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Editorial
About this omnibus
Fall of the Mutants is the 1988 crossover where the three X-books each end in disaster, separately and without coordinating — a deliberate structure that made the defeat feel total. The X-Men die on live television in Dallas and then keep operating as ghosts nobody can see, which is the strangest status quo Claremont ever imposed. X-Factor's chapter turns Angel into Archangel, and New Mutants loses Doug Ramsey. Three separate endings, all bad, all permanent for years.
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Three X-teams face separate apocalyptic challenges. The X-Men sacrifice themselves on TV, X-Factor battles Apocalypse, the New Mutants suffer loss. The crossover that reshaped the entire X-line.
About the character
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X-Men omnibus editions map mutant history through Claremont's long run, 1990s crossovers, Ultimate reinvention, Krakoa and modern team branches.
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.
The other Claremont. Everyone knows the sixteen years on Uncanny X-Men; this collects what he was writing everywhere else across four decades, including the first Captain Britain series and a stretch of Doctor Strange. It is the volume that shows the range behind the reputation.
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.
The fourth volume covers Ultimate Comics X-Men, the relaunch that followed Ultimatum, in which mutants are hunted openly and the United States is falling apart. Nick Spencer and Brian Wood write this as dystopia rather than superheroics: internment camps, a mutant secession movement and Kitty Pryde leading a nation. Ultimate Fallout is also where Miles Morales first appears, which makes this volume more historically loaded than its cover suggests.
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The second Ultimate X-Men omnibus covers the post-Millar years, with Brian Michael Bendis, Brian K. Vaughan and Robert Kirkman each taking the book in turn. Vaughan's run is the strongest stretch of the series: the Hellfire Club, Ultimate Longshot and the arc where Xavier's methods stop looking defensible. Because the Ultimate universe has no reset button, decisions made here stay made — which gives the middle of the run more weight than most relaunched titles ever manage.
Ultimate X-Men launched in 2001 as part of Marvel's attempt to restart its universe for readers who had never bought a comic, with Mark Millar rewriting the team from scratch and no continuity behind it. The Ultimate line is the clearest entry point Marvel has ever built: no back issues, no reboots to explain, and a Magneto written as an actual terrorist rather than a tragic antagonist. Millar's version is also the closest the comics ever came to the tone of the first X-Men films, which is why it still gets recommended to new readers.
Jonathan Hickman's own X-Men title is the spine of the Krakoan era: the book where the nation's founders explain, issue by issue, what they have actually built. Hickman writes each issue as a self-contained argument rather than a chapter: a Summers family home on the moon, a trade negotiation, a Krakoan holiday. The Giant-Size one-shots are where the resurrection protocol's costs get examined, and Storm's in particular is the best single issue of the era.
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.
The other Claremont. Everyone knows the sixteen years on Uncanny X-Men; this collects what he was writing everywhere else across four decades, including the first Captain Britain series and a stretch of Doctor Strange. It is the volume that shows the range behind the reputation.
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.
The fourth volume covers Ultimate Comics X-Men, the relaunch that followed Ultimatum, in which mutants are hunted openly and the United States is falling apart. Nick Spencer and Brian Wood write this as dystopia rather than superheroics: internment camps, a mutant secession movement and Kitty Pryde leading a nation. Ultimate Fallout is also where Miles Morales first appears, which makes this volume more historically loaded than its cover suggests.
The third Ultimate X-Men omnibus takes the series to its end, and the end here is literal: Ultimatum wipes out most of the Ultimate universe's cast in five issues. Ultimate Wolverine vs. Hulk is the reason to own this: Damon Lindelof's six-issue miniseries, notorious for taking three years to finish and for a first page that shows Wolverine torn in half. Ultimatum then closes the line, and Requiem is the funeral. It is a genuine ending, which superhero comics rarely offer.
The second Ultimate X-Men omnibus covers the post-Millar years, with Brian Michael Bendis, Brian K. Vaughan and Robert Kirkman each taking the book in turn. Vaughan's run is the strongest stretch of the series: the Hellfire Club, Ultimate Longshot and the arc where Xavier's methods stop looking defensible. Because the Ultimate universe has no reset button, decisions made here stay made — which gives the middle of the run more weight than most relaunched titles ever manage.
