Introduction
Comic book crossovers are where the wildest ideas, biggest battles, and most unexpected character team-ups come to life. They bring massive stakes, seismic shifts in continuity, and moments that define entire eras. As a lifelong fan of both Marvel and DC, these events have shaped my love of comics, storytelling, and character evolution.
This list isn’t just about the most famous events — it’s about the ones that stuck with me, made me rethink what comics could do, and offered something unforgettable. From multiversal crises to ideological wars, here are my personal picks for my top 10 comic book crossover events of all time.
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#10. Knightfall (1993)
Publisher: DC
Writers/Artists: Doug Moench, Chuck Dixon, Jim Aparo, Graham Nolan
While this crossover is monumental, it lands at #10 for me because I only had a few scattered issues growing up (shoutout to the 50-cent bin), and never owned the main one. Still, we all know the iconic moment: Bane breaks Batman—both physically and psychologically—forcing Bruce Wayne to pass the mantle to Jean-Paul Valley. Valley’s more brutal, armored Batman eventually goes rogue, leading to Bruce’s painful return and reclamation of his identity. Knightfall was one of the first true crossovers to really explore what makes Batman who he is. The rise and fall of Azrael serves as a fascinating, cautionary contrast to Bruce Wayne’s disciplined moral code.
Knightfall: Batman #491–500, Detective Comics #659–666, Batman: Shadow of the Bat #16–18
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#9. Civil War (2006–2007, Marvel)
Publisher: Marvel
Writer/Artist: Mark Millar, Steve McNiven
This one lands at #9 because, while it was a truly compelling crossover, Marvel hasn’t meaningfully revisited it since (and no, the MCU film doesn’t count as a real callback). After a tragedy involving young heroes, the U.S. government enacts the Superhuman Registration Act, demanding all heroes reveal their identities and register. This fractures the superhero community, pitting Iron Man and Captain America against each other in a war of ideology. What makes Civil War stand out is that it’s a moral battle as much as a physical one—both sides have valid points, which is still a rarity in superhero fiction. I even used it as part of my grad school thesis; it was one of my key inspirations. Mark Millar’s sharp writing paired with Steve McNiven’s clean, cinematic art made for a memorable run. The mini-series had a lot going for it, even if some of the tie-ins felt uneven. That said, seeing teams like the Fantastic Four split up never sat right with me.
Main Series:
- Civil War #1–7
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#8. DC’s Crisis Trilogy: Identity Crisis, Infinite Crisis, and Final Crisis (2004–2008)
Publisher: DC
Writers/Artists: Brad Meltzer, Geoff Johns, Grant Morrison, Rags Morales, Phil Jimenez, George Pérez, J.G. Jones
Am I cheating by grouping these three together at #8? Probably—but it’s my list, and they form one massive, interconnected epic. The trilogy begins with the grounded, emotionally charged mystery of Identity Crisis, escalates through the multiversal upheaval of Infinite Crisis, and culminates in the cosmic, reality-warping chaos of Final Crisis. Together, they explore themes of truth, legacy, corruption, and cosmic rebirth, each viewing the Justice League through a different lens: personal, political, and existential.
OOF! Reading them all was a ride – a dense, ambitious, and often overwhelming ride—but also unforgettable. Identity Crisis is still one of the most controversial comics DC has ever published. Sue Dibny’s rape by Dr. Light, her murder at the hands of Jean Loring, and the League’s decision to mind-wipe both Light and Batman pushed boundaries in ways that still spark debate. Infinite Crisis might be my favorite of the three, reintroducing multiverse chaos while forcing Superman, Batman, and Wonder Woman to reckon with their roles as symbols. It also gave us the incredible 52 series, a weekly follow-up that showed DC firing on all cylinders. Then there’s Final Crisis, which starts strong—as most Grant Morrison stories do—but quickly plunges into heavy abstraction. It’s brilliant in parts, baffling in others, and definitely needed a companion guide to keep track of who’s who and what’s happening across timelines.
Individually, each entry has its flaws—Identity Crisis for its grim tone, Infinite Crisis for continuity overload, and Final Crisis for Morrison’s mind-bending narrative—but together, they represent one of DC’s boldest attempts at redefining its universe.
Main Series: Identity Crisis #1–7
Main Series: Infinite Crisis #1–7
Main Series: Final Crisis #1–7
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#7. The Death of Superman (1992–1993, DC)
Publisher: DC
Writers/Artists: Dan Jurgens, Louise Simonson, Roger Stern, Jerry Ordway, among others.
