Daredevil issues themselves are the last stretch of the character as a conventional superhero, which makes this the volume that sets the baseline Miller would react against.

The fourth Bronze Age omnibus takes the Justice League into the early eighties, the last years before Crisis on Infinite Earths changed everything. The Leaf Candy mini comic is a genuine curiosity, a promotional giveaway that has never been collected anywhere else. The main run includes the New Gods crossover in #183-185, which is Gerry Conway writing Darkseid at full scale, and the Firestorm and Titans tie-ins that show DC's line starting to interconnect.

The second Bronze Age Justice League omnibus covers the early 1970s, when the team left their secret New England cave for a satellite in orbit and the stories went cosmic. This is where the JLA/JSA team-ups settle into their yearly rhythm and the multiverse becomes a working part of DC's storytelling rather than an occasional gimmick. It is also the era that established the League as DC's legends rather than just its biggest team.

All hell breaks loose in the thrilling conclusion of Ann Nocenti and John Romita Jr's highly influential run! Daredevil has his hands full battling "evil mutants" Blob and Pyro, tangling with the Inhumans and fighting way out of his weight class against Ultron! But his team-up with Spider-Man against the terrifying menace Blackheart leads the Man Without Fear into hellish unfamiliar territory and sets him on a path for a confrontation with Blackheart's pernicious parent: none other than Mephisto!

The Mighty Thor Omnibus Vol. 5 closes the classic pre-Simonson stretch, with Gerry Conway, Len Wein and John Buscema guiding Thor through late Bronze Age Asgard before the next generational change. The value is transition: old mythic machinery preparing to hand the hammer forward. Its shelf value is transition: the late Bronze Age Thor machine preparing the ground for the next great reinvention while still rooted in Buscema's classical Asgard.

The third Bronze Age omnibus covers the late seventies, when Gerry Conway took over the Justice League and gave it the longest continuous run of its classic era. Conway wrote the League for years and used the length: long-running subplots, a rotating roster and the arrival of Zatanna as a permanent member. The JLA/JSA crossovers in this stretch are also the most ambitious of the run, bringing in the Legion of Super-Heroes and the New Gods across multiple Earths.

The fourth Mighty Thor omnibus covers the early seventies, after Kirby left and Marvel had to work out what Thor was without him. Gerry Conway and John Buscema take over, and the run turns toward long cosmic quests — the search for Odin, the Ego-Prime storyline, Mephisto — while keeping the Asgardian supporting cast intact. Buscema's Thor is more classical than Kirby's, and this stretch is where the character settles into the form he kept for a decade.

The Mighty Thor Omnibus Vol. 3 is the post-Kirby transition where John Buscema becomes the visual anchor for Asgard. The book matters because Thor has to keep mythic weight after Kirby leaves, and Buscema answers with anatomy, solemn staging and classical power. It is a visual evolution shelf for classic Thor, preserving the moment where John Buscema's solemn power carries Asgard after Kirby's explosive foundation.

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.

Collecting a three-year run of AVENGERS at its very best, with dynamite work from an awesome assemblage of legendary creators! First, Gerry Conway joins George Pérez for a new era for Earth's Mightiest Heroes. When Wonder Man returns, the team's internal drama reaches a crescendo all while the Avengers wage war against Doctor Doom.

Justice League: The Detroit Era Omnibus follows one of the League's strangest reinventions, shaped by a roster away from the usual icons, street-level tension and a rougher identity search. The appeal is seeing this DC period collected as one reading path, with its own tone, cast and visual rhythm.

Robin: The Bronze Age collects the years when Dick Grayson stopped being Batman's sidekick and went to college, appearing as a solo lead for the first time. These stories are the reason Nightwing exists: DC spent a decade establishing that Dick Grayson could carry a book alone before they gave him a new identity. Much of this material has never been collected before, and it is the direct bridge between Robin and the Teen Titans era that followed.

Aquaman: The Death of a Prince Deluxe Edition collects the 1970s run in which Black Manta murders Aquaman's infant son and the character never fully recovers. It is the darkest thing DC published about Arthur Curry for decades, drawn largely by Jim Aparo, and it is the origin of the grief that every later writer — Peter David, Geoff Johns, Jeff Parker — has had to work around.

Swamp Thing: Dark Genesis Omnibus collects the original Len Wein and Bernie Wrightson run that created the character, plus the material that followed before Alan Moore arrived. Wrightson's swamp is one of the most beautiful things ever drawn in a mainstream comic.

Deadman Omnibus collects the run that made Neal Adams's reputation. Boston Brand is a trapeze artist murdered mid-performance, granted the power to possess the living until he finds his killer. Adams's photorealistic figures and broken panel layouts were unlike anything else DC published in 1968.

The Phantom Stranger Omnibus collects the 1970s run of DC's least explained character: a man who appears where something is wrong, helps, and leaves without ever saying who he is. Jim Aparo's moody artwork and a rotating cast of writers made it one of the definitive horror-adjacent books of the era.

Kirby left the Fourth World unfinished when DC cancelled it, and for twenty years other people tried to end it for him. This second omnibus collects what came after: the returns, the continuations and the eventual conclusion of the New Gods, from the 1970s through to the writers who inherited Apokolips.

The third Bronze Age volume of DC's horror anthology, where Cain introduces short stories that run from genuinely nasty to openly comic. This is the era when the Comics Code loosened and the artists on these books, Wrightson, Aparo, Toth and Kaluta, were allowed to draw what they wanted.

The companion anthology to House of Mystery, hosted by Abel instead of Cain, and the book where Swamp Thing first appeared as a one off horror story. Monsters, witches and revenge tales drawn by the best artists DC had, at the moment the Code stopped being able to stop them.