I'm not a fan of the giant omnibus format.
The inches-thick hardcovers are just too big, too heavy and too unwieldy. Those that I've handled before, both the ones I've bought and the ones I've seen at the library (where they tend to suffer a lot more damage than smaller comics collections and need repairs far more often), tend to make unwholesome sounding creaks if I hold them at the wrong angle or open them too wide, as if threatening to break on me.
They're certainly hard to take with you anywhere, barely fitting in a messenger bag and threatening to bust out of it, so they aren't books that I can read on my lunch breaks, or when dining out alone at a restaurant. And even in the comfort of one's home they can be difficult to read, as one can only read them in certain positions.
If publishers must release giant omnibus format books, I would prefer they do so in paperback form, like the recent-ish Sandman Mystery Theater Compendium Vol. 1 that DC released last year. At 980 pages, it was of course still very big, very heavy and very unwieldly, but it was doable, and its basic integrity didn't seem threatened by its own weight or seem unstable like an old rickety, ramshackle house in a storm.
All that said, I do find myself occasionally attracted to the books that get published in the format and have even bought one: DC's 2022 Batman No Man's Land Omnibus Vol. 1, a thousand-pager collecting the many stories published under the "No Man's Land" banner. I only made it about 100 pages into it before giving up, though; it was just too hard to read.
Despite my dislike of the format, I couldn't resist the DC Versus Marvel Omnibus, a huge hardcover collecting about half of the stories the two publishers have collaborated on over the years, with the other half relegated to a second volume, DC Versus Marvel: The Amalgam Age Omnibus, which looks like it's currently slated for a late December release (More on which publications are in which books below).
While there's some historical significance for these rare-ish publications, and an awful lot of work by some of the greatest and best-known talents to work in mainstream comics among them, I've read remarkably few of them, partly because many were published before my time, partly because of my ambivalence about the Marvel characters (I didn't really read any Marvel until a good decade after I started reading comics, and never developed the sense of loyalty or ownership of their characters and universe that I felt for DC's) and partly because they were relatively hard to find.
This then, offered a chance get them all in one fell swoop, even if it was awfully pricey for a single comic book. Still, I've been buying fewer and fewer comics in any format, I could afford it. (As long-time readers have surely noticed, I gave up on serially-published comics some years ago—with only very rare exceptions—and I now try to buy as few trades and collections as possible, given how quickly they can fill up my bookshelves, and my bookshelves then fill up my living space.)
Given the enormity of the book, which contains almost 20 over-sized comics stories and hundreds of pages of extras, it would simply be too big to review in a single "A Month of Wednesdays" blog post, or even in a single blog post devoted to the book alone.
So, as I mentioned the other day, my plan is to tackle the book crossover by crossover, and basically review my way through it.
Before reading the first crossover story, though, I decided I should devote a post to all the...stuff in the book, given how much of it there actually is. So let's here take a look at all the stuff other than the comics content, before digging into the first of the crossovers.
Let's start with the basic outline of the tome.
The 960-page collection includes almost every DC/Marvel character crossover, from the classic 1976 Superman Vs. The Amazing Spider-Man to the millennial Batman/Daredevil. That means that, in addition to those two stories, the omnibus includes (deep breath) Marvel Treasury Edition #28 (Superman and Spider-Man again), DC Special Series #27 (Batman vs. The Hulk), Marvel and DC Present: The Uncanny X-Men and The New Teen Titans #1, Batman/Punisher: Lake of Fire #1 (featuring the Jean-Paul Valley version of Batman, weirdly enough), Punisher/Batman: Deadly Knights #1, Darkseid Vs. Galactus: The Hunger #1, Spider-Man and Batman #1, Green Lantern/Silver Surfer: Unholy Alliances #1, Silver Surfer/Superman #1, Batman/Captain America #1, Daredevil/Batman #1, Batman/Spider-Man #1, Superman/Fantastic Four #1 and Incredible Hulk Vs. Superman #1.
