X-Factor: The Original X-Men Omnibus Vol. 3

X-Factor: The Original X-Men Omnibus Vol. 1 reunites Cyclops, Jean, Beast, Iceman and Angel under a new public mission, while young mutants, Apocalypse and the Four Horsemen push the team into darker territory.

The first X-Factor omnibus by Peter David covers his original run on the government-sponsored team, the one that turned a book about mutant celebrities into a comedy about therapy. Issue #87 is the famous one: a full issue of the team in mandatory psychiatric evaluation, one character at a time, which is still cited as one of the best single issues Marvel has published. David writes Multiple Man, Strong Guy and Quicksilver as people with jobs and problems, and the run is much funnier than its premise suggests.

Peter David relaunched X-Factor in 2005 as a detective agency staffed by mutants nobody else wanted, working in Mutant Town after House of M cut the population to a few hundred. The Madrox miniseries that opens the volume is a straight noir, and it sets the register: this is a book about people whose powers make ordinary life harder. Layla Miller — 'I'm Layla Miller, I know stuff' — gets her actual explanation here, and David writes Jamie Madrox's duplicates as a genuine identity problem rather than a gimmick.

X-Factor: The Original X-Men Omnibus Vol. 2 drives the reunited team into Inferno-era chaos, with Madelyne Pryor, Nathan, Mister Sinister and the X-Men reunion turning family drama into mutant crisis.

The third X-Factor omnibus covers the run's final years, when Peter David abandoned the detective format for something closer to a supernatural serial. The renumbering to #200 marks the shift: demons, Hela, a pregnancy with cosmic implications, and Rahne Sinclair's storyline, which is the bleakest thing in the run. David had been writing these characters for the better part of a decade by this point, and the ending he gives Jamie Madrox pays off material planted in the first volume.

PRH describes this as the final volume of Peter David's ever-evolving X-Factor. The book moves from the endgame of the 2005 series into All-New X-Factor, shifting from survival and loss to a new team model with corporate backing. This is the closing shelf for David's long modern X-Factor project. It is useful for readers who want the run's full shape: investigation, trauma, team collapse and reinvention rather than a simple superhero squad status quo.

Arthur Adams drew relatively little for Marvel and influenced almost everyone who came after. This gathers all of it: the Longshot debut, the X-Men annuals that made his reputation, and a large section of pencils, covers and unused art.

When Jean Grey returns from a watery grave, the original X-Men reunite - as X-Factor! But for Marvel Girl, Cyclops, Beast, Angel and Iceman, posing as a mutant-hunting organization gets complicated fast! And things get worse when the ageless villain Apocalypse makes the scene! Then, when X-Factor is drawn into the chaos of the Mutant Massacre, Angel suffers a grievous injury and will be changed forever!

The complete X-Tinction Agenda crossover in one oversized hardcover. Chris Claremont and Louise Simonson reunite X-Men, X-Factor and New Mutants against Cameron Hodge and the mutant-enslaving state of Genosha, with early Jim Lee and Rob Liefeld art. The turning point that closes the 80s era and sets up the 90s relaunch.

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.

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: 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.

The Triangle Era is the name collectors give to the period when Superman's four monthly titles were numbered as one continuous weekly story. This third volume covers the aftermath of his death. This is Reign of the Supermen: four claimants to the name, none of them clearly Clark Kent, and a mystery that ran across every title for months. Hunter/Prey is the sequel to the death itself. It is the most commercially successful Superman story ever published, and the triangle numbering means it only reads properly collected like this.

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.

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.

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.