Spoiler notice: Major spoilers for A Parade of Horribles and light Book 9 preview spoilers follow. The variant inventory reflects reporting through October 11, 2026 at 9:15 p.m. Eastern.
New York Comic Con 2026 did not simply give Dungeon Crawler Carl a panel and a corner of a publisher booth. For four days at the Jacob K. Javits Convention Center, the franchise occupied almost every layer of modern fandom at once: bestselling novels, performance-driven audiobooks, a developing Peacock television adaptation, printed graphic novels, a canon side story, convention exclusives, creator signings, collector blind bags, and enough variant covers to make even an experienced comic buyer stop and build a spreadsheet.
The biggest story was still the future of the novels. Matt Dinniman and audiobook narrator Jeff Hays used the convention spotlight to introduce a previously unseen Crawler from Book 9, let Hays perform part of the scene, and place Ferdinand, better known to Donut as Gravy Boat, back near the center of the drama. Yet the most visible development on the show floor was arguably the transformation of DCC into a full comic-book property. Vault built a large themed installation, stocked multiple families of exclusives, promoted Dungeon Crawler Carl: Crocodile #0.5, and supported a sprawling ecosystem of retailer and artist variants.
That combination matters. NYCC 2026 showed that DCC is no longer moving through one expansion at a time. The franchise is scaling in parallel. The novels remain the canon engine. Jeff Hays and Soundbooth Theater remain essential to its identity. Peacock is developing the live-action adaptation. WEBTOON and Vault are bringing the main story to sequential art. Crocodile is testing original canon storytelling outside Carl and Donut’s immediate point of view. The collector market is treating even a short preview issue as a launch platform.
The result was one of the most complete franchise showcases at the convention.
The short version: what was actually new at NYCC?
The clearest story-specific reveal came during the Matt Dinniman spotlight appearance:
- Book 9 introduces a new Crawler named Tabiti.
- Tabiti’s crawler number is 12953455.
- Tabiti appears to be a child.
- Tabiti is described as “human,” with Jeff Hays reportedly emphasizing the uncertainty around that word during his reading.
- Tabiti’s class is Subjugator.
- Tabiti is accompanied by Ferdinand, the cat Donut knows as Gravy Boat.
- Dinniman said this is a Crawler readers have not met before and not necessarily the person many Book 8 readers expect.
- The Book 9 working title remains The Beautiful Place, but that is not a final title.
- No Book 9 publication date was announced.
The important caution is that not every fact circulating during NYCC originated there. Dinniman had already discussed his plan to write the final movement as one enormous story published as two books. The live-action Peacock project, Seth MacFarlane’s Fuzzy Door involvement, Chris Yost’s role, and Jeff Hays being cast as the voice of Princess Donut were also announced before NYCC. Those remain important context, but they should not be presented as fresh New York reveals.
On the comics side, the convention delivered a broader set of developments:
- Vault presented a large DCC-focused booth installation at booths 4351 and 4253.
- Dungeon Crawler Carl: Crocodile #0.5 received an NYCC promotional issue in standard and foil versions.
- Vault confirmed that every physical Crocodile campaign backer would receive a first-printing physical copy of the standard NYCC issue, even if the backer did not attend.
- Backers also received early digital access to the promotional issue.
- The main WEBTOON adaptation was represented by exclusive Volume 1 and Volume 2 bundles with variant cover art by Katie Cook and Yoshi Yoshitani.
- CGC distributed a Doug Mahnke DCC #0 variant at booth 2805 with an eligible grading submission, while supplies lasted.
- Plastic Empire and Whatnot launched a Ben Su NYCC blind bag with multiple chase treatments.
- Retailers, artists, and convention vendors released or debuted dozens of additional DCC #0 second-print variants tied to NYCC.
- Peacock’s adaptation entered soft preparation, with filming expected to begin in 2027.
- Universal Global Television said drafts, outlines, and the complete series pitch had been submitted, while hiring and casting work was underway.
- Carl had not been cast by the end of the convention.
The Book 9 reveal: Tabiti enters the dungeon
The introduction of Tabiti is the most consequential canon development to emerge from the convention because it immediately creates several mysteries.
First, there is the numerical problem. By the end of Book 8, the surviving field of Crawlers has been radically reduced. Adding a Crawler with a full system number at this stage should be unusual. Dinniman apparently anticipated that response because he clarified that Tabiti is someone the audience has not previously met.