So, what's missing?
Well, most obviously given the title of this cinder block of a collection is 1996's four-issue miniseries DC Vs. Marvel. That's slated to be collected in the upcoming DC Vs. Marvel: The Amalgam Age Omnibus, along with all of the Amalgam one-shots, and the two sequel miniseries, DC/Marvel All Access and Unlimited Access. This makes sense, given that the Amalgam comics, each of which featured brand-new heroes that combined DC and Marvel characters, resulted from the events of the DC Vs. Marvel series, as at one point during the proceedings the two fictional universes are fused into a new combined universe.
Also missing is 2003's JLA/Avengers, which is not slated for inclusion in the Amalgam Age Omnibus. It's a curious, and quite unfortunate, omission, as that four-issue crossover series by Kurt Busiek and George Perez is the best of the DC/Marvel crossovers (at least of those that I've read) and one of the better inter-company crossovers of all time.
It's also, one imagines, the single crossover that would be of the greatest interest to the largest number of readers, given not only its quality and the reputation of its creators, but also the current high profile of the two teams, particularly the Avengers, who weren't exactly the household name they are now 20 years ago.
JLA/Avengers was first collected in a 2004 hardcover set, and then again in 2008 as a trade paperback. An extremely limited edition was released in 2022 to help the now late Perez with his medical bills, and demand then was quite high, which made me assume it would be collected herein. Perhaps if these two omnibuses sell well enough DC and Marvel will see fit to also re-release JLA/Avengers.
As for this collection, it actually starts out with some Perez art, as the cover is a Perez piece referencing the first couple of DC/Marvel crossovers, repurposed from the 1991 Crossover Classics collection. (If you bought or buy the omnibus through the direct market though, you also have the opportunity to choose a variant cover edition featuring a new image by Jim Lee and Scott Williams; it's not the greatest work from Lee, and, compositionally at least, is nowhere near as strong or dynamic an image as the Perez cover, but, given Lee's early years as a superstar artist at Marvel followed by a career as an executive at DC, he's probably one of the best choices to produce a cover for a book like this.)
Given just how many pages of comics content there are in this book, it might be surprising that the publishers found room for other miscellanea to include, but there are several introductions and forewords, two afterwords and plenty of backmatter.
First here's a brand-new introduction from Paul Levitz dated February of this year. Levitz notes that he was "in the room where it happened" when it came to that first Superman/Spider-Man crossover that was the very first collaboration between the two publishers, which for a majority of their history were among the most bitter rivals in the industry.
Levitz was, at that time, an assistant editor to DC editor to Gerry Conway, who was chosen by the executives to write the crossover, as he was, at the time, the only person to have written both characters. The art team was similarly chosen to best represent the two publishers and their respective flagship characters: Pencil artist Ross Andru was the only artist to have drawn both characters and was then working as Spidey's primary artist, and inker Dick Giordano was chosen because he was widely regarded as the best inker in the business.
Levitz would go on to be involved in the next round of inter-company crossovers: The next Superman/Spider-Man crossover, that of Batman and The Hulk, and that of the X-Men and Teen Titans, after which things fell apart, and the publishers wouldn't see fit to try again for another decade or so (That decade, of course, was the '90s, the decade in which the vast majority of the stories in this collection were published).
Levitz's introduction is followed by not one, not two, but three forewords, each of which was previously published in the previously mentioned Crossover Classics collection. These are by Conway, Giordano and Tom DeFalco, and all focus on that initial Supes/Spidey book.
The next prose piece, also culled from the pages of Crossover Classics, is by Marv Wolfman, and details how he almost wrote the second Supes/Spidery crossover (Instead, Jim Shooter would get the honor, though the comic's credits include a notation reading "Special thanks to Marv Wolfman for plot suggestions.") He also mentions being pegged to write the second X-Men/Teen Titans crossover...a crossover that never actually came to pass.
That's followed by two story-specific introductions from Crossover Classics, one by Batman/Hulk writer Len Wein and another by X-Men/Teen Titans writer Chris Claremont.
