Marv Wolfman

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.

Who's Who, collected as a pack of 2 oversized omnibus volumes and cheaper than buying them one by one. Every character DC owned, one per page, drawn by the artist most associated with them. Who's Who was published monthly in the 1980s as a loose leaf encyclopedia and it is still the best single record of what the DC universe contained before Crisis rearranged it. The second half of DC's illustrated directory, running through the rest of the alphabet and into the post Crisis updates. Same format, same idea: one character per page, drawn by whoever owned them, from the biggest names in the line to characters nobody has used since.

New Teen Titans Omnibus Vol. 1 follows the beginning of the Wolfman and Pérez Titans era, shaped by Robin, Starfire, Raven, Cyborg, Beast Boy, Wonder Girl and Kid Flash finding a shared emotional engine. The appeal is seeing this DC period collected as one reading path, with its own tone, cast and visual rhythm.

Deathstroke: The Terminator is Slade Wilson before the modern antihero polish, moving through contracts, family damage and the hard-edged DC action of the early 1990s. Marv Wolfman and Steve Erwin make him dangerous because he is not just skilled; he is controlled, compromised and always carrying the cost of his own choices.

The New Titans is the later era of Wolfman's run, after the team had grown up and the book had to work out what adult Titans looked like. The Batman issues are A Lonely Place of Dying, the crossover in which Tim Drake works out Batman's identity and argues his way into the Robin costume, and this volume gives you the Titans half of it, which the Batman collections leave out. It is the best-integrated crossover DC published that decade.

In 1988 DC set up a 900 number and let readers vote on whether Jason Todd, the second Robin, would survive. By a margin of 72 votes out of more than ten thousand, they chose to kill him. Jim Starlin and Jim Aparo wrote and drew the outcome, and DC did not reverse it for almost twenty years. Pairing the two arcs is the point: the first shows the cost, the second shows what Batman becomes without it. Read together they explain why Batman spent two decades unable to talk about Jason, and they set up Under the Red Hood directly. This is foundational continuity rather than a curiosity, and the deluxe format is the cleanest way to own it.

After Jason Todd is murdered, Batman starts working alone, angry and out of control, and Alfred calls Nightwing because nobody else will say it to his face. Marv Wolfman uses Dick Grayson's own past to explain what Batman does to the people he takes in, and what the man who killed the Waynes has been doing since.

Every character DC owned, one per page, drawn by the artist most associated with them. Who's Who was published monthly in the 1980s as a loose leaf encyclopedia and it is still the best single record of what the DC universe contained before Crisis rearranged it.

The second half of DC's illustrated directory, running through the rest of the alphabet and into the post Crisis updates. Same format, same idea: one character per page, drawn by whoever owned them, from the biggest names in the line to characters nobody has used since.

The New Teen Titans by Marv Wolfman and George Pérez was DC's best-selling book of the early eighties and the title that turned sidekicks into leads. The Brother Blood arc is where Wolfman commits to Raven's parentage and the demonic side of the book, and Pérez draws crowd scenes nobody else could stage. This run is also the direct source for every Teen Titans adaptation since, from the cartoon to the live-action series.

The New Teen Titans: The Judas Contract Deluxe Edition collects the storyline in which Terra, a Titan the team trusted completely, is revealed to have been working for Deathstroke the whole time. It is the most famous betrayal in DC history.

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.

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.

All the greatest DC heroes from across time and space join forces to stop a being more powerful than any they've ever faced--a mysterious being known as the Anti-Monitor who has begun a crusade across time to bring about the end of all existence.35 YEARS AGO, WORLDS LIVED, WORLDS DIED-- AND COMICS WERE NEVER THE SAME.

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.

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.

Neal Adams drew Batman for only a few years around 1970, and in that time changed what the character was supposed to look like for the next fifty. Adams brought anatomical realism and cinematic staging to a character who had spent two decades drawn flat, and paired with Denny O'Neil he created Ra's al Ghul and the modern Joker. Almost every Batman artist since has been working from this template, which makes the volume less a nostalgia purchase than a reference.

PRH frames this volume as 1970s Daredevil material packed with new characters, key moments and gritty art. The book catches Matt Murdock before the Miller era fully takes over, but close enough to feel the ground changing under Hell's Kitchen. This is a transition shelf for Daredevil collectors: still rooted in the broader Marvel adventure style, but already moving toward the sharper crime, romance and danger that would define the character's next major identity.

New Teen Titans Omnibus Vol. 4 follows the later Wolfman/Pérez Titans pressure cooker, shaped by cosmic danger, soap-opera pressure, bruised friendships and young heroes carrying consequences. The appeal is seeing this DC period collected as one reading path, with its own tone, cast and visual rhythm.

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 third New Teen Titans omnibus covers the transition from the original series to the second volume, at the height of Marv Wolfman and George Pérez's run. The relaunch into a second series was DC's first direct-market-only title, printed on better paper for comic shops rather than newsstands, a commercial experiment that changed how the industry distributed comics. The stories themselves cover the aftermath of The Judas Contract, which is the run's most famous storyline.

The fifth New Teen Titans omnibus takes Wolfman's run into its later years, when the team had fractured and the survivors were rebuilding. This stretch contains the Titans Hunt build-up and the reintroduction of Danny Chase, and it is where Wolfman starts writing the team as adults with jobs rather than teenagers. Eduardo Barreto's art is the underrated element, cleaner and more grounded than Pérez, and better suited to where the stories had gone.

Deathstroke: The Terminator by Marv Wolfman Omnibus Vol. 2 continues the run by the character's co-creator, in which Slade Wilson gets his own series and turns out to work better as a lead than anyone expected of a Teen Titans villain.

Teen Titans by Geoff Johns Omnibus collects the complete run that rebuilt the team for a new generation: Superboy, Robin, Kid Flash and Wonder Girl joined by Cyborg, Starfire and Beast Boy as reluctant mentors. Johns writes teenagers who are genuinely afraid of becoming their predecessors, and the run contains 'The Future Is Now', still one of the best-loved Titans stories.

Tomb of Dracula ran for seventy issues in the seventies, after the Comics Code was relaxed to allow vampires, and is the best horror comic Marvel has ever published. Marv Wolfman and Gene Colan stayed on the book for its entire run, which almost never happened at Marvel, and the result is a genuine serial: Dracula as the protagonist, a cast of hunters who lose regularly, and Blade's first appearance in #10. Colan's shadows are the reason the book still looks unlike anything else.

The middle and strongest stretch of Marvel's longest-running horror series. Dracula is hunted across Europe while the book turns from monster-of-the-month into a genuine serial novel with a continuing cast. Gene Colan's shadow work here is the reason artists still study this run.

Before Blade became a cinematic icon, he was born in the pages of Tomb of Dracula — a vampire hunter with an edge unlike any other. Marv Wolfman, the writer who created Blade, built the character from the ground up in Marvel's most influential horror comic of the Bronze Age. This omnibus collects Blade's early appearances and solo material from his formative years, drawn from the Tomb of Dracula era and surrounding titles.

The magazine half of Marvel's Dracula project, printed in black and white and written for an adult audience without the constraints of the Comics Code. Longer stories, harder edges, and a different Dracula from the one in the colour series.