The following is an interview with Jason Brubaker, Jeff Yagher, and Eben Matthews regarding the launch of the first Frenz n’ Fienz title, Phobos Volume 2, on Kickstarter in collaboration with Titan Comis and Macroverse. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Brubaker, Yagher, and Matthews about what defines a Frenz n’ Fienz title, what readers can anticipate from the Kickstarter campaign’s backer rewards, and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: The recent launch of your Kickstarter campaign for Phobos Volume 2 marks the beginning of your new publishing label, Frenz n’ Fienz, in collaboration with Titan Comics and Macroverse. What can you share with us about the genesis of this partnership, and what do you feel defines a Frenz n’ Fienz title?
Jason Brubaker: Well, I’ve been making my own comics ever since I can remember with books like reMIND, Sithra, and Phobos, which all have monsters and themes of good and evil. So, when Macroverse brought the idea of the Frenz n’ Fienz label to me, it just naturally clicked because it described what I was already doing: fantastical worlds, characters and creatures that can be more friendly or fiendish depending on their nature, choices and role in each story.
It not only fits with all my past stories, but the ones I hope to write and draw in the future, as well.
Then, when Titan Comics came into the picture and offered to publish all my books, it completed the triangle perfectly. Titan can reach an audience that I cannot on my own, and Macroverse can bring my books to the digital and interactive side. As I keep developing new worlds, they can all fall under this umbrella so fans know “if it says ‘Frenz n’ Fienz,’ this is one of my worlds.”
Frenz n’ Fienz is creator-owned stories. Character- and world-driven with fantastical elements played out against the characters “norms.” I love blending genres, having humor, horror, and heart all in the same place.
Eben Matthews: Frenz n’ Fienz actually started as an internal idea at Macroverse before we realized it was the perfect vehicle for our collaboration with Jason. We were talking about a shared space for stories that had some element of the fantastical, populated by strange creatures and characters who could live anywhere on a spectrum between “friend” and “fiend.” In our shorthand we started asking: “Is this character friendly or fiendly?” which has now become “freinzly” or “fienzly” and realized there was a lot of room inside that concept, from all-ages whimsy to full-on horror.
At the same time, we had been working with Jason for years and watching him expand his very distinct body of work from reMIND and Sithra to PHOBOS and beyond. I realized these stories that I loved, that Jason was crafting all fit within that concept. His worlds are full of beautifully designed, slightly off-center characters who are wrestling with identity, morality, and their own monstrosity. As we looked at a longer-term partnership, it became obvious that Frenz n’ Fienz should not be a generic umbrella, it should be the name for the universe of Jason’s characters and stories.
From there, the missing piece was the right publishing partner. We had gotten to know the team at Titan over several years and really respected both the quality of the books they put out and the way they work with creators. They responded to PHOBOS and to the broader Frenz n’ Fienz concept immediately, and, together, we mapped out a longer-term plan. Launching the label with PHOBOS Vol 2, the Frank statue, and this Kickstarter felt like the perfect way to bring Jason’s universe, Titan’s publishing muscle, and Macroverse’s platform together in one place.
What defines a Frenz n’ Fienz title for me is that it is:
- Creator-owned and creator-led
- Set in a world with a strong fantastical element that means something to the story
- Driven by or including characters who fall somewhere interesting on that friendzly to fiendzly spectrum
- Natural opportunities to live across print, digital, and collectibles and expand from there
In the near term, Frenz n’ Fienz is the banner for Jason’s worlds reMIND, Sithra, PHOBOS, and things we have not announced yet. Longer term, we see room to expand into collaborations with other creators who fit that DNA, and even to invite fans into the mix through Macroverse with new Frenz n’ Fienz style characters and stories. PHOBOS Vol 2 is the starting point, not the finish line.
BD: As part of the Kickstarter campaign, backers will be able to select limited-edition, display ready Frank statues. When tackling a sculpt like Frank, is there anything that guides or propels your approach to the design and production process?
Jeff Yagher: Frank grabbed me right away on the page. What hooked me first was his silhouette and overall attitude. He is this asymmetrical, heavy presence with that wild cluster of arms growing out of one side of his body. It is strange and unique in a way I had not really seen before, which is exactly the kind of thing that makes me want to sculpt a character.
