DEATH OF THE SILVER SURFER #5 hits your local comic book store on October 29th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: THE ALL-NEW SILVER SURFER?!
The Silver Surfer is dead. Long live the Silver Surfer.
The issue is by writer Greg Pak and artist Sumit Kumar, with colors by Frank D’Armata, and letters by Joe Sabino. The main cover is by Dike Ruan.
Check out our DEATH OF THE SILVER SURFER #5 preview below:
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From comics legend Mike Mignola and creator Bruce Zick (The Mighty Thor, Primordial) comes a new adventure in the paranormal Curious Objects universe with Captain Henry and the Graveyard of Time #1. Featuring lettering from Clem Robins, this opening issue is exactly the sort of jaunt you’d expect and want from Mignola and his collaborators. With a witty, fun script and unique, perfectly fitting visuals, this first chapter is a must for fans of Mignola and of takes of good ol’ Gold and Silver Age adventure stories.
“On a dark night in 1880s England, the ever-adventurous Whittier family, along with Edward Grey, are attempting to send a man into the realm between reality and the Beyond to free the trapped spirit of a Whittier uncle. But his expedition into space—and time—will take him to places beyond even the Witchfinder’s knowledge. Captain Henry and the Graveyard of Time follows an intrepid time-travelling explorer on a journey to a new dimension. He soon discovers that the monsters he encounters aren’t his only problem, as time itself might represent the ultimate danger.”
Writing & Plot
Mignola’s storytelling across his multiple projects has built a reputation for a bit of silliness wrapped up in some occult adventuring – and that’s exactly what you get with Captain Henry and the Graveyard of Time #1. Along with series co-creator Bruce Zick, Mignola introduces readers to the wealthy and eccentric Whittier family as they try and solve a strange paranormal occurrence by putting old soldier Captain Henry in a suit to send him to another realm to save a lost soul. Chaos, calamity, and cheeky one-liners ensue. Anyone familiar with other stories in the Curious Objects series or obviously many Hellboy comics pretty much knows what they’re getting into here, but that doesn’t keep Captain Henry from being a fun read. Mignola and Zick’s dialogue is a joy to read, from the Whittier’s posh and innocently ignorant reassurances to Henry’s deadpan delivery of one-liners, the script slides on by with a focus on humor and monster-fighting action. Captain Henry reads like a modernized take on a pulpy supernatural adventure comic from decades long past, and I wouldn’t have it any other way.
Art Direction
Any comic in the Mignola library needs to have standout art to match the unmistakable tone of his comics, and Bruce Zick delivers in spades in the pages of Captain Henry and the Graveyard of Time. His distinct linework and heavy shading make for a book that fits the bill as far as Mignola comics go, but still looks wholly unique. Zick’s take on the Curious Objects universe’s 19th century steampunk aesthetic is a treat, with suit and monster designs that fit right into the Mignola library. His sequential direction is seamless, with large panels making the comic’s pace and action move along at a steady clip. Zick’s color art crafts the perfect tone for the reading experience, with his deep blacks and blues being offset by unnatural greens and flashes of magical lightning. As always, Clem Robins is on hand to letter another comic in the Mignola library, and at this point it’s impossible to imagine anyone else doing the job. His distinct dialogue letters and signature style of SFX work will be instantly recognizable to longtime readers, and fits is perfectly with Captain Henry. Overall, Zick makes a great showing with his visual direction in this new story in the world of Curious Objects.
Verdict
Captin Henry and the Graveyard of Time #1 is a witty and fun opening chapter in this new series from Mignola’s Curious Objects universe. Mike Mignola and Bruce Zick’s storytelling here reads like an almost satirical take on old pulp adventure stories, with every bit of the charm that readers have come to expect from books in Mignola’s catalogue. Zick’s visual work fits the mold of what we’ve come to expect from Mignola’s collaborators, but also stands out as a genuinely unique style on its own. Be sure to grab this debut issue when it hits shelves on October 22nd!