Second, Tabiti is presented as a child. Children have always carried unusual emotional and political weight in DCC. Their treatment intersects with the Syndicate’s rules, the Crawl’s brutality, Lucia Mar’s fractured identity, and the moral lines Carl is still trying to defend. A child entering the narrative with an advanced role and an ambiguous species description is unlikely to be an incidental companion.
Third, the class name Subjugator sounds deliberately aggressive. Classes in DCC are rarely decorative. They tell readers what a character can do, what role the system wants them to perform, and sometimes how the showrunners intend to market them. “Subjugator” suggests control, coercion, domination, or the conversion of other beings into assets. That could refer to creatures, Crawlers, summoned entities, or something stranger. Until the book appears, all of those readings remain theories.
Fourth, Hays’ emphasis on the word “human” is a warning against taking the surface description literally. DCC repeatedly plays with species classifications, transformed bodies, remote operators, manufactured identities, and entities placed into game-defined forms. Tabiti may look human to Carl without being human in the ordinary Earth sense.
Finally, Ferdinand’s presence makes the reveal personal before readers know the larger mechanics. Ferdinand is not simply another animal companion. To Donut, he is Gravy Boat, the cat connected to her pre-Crawl domestic life and to her complicated history with Bea. Bringing him back beside a mysterious new Crawler creates instant conflict. Donut’s jealousy and territorial instincts may be funny, but Dinniman often uses comedy to conceal grief, abandonment, and fear.
Is Tabiti the child seen near Lucia Mar?
The immediate fan theory connects Tabiti to the young girl Carl sees near Lucia late in A Parade of Horribles. The timing makes the idea tempting, but the evidence cuts both ways.
Dinniman said the Book 9 Crawler is someone the audience has not met. Readers have technically seen the unidentified child, although Carl did not identify or interact with her. That leaves room for wordplay, but it is not confirmation. The child near Lucia could be Tabiti, another manifestation connected to Lucia’s internal personalities, or a separate figure whose purpose has not been disclosed.
Other theories identify Tabiti with a transformed enemy, an AI-related entity, or someone inserted into the Crawl through a rule change. The Subjugator class and the crawler number are useful clues, but not enough to select a winner. A responsible wiki article should record the theories as theories and keep the confirmed facts in a separate box.
What the reveal says about Book 9
Even this short scene suggests that the next volume will not merely continue the closing pages of Book 8. It will introduce new pieces while paying off very old ones. Dinniman has previously described the final story as large enough to require two published volumes, even though he is approaching it as one connected narrative. He has also said that many planted elements still need resolution.
Tabiti fits that structure. The character arrives as a new variable but carries an old connection through Ferdinand. That is an efficient way to widen the plot while pulling Donut’s pre-Crawl life back into the present. It also creates a character who may expose rules that the surviving Crawlers do not understand.
No firm release date was announced at NYCC. The working title The Beautiful Place should be treated as provisional. The two-book publication structure was discussed before NYCC and should be linked as background rather than labeled a convention reveal.
Jeff Hays turned the reveal into a performance
The presence of Jeff Hays matters because DCC announcements are no longer only literary announcements. For a large part of the audience, Hays’ voices are inseparable from the characters. Having him perform the introduction allowed the panel to communicate details that a press release could not capture, particularly the suspicious emphasis placed on “human.”
That performance also reinforced the unusual relationship among author, narrator, and fans. DCC audiobook listeners do not view Hays as a neutral reader. His interpretations influence how characters are understood, and his live readings function almost like previews from a screen adaptation.
The convention did not produce a new television casting announcement comparable to the San Diego reveal that Hays will voice Princess Donut in Peacock’s live-action adaptation. It did, however, produce the clearest production update yet. Universal Global Television scripted-series chief Kelsey Balance said the adaptation was in soft preparation, with filming planned for 2027. Drafts, episode outlines, and the full-series pitch had been submitted. The production was hiring department heads, line producers, production designers, directors, and casting personnel, with the goal of completing all scripts before filming begins.
Matt Dinniman also confirmed that Carl had not been cast. He said the role requires someone who can be funny while still projecting the frightening intensity Carl displays when angry. The show continues under showrunners and executive producers Chris Yost and Eric Heisserer, with Jeff Hays attached as Princess Donut. No trailer, premiere date, or Carl casting reveal arrived at NYCC, but the 2027 filming plan was a substantial step beyond the project’s previously announced development status.