Working from an original character like Frank, as opposed to a well-known license, gives you more freedom, but it also comes with a different kind of responsibility. You want to be faithful to what is in the creator’s imagination, and at the same time you have to think about how the piece will live in the statue and model kit world. My goal is always to create something that Jason’s readers will recognize and love, but that also speaks to collectors who might be seeing this character for the first time.
Frank is a fairly complicated design, so one of the first things I had to do was figure out how to simplify without losing what makes him special. The extra arms are a big part of his personality, but too many small elements can make a kit frustrating for hobbyists. That is why we decided to present him as a bust rather than a full figure and to limit the number of arms to six. It preserves that off-balance, almost overwhelming feeling, while still being something you can build, paint, and display without wanting to tear your hair out.
From there it was about finding the right balance between Jason’s idiosyncratic style and a look that would make sense to horror and sci-fi collectors in general. We talked about treating Frank almost as if he were a character in a film adaptation of PHOBOS, a more realistic interpretation that fans of classic monsters could immediately connect with. At the same time, I wanted to keep Jason’s proportions and attitude, so you will see a smaller head-to-body ratio, enlarged musculature, and this sort of haunted sadness in his posture. I tilted his head down and to the right to capture that feeling. He is imposing, but there is a vulnerability there, too, which is very appealing to me.
On the production side, we were also lucky enough to bring in master painter David Fisher to design the look of the painted version. David is the owner and editor of Amazing Figure Modeler Magazine and has been a central figure in the hobby for decades. His sensibility and experience really helped lock in a paint scheme that feels true to the sculpt and exciting to statue fans. All of that together is what guides my approach honoring the creator’s vision, respecting the collectors and doing my best to make a piece that deserves a place in both worlds.
BD: Crowdfunding has proven to be a phenomenal resource for comic book creators and publishers who want to bring their projects directly to readers. What encouraged you to utilize Kickstarter for this project, and why do you feel that it has become a vital tool for today’s creators and publishers?
EM: I think the big picture is that we are finally in a world where there is no single “right” path to readers. You have the direct market, bookstores, digital platforms, and then this whole direct to consumer layer where crowdfunding sits. When you put all of that together, it becomes a really powerful ecosystem for connecting the right stories with the right audience.
Jason is a perfect example of what is possible in that ecosystem. Before Titan came into the picture, he had already sustained an independent publishing career across more than ten books by going directly to readers. Crowdfunding and direct-to-consumer support allowed him to build a loyal fanbase, title by title. So, for this project, it was never a question of “should we use Kickstarter” so much as “how do we build on what has already worked for Jason and tie it into the next phase?”
For me, crowdfunding and retail are not in competition. They are additive. Crowdfunding lets you prove and refine the project with your most engaged readers. Retail and the direct market let you take that proven work out to a much wider audience.
One of the other reasons crowdfunding is so powerful is that it allows you to create specialized editions that make sense for a smaller, very dedicated group of supporters, which would not necessarily be viable in the wider retail market. PHOBOS is a perfect example. The Kickstarter offers campaign-exclusive hardcover editions and premium Frank statue tiers that are designed as limited edition collectible items for the hardcore fans. Those versions will not be available in the direct market. Titan’s releases next year will focus on manga format softcover editions of PHOBOS aimed at the widest possible readership. Both formats are great, but the Kickstarter is intentionally built as something special for the people who want to be closest to the project.
I also think crowdfunding has become vital because it changes the relationship between creators and readers. When you back a campaign, you are not just buying a finished product off a shelf. You are getting a direct line to the creator and often to real people at the publisher. You see pieces of the process, you get to be a fly on the wall for decisions about format, printing, collectibles, and digital extras. As a fan, even before I was doing this professionally, I was always fascinated by how things got made, not just the final book. Crowdfunding gives people like me a way to participate in that without needing to be on the inside of the industry.
At Macroverse we look at it as a multi-stage relationship. Crowdfunding is often where that relationship starts. Our platform and digital tools are where it can deepen and become more interactive. Publishers like Titan are where the work reaches the broadest possible readership. When those pieces work together instead of fighting each other, you get something that is bigger than the sum of its parts. That is exactly what we are trying to do with PHOBOS Vol 2 and the Frenz n’ Fienz label.