Dick Tracy Halloween Special
Credit: Mad Cave Studios
There’s a long tradition of putting out spooky specials around Halloween, but it’s not something that you see so much these days, especially in comics. So the arrival of the Dick Tracy Halloween Special on October 29 is something worth getting excited for. The ongoing series from Mad Cave Studios about the famous detective in a yellow trench coat and matching hat has so far been a roller-coaster ride of excitement and fan baiting. The Valentine Special released in February was a wonderful exploration of the characters outside of the main continuity. And this Halloween Special is more of the same, just with added Halloween masks.
The special is by writers Alex Segura, Michael Moreci, & Chantelle Aimée Osman, artists Craig Cermak & Emiliana Pinna, colorists Mark Englert & Warnia Sahadewa, and letterers Jim Campbell & Jodie Troutman.
Dick Tracy Halloween Special Credit: Mad Cave Studios
Opening on the docks at night, the story starts with the violence that has become synonymous with Dick Tracy: the Kid is getting slapped around by Steve the Tramp over the younger one’s inability to con money from their chosen marks. The fight escalates but is soon joined by a third person: the titular detective. Or is it?
The opening sequence of this comic highlights the writers’ approach to the Dick Tracy series as a whole. They have taken elements from the history of the character, from across mediums, and merged them with a contemporary ethos to retell stories that have been told many times before, but with a new and often surprising twist. The confrontation between the Kid, Steve, and Tracy is the entrance story for Junior Tracy into the detective’s world, and has been in numerous iterations. In this version, the initial fight is reminiscent of the 1990 Warren Beatty movie version, but the writers give the ending of the sequences a kick that, despite the title of this comic, you might not see coming.
From this point onwards, the Halloween Special becomes another chapter in the excellent Mad Cave Studios continuity of Dick Tracy. By this point, nearly two years into the run, the writers have a sturdy grip on the main characters and their personalities. This allows the story to flow at a rapid pace, centering on action for the main scenes, while the characterization happens in the brief moments between. A single panel interaction tells the readers enough about the relationship between Dick and Tess, for example, without the need for long, drawn out conversations. This economy of storytelling not only allows the story to progress quickly, but it calls back to the original comic strips produced by Chester Gould. At its height in the 1940s, the Dick Tracy comic strip could do more in a few daily, single rows of panels, than some modern comics can do in an entire 26 page issue. Gould understood the need to grab a reader’s attention and instill in their minds an image or story beat that they would remember for several weeks or months, depending on the duration of any particular story. There was no going back, no flicking to early weeks to re-read the strips to pick out important plot points; the newspaper strips were read and discarded within the same day. And this style of storytelling is evident in the current Dick Tracy comics, despite the fact that most people will be keeping these comics for a very long time.
There is an urgency to the narrative that forces the story onto the reader, and allows the writers to tell a full, complete story in this single issue, with room for a back up story that is both quaint and humorous. A gang of witches stealing jewels in order to perform a magical ritual? Why not? This back up strip lets Tess do what she does best in these comics: stand on her own two feet. In fact, one of the most pleasing moments in the main story is that Tess and the Kid don’t sit around waiting to be rescued by the hard hitting detective. They take their fate into their own hands and fight back against the villain. They even take a moment to mock the killer which says a lot about the characters of both Tess and the Kid.
Dick Tracy Halloween Special Credit: Mad Cave Studios
The artwork is as exciting as the narrative, with strong characters and perfectly executed action sequences. The violence, which is at the heart of so many Dick Tracy stories, is especially shocking in this issue. There is something disturbing about the way that the effects of the violence are shown in the panel, as it happens. As a reader, you are as much a witness as the poor bystanders in the comic itself. The coloring choices add to the shock value, with bright, solid backgrounds emphasizing the foreground action. There is a definite, deliberate, visual change when a scene shifts from relative safety to one of violence. It is a jarring experience to read, as well it should be. Brutal, cruel, and uncaring. This is the kind of comic book that would have been banned in the 1950s.