Ultimate X-Men launched in 2001 as part of Marvel's attempt to restart its universe for readers who had never bought a comic, with Mark Millar rewriting the team from scratch and no continuity behind it. The Ultimate line is the clearest entry point Marvel has ever built: no back issues, no reboots to explain, and a Magneto written as an actual terrorist rather than a tragic antagonist. Millar's version is also the closest the comics ever came to the tone of the first X-Men films, which is why it still gets recommended to new readers.
Jonathan Hickman's own X-Men title is the spine of the Krakoan era: the book where the nation's founders explain, issue by issue, what they have actually built. Hickman writes each issue as a self-contained argument rather than a chapter: a Summers family home on the moon, a trade negotiation, a Krakoan holiday. The Giant-Size one-shots are where the resurrection protocol's costs get examined, and Storm's in particular is the best single issue of the era.
Chris Claremont is the central X-Men writer, shaping the mutant line through long-form character drama, politics, romance, trauma and major crossover arcs.
The other Claremont. Everyone knows the sixteen years on Uncanny X-Men; this collects what he was writing everywhere else across four decades, including the first Captain Britain series and a stretch of Doctor Strange. It is the volume that shows the range behind the reputation.
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.
The third Claremont Wolverine omnibus covers the series' transition period as the Mutant Massacre and Fall of the Mutants events reshaped the X-Men landscape, requiring Wolverine's solo book to operate in direct response to seismic changes in the main X-Men line. Claremont used this period to deepen Logan's physical and psychological wounds from the Mutant Massacre, explore his complex feelings about the Xavier Institute's direction under Magneto, and introduce new supporting characters that would define the solo series through the Hama era that followed.
The second Wolverine omnibus covers the late eighties solo series, when Logan was running a bar in Madripoor under the name Patch and pretending nobody recognised him. The Madripoor era is the character at his most enjoyable: a crime story where everyone knows who Patch is and nobody says it. Meltdown, drawn by Jon J. Muth and Kent Williams in full painted art, is one of the most visually ambitious things Marvel published that decade and is otherwise almost impossible to find.
Wolverine debuted in Incredible Hulk #180 in 1974 as a one-issue antagonist and spent a decade becoming Marvel's most valuable character. The Claremont and Miller miniseries invented everything the character is known for — Japan, Mariko, the code of honour — and Hulk #181 is his first full appearance, one of the most valuable comics of the seventies. Hulk #340 is the Todd McFarlane fight everyone has seen on a poster.
Age of Apocalypse replaced every X-Men title for four months in 1995 with an alternate timeline where Xavier died before founding the school and Apocalypse conquered North America. This is the companion volume: everything published around the original crossover, including the Blink miniseries that turned a background character into the lead of Exiles. If you already own the core Age of Apocalypse, this is the material that fills in how the timeline was built and how it kept coming back.
Age of Apocalypse is the four-month experiment where Marvel cancelled every X-Men title and replaced it with its alternate-timeline equivalent, with no promise the old world was coming back. The commitment is what made it work: for four months there was no main universe to return to, and readers had to accept a world where Xavier is dead, Magneto leads the X-Men and half the cast is unrecognisable. It also introduced Blink, Dark Beast and X-Man, all of whom outlived the timeline.
Weapon X: The Return collects Marvel's early-2000s attempt to build a whole line out of the programme that made Wolverine, run this time as a corporate operation recruiting mutants by force. Frank Tieri writes it as workplace horror: mutants conscripted, processed and disposed of by an organisation with an HR department. The Draft one-shots are the interesting part, giving minor characters like Marrow and Wild Child the only sustained attention they have ever had. Almost none of this material is in print elsewhere.
The other Claremont. Everyone knows the sixteen years on Uncanny X-Men; this collects what he was writing everywhere else across four decades, including the first Captain Britain series and a stretch of Doctor Strange. It is the volume that shows the range behind the reputation.
