Embracing that Stan Lee ethos of every issue is someone’s first we have elected in this, our second entry in our examination of the as yet unfulfilled Tales from the Quarantine Kickstarter, to use the same scene-setting introduction below. This second part picks up again with contributor commentary including some we missed last time round and others that came in after publication of part one.
We then move into the second core area of these discussions – the effect that the Tales from the Quarantine saga has had on backers, the wider comics community, and faith in comics crowdfunding, especially given the limited support from Kickstarter. Take special notice of the revelatory commentary from Matt Hardy who gave up his time to work in an editorial capacity on the project.
It’s one of the most notorious as yet unfulfilled crowdfunding campaigns in comics history and yet the saga of Tales from the Quarantine drags on and on. Conceived by organiser Frazer Brown of Red Cabin Comics, the anthology was first mooted in the darkest days of early lockdown and fostered a real sense of community as creators from the small press scene through to writers and artists who have worked for the biggest names in comics publishing (Ed Brubaker, Sean Phillips, Rachael Stott, Charlie Adlard, Jim Zub) came together to tell their stories framed around the pandemic and their experiences of it.
It should have been something extra special. It should have been something magical. It should have been an enduring social record in comics form of those dark days.
Despite the hard work and commitment of so many it has been none of those things.
Fully funded in 2020 the Tales from the Quarantine print anthology is still missing in action despite multiple promises that the book has shipped (specifically in December 2022 and July 2023) and with questions still surrounding what happened to the proceeds of this charity book that vastly exceeded its crowdfunding target, bringing in £37,185. A digital copy has been sent out, although with many criticisms regarding its quality and accuracy.
Today at BF we continue a multi-part series on this project which, all these years on, has still not materialised in its print anthology form. We asked for perspectives from contributors, backers and those who went to great lengths to support those affected. In our second edition contributors to the book and its backers talk about how its non-appearance has affected them. A special shout-out for Comic Printing UK (henceforth referred to as CPUK) whose activism has ensured this issue has never left the comics community spotlight. For a full order of events check out Feff Silvers’ excellent timeline here.
As the book’s tagline states “Everybody has a tale to tell…”
Oh, Frazer, don’t they just…
Matt Hardy (Thunder Child): I think like everyone, I mourn for what could have been.
We had an absolute ‘who’s who’ of talented creators lining up to share their thoughts on how the pandemic had affected them. Everyone had important and passionate things they wanted to say in their stories about what, for many of us, was a life-changing event. For a lot of creators it was also going to be their first published work, a chance to ‘break in’ on a book with so many high profile names.
And instead all we are left with is disappointment and anger.
If I can backtrack a bit – I should outline my full involvement in Tales from the Quarantine, add some context to why I feel this way about the book.
So like many, I submitted a story blind to Tales from the Quarantine. At that time, Frazer Brown seemed passionate and excited about the book. Speaking to other creators since, I think this is one of the reasons so many of us signed up. At first Frazer seemed very much hands-on involved in making the best book he could.
Chris Weston’s alternate cover for the book
But following the Kickstarter, when months had passed with nothing seemingly happening, I contacted Fraser to see what was going on. I’d worked as an writer/editor for many years so after a chat, I ended up offering my services to help get the book finished and into people’s hands.
At this stage I reckon the book was about 70% complete. The majority of stories had been submitted by creators as finished pieces, but Frazer had about 30 scripts from writers sitting in a very messy on-line folder and going nowhere. Some amazing stories just dying to be told.
So I helped match those stories with the list of artists that had offered their services to Frazer for TFTQ. Everyone was amazing – they bought their A-game and produced some groundbreaking work – and I’m immensely proud to have been a small part of their creation. I also sorted lettering and colouring for stories that needed those elements completed before going in the book. I wanted that book to see the light of day, there was too much good stuff in there not to.
I was directly involved in the book for roughly 3 months, finishing my involvement in July 2021 when my daughter arrived. As far as I was concerned, the book was 99% done and all Frazer had to do was format it and print.