While the artwork within the panels is wonderful, it is actually the panel layouts that are the most exciting part of the visuals in this comic. Although they follow a standard grid pattern for most of the pages, it is the distortion of the grid lines that make the story impactful. Some panels bend and twist in reaction to the force of the punches inflicted onto the characters the panels contain. Elsewhere, the gutters are crossed and broken as the violence cannot be contained. Even something as innocuous as a witches broom crosses panels to highlight a story moment. The way that the page is broken up and the action distributed across the panels is an absolute delight in this comic.
Dick Tracy Halloween Special Credit: Mad Cave Studios
A special mention needs to go to the letters for this particular comic. The nature of the story requires several distinctive characters’ voices to be distinguishable from those around them, The lettering for their speech changes style and font to represent the characters as they confront other members of the cast. In this issue, more noticeably than in the regular monthly series, the speech forms a part of the personalities in the same way that the facial disfigurements do. This is a perfect example of the comic form enhancing the reading experience. In film you would get accents, audible ticks, something which is much harder to do on the printed page, but the letterers here have demonstrated, successfully, that such a thing is possible.
The Dick Tracy Halloween Special is a magnificent read and a perfect entry point into the Mad Cave Studios Dick Tracy universe. While this comic stands on its own, with no prior knowledge required to enjoy it, it is clearly setting up future story-lines for the main monthly title, just like the Valentines Special did at the start of the year. There have been some ups and downs with Dick Tracy comics in recent decades, but the team over at Mad Cave are currently producing an exceptional series that is both modern and nostalgic without alienating any readers. That is a difficult task to pull off.
Pick up the Dick Tracy Halloween Special when it is released at the end of October.
From writer Kieron Gillen (The Wicked + The Divine, Phonogram, Immortal X-Men), artist Stephanie Hans (Journey into Mystery, Angela: Queen of Hel, Secret Wars 1602), and letterer by Clayton Cowles (Daredevil, Star Wars, Moonstruck), and published by Image Comics, comes Die: Loaded, the continuation of Gillen and Hans’ three time Hugo award-winner Die.
For those unfamiliar with the Die series, this new series would not be the place to start. Die: Loaded doesn’t waste time on a “previously on” recap or a gentle reintroduction. It dives straight back into the story with only fleeting reminders of what came before. New readers will be lost, so we’d heavily recommend reading Die first.
Writing/Story
This new chapter picks up with Ash at home with his wife, about a year after the group’s return from the game. The real world has moved on, struggling with the aftermath of COVID, while Ash struggles to reconnect with a child he barely knows, born while he was away in the game. When the surviving players reunite for Chuck’s long-delayed celebration of life, new players are chosen for the game, which remains bloodier than ever.
While the comic kicks off a bit slow, Gillen uses that time wisely. Ash steps back in as both narrator and guide, offering fans a grounded recap of past events in the time since the last game ended. The issue is heavy on setup, but Gillen’s conversational writing remains razor-sharp. Each character’s voice carries real weight, and every exchange feels natural to the moment, yet purposeful in driving the story forward, a delicate balance that Gillen manages with ease. The story itself is gripping as always, with the world of the game and the regular world carrying a lot of stories in both.
In terms of lettering, Cowles, also a Die alum, once again plays a crucial role in ensuring Gillen’s writing lands with maximum impact. His lettering balances intensity and clarity, using crowded inner monologues to convey the characters’ mental noise while opening up space when the story needs room to breathe. Each character’s dialogue box and voice feel distinct and deliberate, helping to shape their personalities as much as the writing itself. The scene with the Gods’ speech, in particular, carries such immediate weight and identity that it’s an absolute lettering masterclass.