About 300 pages in we get another prose piece original to this volume, this one from long-time Marvel and DC editor Mike Carlin, dated March 2024. In it, he discusses the resumption of DC/Marvel crossovers with 1994's Batman/Punisher: Lake of Fire #1. This comic, and the dozen or so crossovers that followed, resulted from, as Carlin explains, a new generation of writers and editors coming in at both publishers, ending the "cold war" between Marvel and DC (And it helped that these newcomers were all comics fans turned comics pros, and thus had an entirely different attitude about the characters than their predecessors). He also seems to intimate that a new cold war began in the early years of the century (with JLA/Avengers being the sole exception of new DC/Marvel collaborations), seemingly because "some new players would join the mix in the early 2000s."
After the last pages of 2000's Batman/Daredevil: King of New York #1, we get a pair of afterwords, both written specifically for this collection.
The first is from writer Ron Marz, who is quite familiar with the intercompany crossover, having written the DC Vs. Marvel miniseries, as well as Green Lantern/Silver Surfer (and several DC/Dark Horse crossovers). He cites one of the crossovers collected in this book as having reignited his passion for the medium when he was a teenager and had drifted away from super-comics: Claremont and Walt Simonson's X-Men/Teen Titans book, which he reveals he still keeps a copy of in his desk to pull out and flip through whenever he feels the need for inspiration.
That's followed by a very interesting piece by Tom Brevoort, who reveals the original idea for the Superman/Spider-Man team-up was not for a comic book at all, but for a movie. That was the idea of David Obst, the literary agent that kickstarted the first DC/Marvel crossover, anyway. (The idea of such a film sounds pretty insane to even imagine in 1976, two years before the first Superman movie and 26 years before the first Spider-Man movie. Even today, in the years after characters as unlikely as Ant-Man, Aquaman, The Guardians of The Galaxy and Blue Beetle III have all had a movie or two or three, the idea of a DC/Marvel crossover movie still seems so unlikely as to sound crazy.)
Brevoort also discusses a few tidbits about that original Superman/Spider-Man crossover, like the fact that Neal Adams and John Romita Sr. did some uncredited touching up of the art, and the mathematic specificity that went into the story, with each hero appearing in the exact same number of panels and being drawn at the same size in aggregate (If Superman appeared in the foreground and Spider-Man in the distant background of one panel, for example, there would be another panel where Supes was in the background and Spidey foregrounded).
And if you're beginning to think that this sounds like an awful lot of bonus material for a book that pretty much sells itself, wait—there's more!
There's Conway's nine-page story outline for the original Superman/Spider-Man crossover, about 100 pages of art (much of it in black and white) with notes from many of the creators who worked on the pages (Darryl Banks, J.M. DeMatteis, Barry Kitson, Ron Lim, Ron Marz, Roger Stern), the covers from the four Crossover Classic collections (pencilled by Perez, John Romita Jr., Salvador Larroca and Ed McGuinness), Alex Ross' homage to Superman Vs. The Amazing Spider-Man (from a 1999 issue of Wizard Magazine), a fold-out of Dan Jurgens' and Ross' cover to Superman/Fantastic Four, a fold-out by John Byrne and Terry Austin promoting DC Vs. Marvel (which also adorns the cover of the collection, under the book jacket), a few pages of house ads promoting the various crossovers and, in the edition I got anyway, a fold-out of Jim Lee's variant cover for the omnibus, full-color on one side and black and white on the other.
It's an awful lot of stuff, without even accounting for the comics stories themselves. As much as it is, it's welcome. This is, after all, a book selling for over a $100—it's labeled for $150, though I didn't pay that much for my copy—so it's nice to see the publishers seemingly doing as much as they can to make it worth that high price.
Now, with all that out of the way, I guess I'm ready to start actually reading the comics themselves, huh?
Next: 1976's Superman Vs. The Amazing Spider-Man #1
English (US) · 