This one lands at #7—not because I didn’t love it, but because I didn’t collect the original issues as they came out. Instead, this was my very first graphic novel. I got it for Christmas, tucked in my stocking, and I probably read it more than any other book on my shelf. The Death of Superman hit hard: Doomsday, a seemingly unstoppable monster, tears across America, and Superman meets him in a brutal, city-leveling battle that ends with both collapsing in the streets of Metropolis. Superman dies in Lois Lane’s arms, and the world is left in mourning.
As an 11-year-old, this story blew my mind. It was my introduction to the emotional depth comics could have—and it’s probably one of the reasons I still love them today. Seeing Superman sacrifice everything for the greater good never gets old. And the follow-up, Reign of the Supermen, gave us a wave of fascinating new characters: the cocky Superboy, the heroic Steel, the mysterious Eradicator, and the chilling villain Cyborg Superman. It was bold, ambitious, and truly felt like a world without Superman.
Main Storyline Crossover Titles: Superman: The Man of Steel #18–19, Justice League America #69, Superman #74–75, Adventures of Superman #497, Action Comics #684
Funeral for a Friend: Superman: The Man of Steel #20–21, Superman #76–77, Adventures of Superman #498–499, Action Comics #685–686, Justice League America #70
Reign of the Supermen: Adventures of Superman #500–505, Action Comics #687–692, Superman: The Man of Steel #22–27, Superman #78–83
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#6. Marvel Super Heroes Secret Wars (1984–1985)
Publisher: Marvel
Writer/Artist: Jim Shooter (writer), Mike Zeck and Bob Layton (artists)
This lands at #6—even though I was only two years old when it came out—because the impact of this crossover still echoes through Marvel to this day. Not only was it Marvel’s first major crossover event, but it also laid the groundwork for decades of storytelling. This is where Spider-Man first got his black symbiote suit (which would later become Venom), Hulk held up an entire mountain, and Doctor Doom literally stole the power of a god.
This spot was a toss-up between Secret Wars and Infinity Gauntlet, but what pushes Secret Wars ahead is its raw ambition. The omnipotent Beyonder gathers a who’s-who of Marvel heroes and villains—Spider-Man, the X-Men, the Avengers, the Fantastic Four, Magneto, Galactus, Doom—and teleports them to a patchwork world called Battleworld. His challenge? Fight, and the winners will receive their heart’s desire. It’s part cosmic game, part philosophical trial, and pure ’80s spectacle.
While the storytelling is definitely a product of its time—big on narration and melodrama—it’s still a thrilling ride. Doom’s arc in particular stands out, as he schemes, conquers, and ultimately dares to challenge the Beyonder himself. This series didn’t just change Marvel continuity—it changed the business of comics, paving the way for crossover events as we know them.
Main Series: Secret Wars #1–12
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#5. Onslaught (1996)
Publisher: Marvel
Writers/Artists: Scott Lobdell, Mark Waid, Andy Kubert, Joe Madureira
Cracking the Top 5 is Onslaught, an event that absolutely floored me and directly spins out of my #3 favorite comic event (more on that soon). Born from the psychic collision of Professor X and Magneto during Fatal Attractions, Onslaught is the terrifying embodiment of both men’s darkest traits. When he emerges, the X-Men, Avengers, and Fantastic Four are forced to unite against a nearly omnipotent force. The battle builds to an apocalyptic climax that ends with the apparent sacrifice of Earth’s greatest heroes.
Though technically an “X-Men event,” Onslaught spread across the entire Marvel Universe, showing up in Avengers, Spider-Man, Fantastic Four (two issues each), and concluding with Onslaught: X-Men and Onslaught: Marvel Universe. It wasn’t just a brawl—it was deeply psychological, tapping into themes of identity, control, trauma, and legacy. It also marked a major turning point in Marvel history, launching the “Heroes Reborn” era and giving us one of the biggest status quo shifts of the ’90s.
What really makes Onslaught shine for X-Men fans is how it pays off long-standing threads—from Professor X’s awkward love confession to Jean Grey in X-Men #3, to Juggernaut’s first attack on the mansion in #12, to Bishop’s warning of the X-traitor in X-Men Vol. 2 #8. Add in stunning artwork from Andy Kubert and Joe Madureira, and you’ve got a crossover that felt massive, meaningful, and unforgettable.
Prelude Issues: Uncanny X-Men #322, 333–337, X-Men #46, 53–57, X-Force #52–58, X-Man #15–19
Main Event: Onslaught: X-Men #1, Avengers #401–402, Fantastic Four #415–416, X-Men #55–57, Uncanny X-Men #335–337, X-Force #57–58, Cable #34–36, Incredible Hulk #444–445, Wolverine #104–105, Onslaught: Marvel Universe #1
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#4. Crisis on Infinite Earths (1985–1986, DC)
Publisher: DC
Core Issues: Crisis on Infinite Earths #1–12
Writer/Artist: Marv Wolfman, George Pérez
This takes the #4 spot not because I like it more than Onslaught—I don’t—but because you have to respect its impact. This was the first major crossover with universe-shaking ramifications, and it set the bar for everything that followed. By the mid-’80s, DC’s continuity had grown so convoluted that the powers-that-be decided to collapse the multiverse into a single streamlined universe. Enter the Anti-Monitor—a cosmic force of pure destruction from the antimatter universe—who wages war on existence itself.