A franchise-level presence, not a single booth appearance
NYCC’s official literary schedule gave Dinniman a spotlight session on Friday, October 9. The convention also scheduled Aethon: Vault - LitRPG Takes Over the World on Saturday, October 10, with Dinniman, Aethon’s Steve Beaulieu, Vault’s Damian Wassel and Adrian Wassel, and moderator Andy Peloquin.
Those two programs framed DCC in different ways. The spotlight treated Dinniman as the creator of a publishing phenomenon. The Aethon and Vault session positioned DCC as the most visible example of LitRPG crossing into the general trade, comics, crowdfunding, and adaptation markets.
The show floor completed that message. Vault described its presence as going “full DCC” and built a custom installation around the property. The Crocodile campaign update identified two booth numbers, 4351 and 4253, and reported that some exclusives were selling out during the show. Matt Dinniman, Brett Bean, and other creators participated in signings.
Sunday completed the creator schedule with two notable ticketed appearances. Vault hosted Dinniman, Brett Bean, Yoshi Yoshitani, and Katie Cook from 11:00 a.m. to noon at booths 4253 and 4351. The signing required a ticket, wristband, and purchase, with two items permitted per attendee and additional signatures potentially available for a fee. INK Games Publishing then hosted a sold-out Dinniman signing from 12:30 to 1:30 p.m. A $40 reservation included the Official Princess Donut Wooden Puzzle Set and one signature, either on the puzzle set or another item brought by the attendee.
A Sunday panel recap also documented Luciano Fleitas artwork created for the forthcoming Dungeon Crawler Carl tabletop role-playing game. Dinniman said he remained at work on Book 9, although his convention schedule and improvisational writing process do not produce a regular writing timetable. He also explained that he had hired help to manage the growing merchandise workload and wanted the merchandise program to remain rooted in the books before the television adaptation develops its own identity.
For a property that began as serialized web fiction and self-published ebooks, this is a striking progression. DCC was not presented as a niche audiobook success visiting a comic convention. It was presented as a multi-format franchise that belonged there.
Dungeon Crawler Carl: Crocodile #0.5 becomes the bridge to the next canon expansion
The NYCC Crocodile #0.5 issue may prove more important than its promotional numbering suggests.
Dungeon Crawler Carl: Crocodile is an original graphic novel centered on Florin DuPont, the Crocodilian mercenary and Crawler whose experiences offer a view of the game beyond Carl and Donut. Matt Dinniman writes the project, with Brett Bean providing the art. Because the story is intended as canon rather than a loose adaptation, it can add new material to the DCC universe.
The #0.5 issue includes a preview block presented with final color work by JP Jordan and final lettering by Andworld. That makes it both a convention sampler and a production-status signal. It gives readers a look at the finished visual language before the full graphic novel arrives.
The distribution plan also softened the usual meaning of “convention exclusive.” Vault offered standard and foil editions around NYCC, but every physical campaign backer was promised the standard first-printing issue as part of their reward shipment. Backers received digital access during the event as well. In other words, the issue is an NYCC edition, but the standard version is not geographically limited to attendees.
That is a smart choice. It preserves a convention moment without penalizing the community that funded the project. It also makes the distinction between edition exclusivity and point-of-sale exclusivity essential for collectors.
The WEBTOON adaptation moved further into print
Vault also used NYCC to package the first two print volumes of the main DCC graphic novel adaptation.
The Katie Cook bundle and the Yoshi Yoshitani bundle each contain Volume 1 and Volume 2 with exclusive variant cover art and a spot-gloss treatment. Volume 1 collects WEBTOON episodes 1 through 13. Volume 2 collects episodes 14 through 30. Both bundles were marketed for NYCC pickup with limited at-home preorder availability.
That gives the convention four distinct graphic-novel cover editions:
- Volume 1, Katie Cook NYCC cover
- Volume 2, Katie Cook NYCC cover
- Volume 1, Yoshi Yoshitani NYCC cover
- Volume 2, Yoshi Yoshitani NYCC cover
These should not be confused with the many DCC #0 second-print variants. They are full collected volumes, not 24-page single issues. They also represent the WEBTOON adaptation rather than the original Crocodile side story.
The CGC giveaway was a conditional exclusive, not a free walk-up comic
CGC’s Doug Mahnke edition received substantial attention because it combined scarcity, a recognizable artist, creator signings, and an unusual acquisition method.