When a digital version finally arrived about a year later – I was disgusted with the amount of typos in the additional credits pages Frazer had added. Many of my friends and co-creators’ names were spelt incorrectly. Some stories were missing or incomplete. As far as I could see, nothing further had been done since I left the project in 2021. It also explained why my repeated requests to see a proof version of the book had been repeatedly rebuffed by Frazer.
I have numerous times distanced myself from that digital version of the book. It would have taken nothing to release a version that honoured the creators involved, so I am livid at the mess that was produced.
At one point I was working on the assumption that the whole thing had just been too overwhelming for Frazer to complete, he had a perfect version of the book in his mind which would never see the light of day – but as time has worn on I think he just doesn’t want to ship the book – because as soon as he does, all interest in him will dry up.
The Core by Umar Ditta, PJ Holden and Rob Jones
I am so angry that we still don’t have a physical version of the book, and Fraser continues to churn out nonsense updates.
Like everyone, I was taken in and my time and skills used, but it’s not the first time I’ve been burnt in the comics world and I’m sure that’s the same for many. But regardless of the grifters and liars, we all continue to make the best comics we can.
Mike Collins (Doctor Who, 2000 AD): A contributor and backer, happily creating comic work to benefit the various (apparently) causes. I also paid for a top tier reward.
Doubly disappointed that my work and my money seem to have gone astray.
Chris Weston (2000 AD, Vertigo): The most horrific aspect of my monster-themed variant cover for TFTQ is the knowledge it was ultimately used to dupe others into this ghastly affair. I feel exploited and embarrassed to have been drawn into this web of deceit.
Vince Underwood (The Miracles): It was particularly heart-breaking in our household. As I was in the thick of it drawing The Miracles OGN when Brown approached me my creative energy was limited. So I turned to my lovely wife to help develop the short. And while it was a small thing, I was able to share my world with the most important person in my life.
She was thrilled to, if even for a moment, be a comic book creator. And Frazier took that moment from her. I can never forgive that.
And furthermore, there was an evening where I had expressed that I wasn’t doing well on Twitter. Frazier reached out to me and the two of us had a very earnest, vulnerable, and presumably at the time, honest conversation. I had for a moment thought I had a friend. I met him with trust and openness and he hurt me, my family, and my friends and colleagues.
Delve by Jim Zub and Max Dunbar
We now move on to the question of how people feel the Tales from the Quarantine situation has affected the wider comics community and/or faith in comics crowdfunding?
Lucy Sullivan (Barking, Black Hammer): Tales from the Quarantine has had a significant negative impact on crowdfunding. I saw many people state that would never back another project. My own work was affected during my campaign for SHELTER: Early Doors. Red Cabin were claiming postal delays and issues whilst I was sending out 250+ rewards with almost no problem. As a result I was extra vigilant at posting photos of it all & keeping my backers updated. It was an additional pressure that made every aspect heightened.
Chris Mole (Brigantia): I think this has had a dramatic effect on the wider comics community – I know people who have felt burned and their trust in crowdfunded comics has plummeted due to this. As a community we rely heavily on crowdfunding to make books a possibility, so anything which damages the viability of that is destructive to the community as a whole. And that’s without even touching on the charity donation aspect of this whole thing – it’s infuriating to me that I was suckered into giving up my time and energy on the promise of doing something good for charity when that hasn’t materialised.
Christian Carnouche (The Resurrected, Murky Waters): I have been in a number of anthologies since that have been funded on Kickstarter and I have been anxious that similar issues may arise, but so far so good. Although I do feel that this has damaged community trust, particularly in indie comics, it was heart-warming to see people come together to support the creators and backers. Although it didn’t happen in the end, I want to give credit to Dan Whitehead for his efforts to plan an alternate anthology, which inspired me to have my story drawn eventually. I’m proud of the story we created and of the work of all the creators who were involved in Tales from the Quarantine.