BD: In light of the Kickstarter campaign, are there any particular backer rewards that you would like to highlight for our readers?
JY: From my side, I am obviously most excited about the Frank statue and model kit tiers. We have provided two sculpted versions of this very cool character. The first is the unpainted model kit for hobby enthusiasts who like to build and finish their pieces themselves. I love the idea of collectors and fans collaborating with me in bringing this character off the page and into the world. Over the years I have seen thousands of different interpretations of my work painted by monster fans, and the imagination and creativity out there is truly inspirational.
The second is the pre-painted statue for collectors who prefer a finished piece they can take straight out of the box and onto the shelf. I have seen many dens and studios lined with fascinating collections of eclectic fantasy and horror art, and we wanted this version of Frank to feel right at home in that kind of display.
On top of that, there is the Foundry Edition for serious collectors, which combines the statue with the books, signatures, and other goodies. It is the “all in” option if you want a dual signed statue plus the hardcovers and the full PHOBOS experience.
What is best about this opportunity, in my opinion, is that these pieces are strictly limited. It is always good to get in on the ground floor of new work like this, especially when it is treated with museum quality in mind and not offered again. That rarity, combined with the care that has gone into the design, sculpt, and paint, is what makes these very special and very collectible in my eyes.
JB: The Catch Up Bundle is the best entry point for anyone new to PHOBOS.
And Vol 2 Backer Edition is special because it is the only signed Vol 2 and includes the Backer Roll inside the book where you can get your name printed in the acknowledgements of the book..
And the Vol 1 Collector’s Edition is the last chance to get that very limited signed and sketched edition of Phobos Volume 1.
Not to mention the statue Jeff created is surreal to see, for me, since Frank started as a sketch in high school and is now a fully realized sculpture.
EM: Jason’s work speaks for itself at this point. The PHOBOS hardcovers are the best way to experience this story premium editions of a book that has a really distinctive visual style and a ton of craft behind it. On the collectible side, having Jeff involved is a big deal. He has decades of experience in this space, is one of the most respected monster sculptors in the world, has a long history with companies like Sideshow Collectibles, and he literally helped define the model kit hobby in the first place. Putting that level of pedigree behind an original indie character like Frank is not something you see every day and it’s a privilege for me to have him be a part of launching the next chapter in Jason’s career and our collaboration.
Because of that, while I could spend a long time listing reasons to back the books on their own and just as many reasons to back the statues, what I really want to highlight are the bundles that give you both. For statue and model kit collectors specifically, the books are essentially the lore and backstory for this piece. PHOBOS is the world Frank comes from. The hardcovers are the “source material” behind the sculpt, so backing a bundle gives you both the art object and the story that defines who he is and why he looks the way he does. There is something very special about being able to read PHOBOS Vol 1 and Vol 2 in these exclusive hardcovers while Frank is literally sitting on your shelf next to you. For anyone who connects with this world and with what we are building under the Frenz n’ Fienz banner, those combined tiers are the ones you will not regret picking up. They are the clearest expression of what this campaign is meant to be story, art, and sculpture all working together around one universe.
BD: Lastly, what is the best way for readers to learn more about Frenz n’ Fienz and the Phobos Volume 2 Kickstarter campaign?
JB: The best place to see the merger in action is the Kickstarter page. It has the best explanation of the Frenz n’ Fienz world and breaks down the tiers and has videos and updates.
Frenz n’ Fienz is our label that will be expanding, and Titan, Macroverse, and myself will be sharing more about future titles there.
Anyone can follow me on my mailing list at https://jbrubaker.substack.com/, where I am more active than Social Media, and I’ll send out any new news about future releases there along with Titan and Macroverse.
We’ve also put together a special digital preview of PHOBOS Vol 1 to help readers here get hooked and (we hope) back the campaign to get more.
You can also claim and read a free preview from PHOBOS Vol 1 on Macroverse here.
And then go to the Kickstarter to get more. Backing any main reward tier will actually get you the rest of complete digital edition of Volume 1 to read while the campaign is ongoing, so you’ll be all caught up and ready when Volume 2 hits next year.