The comic was offered at CGC booth 2805 to attendees who submitted an eligible collectible for grading. The variant itself was described as free, but obtaining it required a paid grading submission. Distribution was limited to one per person while supplies lasted. Dinniman and Mahnke were scheduled for signing appearances during the convention.
Collector references identify this cover as the “daylight” version within the Mahnke family. Other Mahnke treatments sold through the Vault and retailer ecosystem included a standard edition, virgin foil, paste-up, rain-effect, and spot-gloss versions. Those are related visually, but they are not all the same as the CGC submission incentive.
This is exactly the sort of distinction a permanent wiki page should preserve. “Doug Mahnke NYCC variant” is not precise enough. A complete record needs the treatment, seller or distributor, acquisition method, and whether the book could be ordered online.
The Ben Su blind bag turned DCC into a chase-variant product
Plastic Empire and Whatnot launched a DCC NYCC blind bag designed with artist Ben Su. Coverage described the release as a convention-exclusive mystery bag with chase variants, including an homage to Todd McFarlane’s Spider-Man #1.
Collector documentation identifies six treatments:
- Trade
- Foil
- Sketch
- Bloody trade
- Bloody sketch
- Bloody foil
This was more than another retailer cover. The blind-bag format imported the logic of trading cards and designer collectibles into DCC comics. Buyers were not simply choosing an image. They were buying a randomized chance at a scarcer finish.
That approach can drive excitement and secondary-market activity, but it also creates cataloging problems. A wiki should record each treatment separately and connect them through a parent release page. It should not list “Ben Su blind bag” as one undifferentiated object.
The complete NYCC 2026 DCC variant picture
The phrase “NYCC exclusive” was used loosely across the market. Some books appear to have been physically available only at the convention. Some were sold at NYCC and through Whatnot. Some offered small presales. Some promised online sales of leftovers. Others were standard convention variants also allocated to partner retailers.
For that reason, the inventory in this package uses four availability classes:
- Event-only: evidence says the book was obtainable only at NYCC, subject to a convention action.
- NYCC plus online: branded or promoted as an NYCC exclusive, but also sold through preorder, livestream, shipping, or post-show leftovers.
- Convention debut: launched or prominently sold at NYCC without reliable evidence that the edition was restricted to the event.
- Conditional giveaway: required another transaction or eligibility action, such as a CGC grading submission.
The research identified at least 55 NYCC-linked single-issue editions and promotional variants, plus four exclusive collected-volume cover editions. Independent retailer drops changed quickly throughout the event, so the CSV in this package should be treated as a dated census, not an eternal final count.
On Sunday morning, a retailer reported locating 15 additional copies of a Doug Mahnke spot-foil edition. That was an availability update, not evidence of a newly revealed cover. Collector references disagree on whether the relevant spot-foil run was 150 or 250 copies, and some listings use foil terminology inconsistently. This package therefore preserves the existing edition count and does not publish either number as a verified print run. A publisher or originating-retailer statement should control any later correction.
Vault and creator-linked families
The most clearly documented publisher-linked group includes:
- Brett Bean’s Donut x Mongo cover
- Nathan Gooden’s Donut x Laser cover
- Adam Cahoon’s Catman standard and foil editions
- Nathan Gooden and Tim Daniel’s DragonCon 2.0 standard, foil, and foil-virgin editions, despite the legacy nickname
- Brett Bean’s DCC x D’ORC standard, foil, and virgin-foil editions
- Brett Bean’s additional NYCC exclusive DCC #0 cover
- Brett Bean’s Crocodile #0.5 standard and foil editions
The DCC x D’ORC cover is a crossover with Bean’s creator-owned Image Comics series D’ORC. Its presence at the show connected two parts of Bean’s convention profile while giving DCC collectors another clearly themed mini-family.
Artist, retailer, and homage variants
The extended inventory includes:
- Creees Lee Akira Slide black-and-white coins and gold-foil treatments
- Josh C. Lyman Berserk standard and foil-virgin treatments
- Kevin Mallqui House of the Dragon foil-virgin homage
- Jonathan Uribe One-Punch Man black-and-white homage
- Ricardo Latina Amazing Spider-Man #50 trade, virgin, foil, and virgin-foil treatments
- Trish Forstner Le Chat Noir standard and foil editions
- Doug Mahnke standard, virgin foil, paste-up, rain-effect, and spot-gloss variants
- Nathan Gooden The Walking Dead trade, foil, and paste-up homages
- Trish Forstner Princess of Liberty gold-foil embossed and purple-foil editions
- Doug Mahnke Absolute trade, foil, embossed-foil, and paste-up treatments
- Davis Rider Batman #423 day and night homage editions
- Toru Terada gold-foil edition with limited NYCC allocation
- Todd Beats Bleeding Heart virgin and virgin-foil editions
The dated line-by-line census is in the searchable inventory below and in the downloadable CSV.