Art Direction
Hans’ artwork in Die: Loaded is as breathtaking as ever. Each god and their associated themes look strikingly distinct, a deliberate visual choice that makes the double-page spread introducing them feel both chaotic and divine. The transitions between scenes are fluid and cinematic, and when the issue ramps up toward the end, her depiction of the characters’ powers is both gruesome and mesmerizing. Just like in the original Die series, Hans manages to make every page feel like a painted revelation, dripping with atmosphere and emotion.
Regarding color, Hans knows exactly when to pull back, muting tones and essentially nixing backgrounds, so that the following page hits twice as hard. This technique shines in the moment when the first new player is drawn into the game: The subtle palette that precedes it gives way to a sudden burst of color and energy that’s likely my personal favorite in the issue. It’s an event readers have witnessed before, yet Hans makes it feel entirely new.
Verdict
In the end, Die: Loaded proves to be a sequel that honors the emotional weight and creative ambition of the original while carving out its own edge. Gillen and Hans return to their series fresh and ready for many more rounds of the game. The dice have been rolled again, and if this first issue is any indication, we’re in for something extraordinary.
Die: Loaded #1 hits your local comic shop on November 12th.
From writer Christopher Cantwell (Halt and Catch Fire, Plastic Man No More!) and artist Tyler Crook (The Lonesome Hunters, Harrow County) comes a desperate yet hopeful take on one of le last century’s greatest mysteries in Out Of Alcatraz. Now collected in a complete hardcover from Oni Press, Out of Alcatraz is a tense, focused tale inspired by both real events and stories like No Country for Old Men. With a tight, intense script and absolutely stellar visual work, Out of Alcatraz is a fantastic read.
“Convicts Frank Morris and Clarence Anglin have washed ashore in San Francisco after surviving their infamous escape from Alcatraz Federal Penitentiary in June 1962. They soon meet their gruff and disappointed handler, a mysterious young woman who’s also running from something, and hope to quickly get their way north to the border — if they can even make it out of Modesto alive. As a dogged federal manhunt and chance encounters threaten the desperate convicts, everyone involved is about to discover the same bloodstained truth: life on the run is an even more hellish prison than Alcatraz could have ever been.”
Writing & Plot
Christopher Cantwell’s wisest decision in the writing of Out of Alcatraz is that this is not a conventional prison escape story. Instead, this tale covers what happens right after the escape. Morris and Anglin wash ashore on the San Francisco Bay then disappear inland to escape to the North – only to find more hardship and pain on the way. Akin to some of the great stories similar to this – think Shawshank Redemption or Of Mice and Men – Out of Alcatraz never feels triumphant and constantly challenges the reader with its depiction of the world from the perspective of two men who made a mistake. While we meet a wide variety of extra characters throughout the story, the main ones are the woman (she goes nameless until the end of the series) who istrying to get the convicts up North, and the pair of FBI agents who are on the trail of the escapees. All of the main characters are much more than they initially appear, and all have their own deeply engaging stories to follow. Cantwell runs the gamut of socio-political issues in this series – racism, misogyny, homophobia, the dehumanization of prisoners, etc. – and at times it can feel like it’s almost too much for one narrative. On the other hand, these elements are a good reminder of the time period that this story takes place in, as well as showing how little progress we’ve made in many ways. Cantwell’s fictionalization of these events works so well not just due to his thematic writing but to the simple technical ways in which he writes. His dialogue flows naturally and punches hard, and his twists come off as vaguely predictable yet still genuinely gripping. Out of Alcatraz is a phenomenally well-written comic series, and one of the most compelling stories of its kind in recent memory.