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.
The third Claremont Wolverine omnibus covers the series' transition period as the Mutant Massacre and Fall of the Mutants events reshaped the X-Men landscape, requiring Wolverine's solo book to operate in direct response to seismic changes in the main X-Men line. Claremont used this period to deepen Logan's physical and psychological wounds from the Mutant Massacre, explore his complex feelings about the Xavier Institute's direction under Magneto, and introduce new supporting characters that would define the solo series through the Hama era that followed.
The second Wolverine omnibus covers the late eighties solo series, when Logan was running a bar in Madripoor under the name Patch and pretending nobody recognised him. The Madripoor era is the character at his most enjoyable: a crime story where everyone knows who Patch is and nobody says it. Meltdown, drawn by Jon J. Muth and Kent Williams in full painted art, is one of the most visually ambitious things Marvel published that decade and is otherwise almost impossible to find.
Wolverine debuted in Incredible Hulk #180 in 1974 as a one-issue antagonist and spent a decade becoming Marvel's most valuable character. The Claremont and Miller miniseries invented everything the character is known for — Japan, Mariko, the code of honour — and Hulk #181 is his first full appearance, one of the most valuable comics of the seventies. Hulk #340 is the Todd McFarlane fight everyone has seen on a poster.
Age of Apocalypse replaced every X-Men title for four months in 1995 with an alternate timeline where Xavier died before founding the school and Apocalypse conquered North America. This is the companion volume: everything published around the original crossover, including the Blink miniseries that turned a background character into the lead of Exiles. If you already own the core Age of Apocalypse, this is the material that fills in how the timeline was built and how it kept coming back.
Age of Apocalypse is the four-month experiment where Marvel cancelled every X-Men title and replaced it with its alternate-timeline equivalent, with no promise the old world was coming back. The commitment is what made it work: for four months there was no main universe to return to, and readers had to accept a world where Xavier is dead, Magneto leads the X-Men and half the cast is unrecognisable. It also introduced Blink, Dark Beast and X-Man, all of whom outlived the timeline.
Weapon X: The Return collects Marvel's early-2000s attempt to build a whole line out of the programme that made Wolverine, run this time as a corporate operation recruiting mutants by force. Frank Tieri writes it as workplace horror: mutants conscripted, processed and disposed of by an organisation with an HR department. The Draft one-shots are the interesting part, giving minor characters like Marrow and Wild Child the only sustained attention they have ever had. Almost none of this material is in print elsewhere.
Background. Fall of the Mutants is the 1988 crossover where the three X-books each end in disaster, separately and without coordinating — a deliberate structure that made the defeat feel total.
What’s inside. Collects Uncanny X-Men (1981) #220-227, X-Factor (1986) #18-26, New Mutants (1983) #55-61, Captain America (1968) #339, Daredevil (1964) #252, Fantastic Four (1961) #312, Incredible Hulk (1968) #336-337 and #340 and Power Pack (1984) #35.
Why it’s worth it. The X-Men die on live television in Dallas and then keep operating as ghosts nobody can see, which is the strangest status quo Claremont ever imposed. X-Factor's chapter turns Angel into Archangel, and New Mutants loses Doug Ramsey. Three separate endings, all bad, all permanent for years.
Edition details. Hardcover omnibus. US edition published by Marvel Comics. ISBN 9781302934118.
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Frequently asked questions
Is this the original US edition?
Yes. This is the original USA Marvel Comics edition in English (VO), oversized hardcover, sold new and sealed. ISBN 9781302934118. 864 pages.
How much is shipping?
Pickup point or locker delivery (InPost / Mondial Relay) is free with no minimum order to France, Spain, Germany, Italy, Portugal, Belgium, the Netherlands, Poland, Luxembourg and Austria. Tracked home delivery costs €14.90 and is free from €250 of products. Every order ships in custom protective packaging designed for oversized omnibus editions.
Can I return it if I change my mind?
Yes, no hassle. You have 14 calendar days from delivery to change your mind. We arrange the return, cover the return shipping and issue a full refund — no questions asked.
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