Kaare Andrews Brings 100 Signed Renato Jones Omnibuses to His First New York Comic Con

Kaare Andrews is making his first New York Comic Con appearance with an appropriately scarce piece of creator-owned comics publishing: Renato Jones: Omnibus — Street Edition. Just 100 copies have been produced, each signed and numbered by Andrews, and they are planned for sale exclusively at his Artist Alley table, booth J28, while supplies last.

The limited book gathers the full Renato Jones material previously released as the graphic novels The One % and Freelancer. It is a 344-page, 5.5-by-8.5-inch volume produced, written, drawn, owned and published by Andrews. That combination makes this more than a convention variant of a broadly distributed book: it is a self-published, creator-led edition of a completed work, tied specifically to an in-person event.

Andrews is also debuting Superchopper Studios, described as a new imprint for special projects and curated editions, with the Street Edition as its first release. For readers, that puts the focus on the comic itself. For physical-media collectors, it also establishes an imprint identity from its first project—and does so through a deliberately small, numbered run.

A convention exclusive built around the complete story

An omnibus is generally a collected edition that brings a substantial amount of a series or related material into one binding. In this instance, “omnibus” means readers can obtain both Renato Jones graphic novels in a single 344-page book rather than pursuing their earlier separate editions. The word can suggest an oversized hardcover in some comics lines, but this release is explicitly compact at 5.5 by 8.5 inches. Prospective buyers should therefore treat its stated page count, dimensions and signed/numbered limitation—not assumptions attached to the omnibus label—as the useful specifications.

The Street Edition’s distinction is not limited to a new front cover. Its exclusive cover incorporates hidden messages and graphics through spot gloss. Spot gloss is a printing finish applied to selected portions of the cover rather than across the entire surface. Because it reflects light differently from the surrounding area, the glossed details can become visible, recede or shift in emphasis as the book is tilted. Here, that effect is intended to make parts of the design appear and disappear with movement through the light.

That production choice is especially suited to a physical convention edition. A digital image can show the cover art, but it cannot fully reproduce the changing reflective treatment. It also means condition-conscious owners may want to be attentive to the cover surface: the feature is part of the edition’s visual appeal, not merely an incidental embellishment.

The run is limited to 100 signed and numbered copies. A signature confirms Andrews’ direct involvement with each copy, while a number identifies a book’s place in the stated production run. Neither detail by itself establishes future value, and the supplied information does not identify a price or a later sales plan. What is clear is availability: the edition is not being offered outside the convention, and inventory is finite.

What Renato Jones is about

Renato Jones is Andrews’ creator-owned superhero series about a figure who targets the super-rich—people portrayed as believing their wealth makes them beyond consequences. The premise carries a blunt social edge, summed up in promotional language that described the ultra-wealthy as being in serious trouble. That phrasing was softened for some releases, but the core idea remains direct: the series imagines a form of reckoning against exceptional power and insulation.

Andrews has said the concept feels more timely to him now than it did when he first created it. His explanation frames Renato Jones as a fantasy of someone finally pushing back against people who feel untouchable because of their money. That is a statement of the book’s thematic purpose, rather than a promise of a newly revised story; the Street Edition collects the existing The One % and Freelancer graphic novels.

The series already has some publication history behind it. Its debut issue received multiple printings, and the work has appeared in three languages through editions in North America, France and Italy. The omnibus, however, is positioned differently from that earlier circulation. It is a narrow-run, creator-published event edition rather than a standard edition described as going through wider channels.

Why the creator’s role matters here

Andrews has worked on prominent superhero comics including Spider-Man: Reign, Iron Fist: The Living Weapon, Amazing Fantasy and Spider-Man & Wolverine, as well as cover work for Absolute Batman and Midnight Spider-Man. He has also directed feature and television projects. Those credits offer useful context for an Artist Alley appearance, but the relevant difference with Renato Jones is authorship and ownership: Andrews created it, writes and draws it, owns it, and is publishing this edition himself.

Creator-owned means that the creator retains ownership of the underlying property, unlike work-for-hire arrangements commonly associated with major shared-universe characters. In practical terms, this allows Andrews to shape the presentation of this omnibus from its compact format and cover finish to its restrictive convention distribution. It also makes the book an especially direct expression of the creator’s publishing choices.

That independence should not be confused with an absence of prior publisher history. The two collected graphic novels were previously published by Image Comics. The new Street Edition is instead being released through Superchopper Studios, the new imprint Andrews has established for select projects and curated editions. The distinction matters to anyone cataloguing the item: it is a collection of previously published material, but it is a new limited edition with a new imprint and exclusive cover treatment.

Practical expectations for attendees

The essential information is straightforward: find Andrews at Artist Alley booth J28 and expect the edition to be available only while the 100 copies last. As it is signed and numbered, buyers who want a copy should verify those features at the table and retain any purchase documentation they receive. There is no supplied price, no indication of preorders, and no suggestion that copies will later be made available online or at other events. It would be unwise to assume any of those options exist.

For readers deciding whether the book is for them, the strongest draw is a full, compact collection of Andrews’ creator-owned anti-elite superhero story. For collectors, the appeal is a defined 100-copy limitation, direct signature and numbering, first release from a new imprint, exclusive spot-gloss cover and event-only distribution. Those are concrete edition characteristics; they are more informative than treating scarcity alone as a guarantee of collectibility.

For attendees building out a wider convention plan, New York Comic Con can offer plenty of detours beyond the purchasing queue; our look at NYCC food stops as a side quest is one possible break between Artist Alley visits. In Andrews’ case, though, the limited availability makes booth J28 the priority for anyone specifically seeking this book.

Small run, specific purpose

The most notable aspect of the Street Edition is how closely its format fits the occasion. Andrews’ first NYCC appearance is paired with a book that contains an entire run, bears his signature and number, and is restricted to the show. Instead of offering only a single special cover over a regular issue, he is bringing a complete reading package with physical details designed for close inspection.

Whether a visitor approaches it as an introduction to Renato Jones or as a convention-exclusive artifact, the boundaries are unusually clear. There are 100 copies. They collect The One % and Freelancer. They are 344 pages in a 5.5-by-8.5-inch format. Their cover uses spot gloss to conceal and reveal graphics in changing light. And, based on the stated plan, they are available only at booth J28 during New York Comic Con, until the limited supply is gone.