Art Direction
I should be forward about the fact that Tyler Crook is one of my favorite artists in the business. Ever since his work on Harrow County I’ve been a huge fan of his approach, and that appreciation is only strengthened by his work here on Out of Alcatraz. Crook’s signature approach to character detail and animation, with his thin linework and shading, gives each and every character dimension and a sense of realism. His sequential direction moves the story along carefully, with quieter, more tense scenes dripping slowly like molasses while the breakneck sequences come across in a staccato of imagery. His color work here is an absolute treat, with shifting watercolors in each panel. Some panels, typically during the day, have a more conventional use of lighting in them to reflect a nice summer day (albeit with an almost dreamlike quality akin to Roger Deakins work in No Country for Old Men). However, his nighttime sequences make stunning use of lighting colors, with elements like moonlight and the glow of streetlights making for memorable and almost eerie visual work. The nighttime panels have an almost mono-color aspect to them that shifts based on the angle of the light – it’s really cool stuff. As per usual, Crook also does his own lettering and the results are also stellar. His word balloons have a reactive feel that gels perfectly with the dialogue and have a distinct, hand-drawn quality about them. His SFX work is a true gem, though, as it washes over the watercolor background to highlight its sharpness while never actually overtaking the page, making it feel more diegetic. Crook continues his spree of being one of the best artists in the business today with his work in Out of Alcatraz.
Verdict
Out of Alcatraz is a phenomenal fictionalized take on a true event. Christopher Cantwell’s script is rife with desperation and humanity, making for one of the most memorable stories of its kind in recent memory. Tyler Crook’s visual work is stupendous, with his signature use of pencils and colors crafting a one-of-a-kind reading experience. Be sure to grab the collected edition by Oni Press, available today!
ULTIMATE SPIDER-MAN: INCURSION #5 hits your local comic book store on October 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: THE ULTIMATE EXIT! A SHOWDOWN WITH THE MAKER’S COUNCIL!
The clock is ticking for Miles to escape the Ultimate Universe with his baby sister! How will Miles leave a mark on the Ultimate Universe? And how will the Ultimate Universe leave a mark on Miles?! Don’t miss the exciting conclusion…and what it bodes for the future of BOTH UNIVERSES!
The issue is by writers Deniz Camp & Cody Ziglar, and artist Jonas Scharf, with colors by Edgar Delgado, and letters by Cory Petit. The main cover is by Sara Pichelli and Tamra Bonvillain.
Check out our ULTIMATE SPIDER-MAN: INCURSION #5 preview below:
Have you been reading ULTIMATE SPIDER-MAN: INCURSION? Are you excited for Marvel’s ULTIMATE ENDGAME? Sound off in the comments!
THE ULTIMATES #17 hits your local comic book store on October 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: THE ULTIMATE FANTASTIC FOUR?
Now that the Ultimates are using the Immortus Engine to its full capacity, Doom’s dream of the Ultimate Fantastic Four may finally be realized…
The issue is by writer Deniz Camp and artist Phil Noto, with letters by Travis Lanham. The main cover is by Dike Ruan and Neeraj Menon.
Check out our ULTIMATES #17 preview below:
Have you been reading Marvel’s ULTIMATES? Are you excited for ULTIMATE ENDGAME? Sound off in the comments!
CAPTAIN AMERICA #4 hits your local comic book store on October 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: A NATION DOOMED!
It’s a showdown between DOOM and CAPTAIN AMERICA with the fate of Latveria hanging in the balance! As Doom prepares a fatal strike against those who stand against him, a sudden betrayal has Cap on the ropes and questioning everything he thought he knew…
The issue is by writer Chip Zdarsky and artist Valerio Schiti, with colors by Frank Martin, and letters by Joe Caramagna. The main cover is by Ben Harvey.
Check out our CAPTAIN AMERICA #4 preview below:
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AMAZING SPIDER-MAN #14 hits your local comic book store on October 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: ENTER: THE GOBLIN SLAYER!
Something has been trying to kill Norman Osborn since the first issue of this volume, and they up the ante this issue! What can Spider-Man do to stop the Goblin Slayer? With all that Norman has done and could do, SHOULD Spidey stop it?