Why so many DCC variants appeared at one convention
The variant surge is not random. It reflects a convergence of factors.
DCC now reaches book buyers and comic collectors
The original audience came through Royal Road, Kindle, Patreon, and audio. The comic adaptation brings in a market accustomed to retailer exclusives, foil treatments, low print runs, signature events, and homage covers. A strong portion of the DCC audience is also highly completionist, which makes the property unusually compatible with comic-collecting behavior.
Issue #0 is an ideal variant platform
The single issue is approachable, visually adaptable, and tied to the beginning of the story. Retailers can commission a cover without asking buyers to follow a long monthly run. The same interior can support multiple exterior treatments, which lowers the barrier to creating a convention-specific collectible.
The franchise has recognizable visual shorthand
Carl’s heart boxer shorts, Donut’s crown, Mongo, the dungeon interface, and the foot motif give artists recognizable symbols that can be remixed into homage compositions. Even when a cover borrows the structure of a famous comic image, DCC’s visual vocabulary makes the result immediately legible.
NYCC creates concentrated demand
The show combines creators, publishers, grading companies, retailers, livestream sellers, and collectors in one place. A book can be revealed on social media, sold at a booth, signed by its artist, submitted for grading, and listed on the secondary market within hours.
What collectors should verify before paying resale prices
The first weekend is the worst time to assume that a listing title is accurate. Sellers frequently use “NYCC exclusive” as a search term even when copies were offered online.
Before buying, verify:
- Exact cover image and treatment. Trade, virgin, foil, spot foil, embossed foil, paste-up, sketch, bloody, and black-and-white versions may share the same base art.
- Printing. Most DCC #0 books in this NYCC wave are second-print special editions. Crocodile #0.5 is a separate first-print promotional issue.
- Distributor or retailer. CGC, Vault, Plastic Empire, Big Clutch, JJ’s Comic and Art, Presto’s, ComicTom, and individual artists had different acquisition paths.
- Stated limitation. A seller’s quantity claim is not the same as a publisher-confirmed print run.
- Signature authenticity. Confirm whether a signature was witnessed, accompanied by a certificate, or simply described by the seller.
- Online availability. A book offered through Whatnot or a presale is not physically event-only, even if the cover is branded for NYCC.
- Final art. Some presale listings used preliminary images or warned that final art could vary.
The safest wiki practice is to avoid market-value claims during the release window. Completed sales can be tracked later, but asking prices should never be treated as realized value.
What NYCC 2026 means for the future of DCC
The convention revealed a franchise entering a new phase of maturity.
The Book 9 scene reassured novel readers that the central story is advancing and that Dinniman is still willing to introduce disruptive new mysteries near the end. Hays’ live performance kept the audiobook identity central. The large Vault presence showed confidence that DCC can sustain a physical comics program. Crocodile #0.5 demonstrated that canon expansion beyond the main novels is no longer theoretical. The collected WEBTOON volumes gave casual readers another entry point. The variant market proved that retailers believe DCC buyers will respond to cover artists, finishes, and scarcity.
There is also a warning in that success. When one issue receives dozens of convention-linked treatments, new readers can become confused about what is actually new content. Most DCC #0 variants share interiors. A different cover does not mean a different story. The wiki can create value by explaining that clearly.
The same principle applies to announcements. Book 9’s Tabiti reveal was new. The working title and two-volume endgame were known before the show. Jeff Hays’ Donut casting was a San Diego announcement. Peacock’s involvement was already public, but its soft-preparation status and expected 2027 filming start were genuine NYCC updates. Accurate chronology will make the site more trustworthy than recap pages that bundle every current fact under an NYCC headline.
Confirmed facts versus open questions
Confirmed
- NYCC 2026 ran October 8 through 11 at the Javits Center.
- Matt Dinniman participated in a spotlight panel and the Aethon/Vault LitRPG panel.
- Jeff Hays performed material introducing Tabiti.