Heroes from across countless Earths band together to stop him, resulting in massive casualties and hard-hitting moments. Supergirl and Barry Allen’s deaths were shocking and felt final (at the time), marking a turning point in how seriously comics treated their stakes. The series took nearly 60 years of continuity and compressed it into one reality, reshaping the DC Universe forever.
Marv Wolfman and George Pérez crafted something monumental here. Their work didn’t just clean up continuity—it created an epic that felt biblical in scale. That said… holy crap, this series is dense. You practically need a multiversal field guide to get through it. And while it succeeded in simplifying things (for a while), it also kicked off the long tradition of DC reboots that continues to this day.
Without this one you don’t have the Ultimate Universe, the Absolute Universe, the New 52 or Rebirth.
Main Series: Crisis on Infinite Earths #1–12
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#3. Fatal Attractions (1993)
Publisher: Marvel
Writers/Artists: Scott Lobdell, Fabian Nicieza, J.M. DeMatteis, Peter David, Andy Kubert, Greg Capullo, John Romita Jr., Joe Quesada, and more.
This ranks at #3, though honestly, it could just as easily swap places with #2—they’re that close for me. Fatal Attractions picks up right after the events of X-Cutioner’s Song and finds Magneto returning with a vengeance. He establishes a new orbital base, Avalon, and reignites his anti-human crusade, driven by the atrocities committed against mutants—especially the Genoshan genocide and the fallout from Xavier’s failed dream.
Magneto launches a devastating electromagnetic assault on Earth, shutting down global technology. In response, the X-Men mount a desperate space mission to confront him. The climax in X-Men #25 is unforgettable: Wolverine stabs Magneto, who retaliates by ripping the adamantium from Logan’s skeleton in a scene that shocked readers everywhere. In turn, Professor Xavier crosses a line no one saw coming—he mind-wipes Magneto into a vegetative state, violating his own core principle. This act would unknowingly plant the psychic seed for Onslaught years later.
I was in junior high when this came out and I vividly remember getting the 3-pack of issues from Toys “R” Us. What The Death of Superman did for me a few years earlier, Fatal Attractions did times 100. I was already deep into the X-Men comics, watching the cartoon, collecting the toys—and this story felt like everything came crashing together in the best way. Seeing Colossus betray the X-Men, Wolverine reduced to a broken man, and Xavier betray his moral code was jaw-dropping. Even the reveal that Logan had bone claws couldn’t top that moment.
This story still gets brought up when X-Men fans talk about their all-time favorite events—for good reason. It’s emotional, explosive, and transformative.
Crossover Titles: X-Factor #92, X-Force #25, Uncanny X-Men #304, X-Men #25, Wolverine #75, Excalibur #71 (All issues featured holographic covers and were part of X-Men’s 30th anniversary celebration.)
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#2. X-Cutioner’s Song (1992)
Publisher: Marvel
Writers/Artists: Scott Lobdell, Fabian Nicieza, Brandon Peterson, Jae Lee
This lands at #2 because X-Cutioner’s Song was my first major crossover event. I’d grab the issues from any store that carried them—yes, even Wal-Mart when they had them on the end caps (and of course, I got them out of order and ended up with duplicates). But despite the chaos of collecting it, the story itself was a game-changer.
It’s got everything you want in a crossover: Professor X is shot by Cable (who’s later revealed to be Stryfe), sparking a massive manhunt across all the X-teams. Cable, Bishop, and Wolverine end up teaming up, while all the X-teams are drawn into a sprawling, high-stakes pursuit.
The series also ties together the Summers family legacy in ways that were deeply satisfying and laid the groundwork for future storylines involving Apocalypse, Cable, and the Askani.X-Cutioner’s Song introduced a thrilling mix of action, intrigue, and familial drama, setting the stage for many of the X-Men’s stories in the ’90s. It was a ride I’ll never forget. And of course, you can’t forget the 90s collectible card with each comic!
It also is the first introduction of the deadly Legacy Virus, which would kill Ilyana Rasputin which in turn made Colossus turn to Magneto in Fatal Attractions and, later, kill Colossus as he made himself the sacrificial lamb to cure the same virus.