The issue is by writer Joe Kelly and artists Ed McGuinness & Todd Nauck, with additional inks by Mark Farmer & Wade Von Grawbadger, colors by Marcio Menyz & Erick Arciniega, and letters by Joe Caramagna. The main cover is by Patrick Gleason & Marcio Menyz.
Check out our AMAZING SPIDER-MAN #14 preview below:
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ComicArtFans.com (CAF) announced today that it has entered into an Event Partnership Agreement with The Estate of Jack Kirby (Kirby Estate) as represented by The Rosalind Kirby Family Trust and The Jack Kirby Museum & Research Center (Kirby Museum). The initial product of the partnership will be The Kirbys, a new awards ceremony named in honor of Jack and Roz Kirby, to be held at CAF’s Original Art Expo in February.
The partnership will cover the creation and production of fundraising, award, promotional, and other events centered on the work and legacy of creator Jacob Kurtzberg, better known as Jack Kirby, whose awe-inspiring, universally acclaimed, and broadly influential body of work included being the primary architect of the Marvel Comics Universe, as well as making significant contributions to DC Comics, animation, the nascent independent comic book publishing industry, and comic book creator rights.
“We are extremely excited to partner with CAF to help envision and create these awards, which we feel will truly honor Jack and Roz’s legacy while celebrating the passion and future of comic art in remarkable artists today,” said Tracy Kirby, representing the Kirby Estate.
“As a nonprofit organization devoted to advancing the study, preservation, and appreciation of Jack Kirby’s life and work, the Jack Kirby Museum is thrilled to formalize its long-time relationship with the Estate of Jack Kirby and Comic Art Fans through this new partnership,” said Tom Kraft, President of The Jack Kirby Museum & Research Center. “We are proud to be part of honoring Jack and Roz’s vision by celebrating creativity, generosity, and storytelling—and to continue to inspire new and future generations.”
The partnership will be overseen by a three-person committee consisting of Tracy Kirby from the Kirby Estate, Tom Kraft from the Kirby Museum, and Kasra Ghanbari from CAF. Activities under the event partnership will be conceived and designed by the CAF team, then vetted and improved by the committee for consensus approval before being produced by CAF.
The first outcome of the partnership is The Jack & Roz Kirby Awards (the Kirbys), which was created by Kasra Ghanbari and vetted by the committee at length before approval. The Kirbys will be an annual award recognizing innovation, excellence, and humanity in narrative communication. At launch, the Kirbys will consist of six award categories that celebrate the artist’s journey: New Voices, Independent Spirit, Innovator, Visionary, Storyteller, and Teacher. The award process will be overseen by an Advisory Board and Voting Committee, who collectively will nominate candidates and vote on finalists and the award winners.
CAF will be producing an annual awards show at its Original Art Expo (OAX), which for its third year will be held February 20 to 22, 2026 in Orlando, Florida. CAF is actively seeking sponsors and partners for the Kirbys, which will be announced in November along with the Advisor Board and Voting Committee members. The award statue will be unveiled in advance of the awards show, as well.
“This partnership and award are opportunities granted to us by Jack and Roz Kirby, and what they represented, to convey the importance of dreaming, creating, expressing, and evolving,” said Kasra Ghanbari, CEO of CAF. “The Kirbys will seek to identify and support unique and compelling voices and perspectives, serving as recognition and strong encouragement to a creator to continue their path with gratitude for where they’ve already reached. Individuation and capable expression are a mandate, and importantly, Jack seemed to always ask the question: What’s next?”