- Tabiti is a new Crawler, apparently a child, numbered 12953455, with the Subjugator class.
- Ferdinand appears with Tabiti.
- The Beautiful Place remains a working title, not the official final title.
- No Book 9 release date was announced.
- Vault mounted a major DCC installation and sold multiple convention editions.
- Crocodile #0.5 was distributed in standard and foil NYCC editions.
- Physical Crocodile backers are scheduled to receive the standard first-printing issue.
- CGC offered a Doug Mahnke variant with an eligible grading submission.
- The Ben Su blind bag contained multiple chase treatments.
- Katie Cook and Yoshi Yoshitani created NYCC cover sets for the first two collected graphic-novel volumes.
- Peacock’s adaptation entered soft preparation, with shooting expected in 2027.
- Drafts, outlines, and the full-series pitch had been submitted, and key production hiring was underway.
- Carl remained uncast at the close of NYCC.
- Luciano Fleitas artwork for the forthcoming tabletop role-playing game was displayed.
- Sunday included the Vault multi-creator signing and the sold-out INK Games signing with the Princess Donut wooden puzzle set.
Not confirmed at the post-convention cutoff
- Tabiti’s true species or identity
- Whether Tabiti is the same child seen near Lucia
- The exact function of the Subjugator class
- Why Ferdinand is traveling with Tabiti
- A final Book 9 title
- A Book 9 publication date
- A Peacock premiere date
- The actor who will play Carl
- A trailer or exact production-start date
- A complete publisher-certified print-run list for every retailer variant
- Whether the disputed Mahnke spot-foil limitation was 150 or 250 copies
- Stable secondary-market values
Final assessment
New York Comic Con 2026 was the moment DCC looked less like one bestselling book series with adaptations attached and more like a coordinated entertainment and collectibles franchise.
The creative center remains the relationship among Carl, Donut, Dinniman, and Hays. Tabiti’s introduction added a genuine new mystery and pulled Ferdinand back into the emotional machinery of the story. Around that center, Vault used the convention to display a rapidly expanding comics program: collected WEBTOON volumes, a canon Florin side story, a dedicated booth build, signings, giveaways, blind bags, and an extraordinary volume of cover variants.
The best way to cover the event is not to repeat every marketing use of the word “exclusive.” It is to preserve the differences. Which facts were announced in New York? Which editions contained new material? Which were cover changes only? Which books were truly obtainable only at the Javits Center? Which could be ordered online? Which claims came from publishers, and which came from collector tracking?
Once those distinctions are made, the scale of the week becomes even clearer. DCC was everywhere at NYCC because it now has something for nearly every kind of fan: a new canon mystery, a narrator performance, a creator conversation, a television production moving toward a 2027 shoot, a tabletop role-playing game, a comic adaptation, an original graphic novel, and a collecting hunt that may take years to fully catalog.
Core sources
- New York Comic Con official site and dates
- Entertainment Weekly: NYCC 2026 panel schedule, including Matt Dinniman and Aethon/Vault
- CinemaBlend: Book 9 introduces Tabiti
- CinemaBlend: background on the two-volume final story plan
- Vault BackerKit update: DCC at NYCC and Crocodile #0.5 distribution
- Vault Comics: Katie Cook NYCC Volume 1 and 2 bundle
- Vault Comics: Yoshi Yoshitani NYCC Volume 1 and 2 bundle
- Whatnot NYCC schedule: Plastic Empire and Ben Su blind-bag launch
- Bleeding Cool: Ben Su blind bag and chase variant context
- CGC giveaway details summarized by Resell Calendar
- Bleeding Cool: Peacock adaptation enters soft prep with filming expected in 2027
- Vault Events: Sunday Dinniman, Bean, Yoshitani, and Cook signing
- INK Games Publishing: Sunday Dinniman signing and Princess Donut puzzle set
- SFFWorld: Matt Dinniman NYCC spotlight recap and tabletop RPG artwork
- DCC Loot community catalog
Editorial note
This post-convention edition includes Sunday events and reporting available through approximately 9:15 p.m. Eastern Time on October 11, 2026. The variant census combines publisher pages, campaign updates, convention scheduling, retailer announcements, and the DCC Loot collector catalog. Entries without publisher-certified print runs are marked accordingly in the accompanying data. Conflicting Mahnke spot-foil limitation claims remain unresolved, and no secondary-market asking price is presented as a verified value.