12-Part Crossover: Uncanny X-Men #294, X-Factor #84, X-Men #14, X-Force #16, Uncanny X-Men #295, X-Factor #85, X-Men #15, X-Force #17, Uncanny X-Men #296, X-Factor #86, X-Men #16, X-Force #18
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Honorable Mention 1: Secret Empire (2017)
Publisher: Marvel
Writer/Artist: Nick Spencer, Steve McNiven, Andrea Sorrentino
There are a lot of books that could (and maybe should) but the reason that Secret Empire falls into the Honorable Mentions is for a reasons. It doesn’t fall into the Top 10 because the ramifications were short-lived, but it needs to be included for the story it tells – one of good versus evil and triumph over fascism. It’s a bold, political series that raises questions about trust, ideology, and leadership. Due to cosmic manipulation by the sentient Cosmic Cube Kobik, Steve Rogers is reprogrammed to believe he’s always been a Hydra agent. He rises to power and takes over the U.S., creating a fascist regime. The real Cap is eventually restored, and Hydra-Cap is defeated.
Even though “fanboys” whined when it was revealed that Captain America was an agent of Hydra thanks to Red Skull and the Cosmic cube (and it was only the first issue), the reason this mini series landed on my Top 10 was because of the ending. Taking place a year into the first Trump administration, the culmination of the series have Hydra Cap fighting against the Original Steve Rodgers, who does eventually win by picking up Mjolner and knocking out evil cap. The monologue during that fight was inspiring. Steve keeps saying that sometimes you will be tested and when that happens you must “stand and fight,” repeating that mantra over and over again, especially in the face of evil.
11-Part Crossover: Secret Empire #0-10
Honorable Mention #2: DC vs. Marvel (1996)
Publisher: DC/Marvel
Writers/Artists: Ron Marz, Peter David, Dan Jurgens, Claudio Castellini
Summary: When the DC and Marvel Universes become aware of each other, cosmic entities pit heroes against each other in one-on-one battles — Batman vs. Captain America, Superman vs. Hulk, and many more. The fact that fans even got to vote on some of the outcomes, was an even bigger, “cooler” plus, even though I thought some of the winners were wrong. This crossover was pure fan service in the best way. Seeing iconic characters from different worlds interact, clash, and sometimes team up is a dream come true. It also birthed the Amalgam Universe, a creative and bizarre fusion of heroes. Some of which I still have like Super Soldier and Legends of Dark Claw. I might also have Exciting X-Patrol.
Core Issues: DC vs. Marvel #1–4 (also titled Marvel vs. DC #2–3)
Amalgam Universe One-Shots: Amazon #1, Assassins #1, Doctor Strangefate #1, JLX #1, Legends of the Dark Claw #1, Super-Soldier #1, X-Patrol #1
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#1. Age of Apocalypse (1995)
Publisher: Marvel
Writers/Artists: Scott Lobdell, Fabian Nicieza, Mark Waid, Andy Kubert, Joe Madureira, and many more
This is my #1 crossover event, and it holds that spot for a reason. Age of Apocalypse was the second crossover I followed religiously, and it left me with some truly shocking moments. It all starts with Legion Quest, where Legion travels back in time to kill Magneto but accidentally kills Professor X instead. This changes history, creating a dark alternate timeline where Apocalypse rules the world. In this bleak new reality, Magneto leads the X-Men in Xavier’s memory—but they are grimmer, more ruthless, and fighting a losing battle against Apocalypse’s empire.
What hooked me right from the start was the ad campaign: “The Marvel Universe is ending.” Marvel took a huge risk by halting all their books and transforming them into apocalyptic titles.
For example, they changed Excalibur to X-Calibre because “Nightcrawler likes the bullet,” and seeing Cyclops and Havok at each other’s throats due to Havok’s overwhelming jealousy was a major character shake-up.
I remember getting a few Astonishing X-Men books in my Easter basket when I was a kid, and this storyline had everything. The action, the drama, the high stakes. And to top it all off, we see Magneto tear Apocalypse in half before they all get wiped out by atomic bombs, obliterating the world. It’s a perfect storm of everything I love about comics, and it’s still my favorite crossover/comic book event to this day.
Core Reading Order: X-Men: Alpha #1, Amazing X-Men #1–4, Astonishing X-Men #1–4, Factor X #1–4, Gambit and the X-Ternals #1–4, Generation Next #1–4, Weapon X #1–4, X-Calibre #1–4, X-Man #1–4, X-Men: Omega #1
Additional Tie-Ins: X-Men Chronicles #1–2, Tales from the Age of Apocalypse #1–2, Blink #1–4
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At the end of the day, everyone’s Top 10 list is going to be unique, shaped by everything from historical significance to personal nostalgia, and of course, the sheer badassery of these stories. There’s an endless amount of incredible crossovers to choose from. Maybe one day I’ll tackle #11-20, but that won’t be for a while—this list was tough enough to put together!