JACK & ROZ KIRBY
Jack Kirby (1917-1994) and Roz Kirby (1922-1997) were married in 1942, and over the next 50 plus years this is what they did together: revolutionized genres such as crime, war, romance and superhero comics including the creation of X-Men (Professor X, Cyclops, Marvel Girl/Phoenix, Beast, Angel, Iceman), Fantastic Four (Reed Richards, Sue Storm, Johnny Storm, Ben Grimm), The Avengers, The Forever People, The Inhumans, The Eternals, The New Gods, Sgt. Fury & His Howling Commandos, Captain America, Iron Man, The Hulk, Thor, Galactus, Silver Surfer, Black Panther, Wasp, Scarlet Witch, Wonder Man, Machine Man, Ant-Man, Magneto, Doctor Doom, Nick Fury, Red Skull, SHIELD, AIM, HYDRA, The Sentinels, The Skrulls, Uatu (The Watcher), Black Bolt, MODOK, Mister Miracle, Darkseid, OMAC, Kamandi, and The Demon amongst many, many other characters and properties.
THE ROSALIND KIRBY FAMILY TRUST
The Rosalind Kirby Trust upholds the legacy of Jack Kirby and ensures his creations continue to inspire millions around the world. More information HERE.
THE JACK KIRBY MUSEUM & RESEARCH CENTER
The Jack Kirby Museum & Research Center is a 501(c)(3) nonprofit organization dedicated to promoting and encouraging the study, understanding, preservation, and appreciation of the life, work, and legacy of Jack Kirby—one of the most influential creators in comics and popular culture—more information HERE.
About ComicArtFans.com (CAF)
CAF is the premier website in the world serving comic book and narrative art collectors, artists, auction houses, art dealers, and artist representatives. CAF’s deCAF mobile app is now available globally for iOS and Android devices under “Comic Art Fans” through Apple’s App Store and Google Play. Make sure to subscribe to the CAF newsletters, OAX newsletter, and CAF+ YouTube channel, as well as our Instagram and Facebook pages. Find all of our links at Linktree.
Every month, CAF has 15,000+ active users and 400,000+ visits from nearly 200,000 visitors that generate 3,000,000+ page views. Collectors may easily set up either free or premium galleries on CAF, where they’ll find over 1,000,000 pieces of art posted by collectors and artists in their galleries and personal classifieds, which is additionally supplemented by 100,000s of art pieces from art dealers and artist representative websites. CAF is proud to be a truly global hub, with more than half of our traffic coming from outside the United States, most notably from France, Canada, Italy, the United Kingdom, and Spain.
CAF’s event division includes Comic Art LIVE (CAL), the biggest virtual comic art convention in the world, which is held twice annually in May and November, as well as its Original Art Expo (OAX) in Orlando, Florida, which has immediately established itself as the premier visual storytelling art event in the world.
OAX is an art fair and trade show hybrid being developed as an annual platform to exclusively showcase the narrative arts, most especially comic book, comic strip, illustration, and collectible card art. Year three of OAX is February 20-22, 2026 and will again feature the Illustration Art Expo (IAX) and Card Art Expo (CAX) as part of OAX and will present the Jack & Roz Kirby Awards presentation. Watch the OAX 2024 Intro Footage video HERE. CAF’s event division also includes Indie Comics Creator Con (IC3), a portfolio of both in-person and virtual shows committed to providing an affordable, dynamic, and inclusive platform that brings together independent comic book creators, artists, publishers, art collectors, and fans to celebrate and support unique and diverse creators in comics.
CAF also operates the highly active CAF+ YouTube channel, a community resource that produces a regular slate of weekly content including interviews with prominent creators and art collectors; previews of major auction house events; info and announcements for our CAL, OAX, and IC3 shows; the popular Dueling Dealers and Amateur Dealers of Comic Art programs pitting professional and/or amateur comic art dealers against one another; and art sale shows directly conducted with artists, artist reps, non- profits, and other fundraising groups.
Between the CAF website, deCAF mobile app on Apple’s App Store/Google Play, twice annual CAL virtual convention, CAF+ YouTube channel, and our OAX and IC3 show platforms, CAF has in place the central 24/7 hub, networking tools, educational materials, and events to assist and enable everyone from the first-time art collector and early career artist to the most seasoned art collector, art dealer, and professional published artist.