Dan Whitehead (Hex Loader, Ella Upgraded): Hard to say. Certainly there are dozens of talented newcomers who have been soured on comics as a result of this, and if even one of those people decides not to make comics any more, that’s enough of a loss in itself. It’s been brought up to me in conversation multiple times at every show I’ve done since lockdown ended, originally more as a “have you heard anything about that?” enquiry and then later as more of a “can you believe this shit?” rant. What’s interesting is how many “big name” creators have privately (and a few publicly) expressed their utter disgust with how it’s all been handled. There’s real anger and hurt out there, especially from some whose names were used to entice others into taking part, or whose work was used to promote Frazer’s brand. I worry that’ll be the most harmful impact, that those who have the industry cachet that can draw attention to an anthology will now think twice about getting involved with indie books in the future.
Matt Hardy (Thunder Child):
I think it’s burnt Frazer for life and removed any chance of him ever working in comics again – as it should. But thankfully I feel comics crowdfunding continues to go from strength to strength.
As creators I guess we are used to having to move on to the next project quickly. I personally had no choice but to put a lot of it behind me, I’ve worked on 10+ books since, many crowdfunded and fulfilled.
But that doesn’t mean we should let up on the pressure for the actual Tales from the Quarantine physical book to see the light of day – and/or Frazer to be held accountable. I feel Kickstarter have been incredibly culpable in this regard – I appreciate they cannot guarantee the delivery of product, but where there is a clear intent to deceive backers – I feel they should be stepping in.
Variant cover by Talia Skyles
Adam Bagley: When patience started to wear thin and contributors and backers began publicly questioning the legitimacy of the reasons for delay, it became apparent little was known about Frazer, and despite presenting himself as the successful business owner of Red Cabin Comics, no one had so much as an address or a phone number to formally direct their concerns. I feel for every single contributor who donated time and effort to Tales from the Quarantine, especially those excited to see their work in print for the first time, and I hope all affected are now more likely to scrutinise future opportunities and take time to research the people behind them, no matter the enticement.
The experience has also highlighted the difficulty in getting refunds from failed crowdfunded projects as well as the apparent lack of concern from the owners of such websites, who most often seem content to detach themselves from any responsibility. I have spoken with many people who feel less likely to back projects seeking crowdfunding due to their experiences with TFTQ and, regretfully, I feel the same.
Gustaffo Vargas (Altiplano, Marvel’s Voices: X-Men: I also see fewer crowdfunding comic projects being successful, I know that the actual economy is making an impact, but I’m also sure readers have more doubts than before about new projects run by creators who don’t have successful campaigns behind their backs.
It’s really sad seeing new creators not receiving credibility through no fault of their own. I think the damage is deeper than the obvious, and whenever we can lend a hand to help a new voice, we should, embracing the power of the comics community.
Some ambitious TFTQ rewards – art by Matt Ferguson
Barrie D. Hardwick: I wrote that Tales from the Quarantine has dealt a hefty blow to my confidence as a creator. I think it has also dealt that blow to the wider comics scene. Especially to potential backers of crowdfunding campaigns. I’m no expert but I can sense it in the air. There’s been a degree of suspicion and apprehension surrounding well-meaning comic projects and anthologies. God forbid anyone try a huge charity anthology again. Can you imagine? It just wouldn’t get off the ground. It’s a damn shame.
In the wake of Tales from the Quarantine, I suspect that a lot of comic anthologies struggled where they’d have soared had TFTQ been delivered as promised. But (here’s that hope rising again) that apprehension is fading and anthologies and comics are being funded. Indie publishers and creators continue to do great work.
The comics creator community has proved defiant. There’s been a banding together, a collective defence, a sticking together that has emerged from this situation. Even though creators are, quite rightly, mad as hell. Colin Maxwell was instrumental in making light of the elephant in the room at Thought Bubble ’23 and it made my con. It was a great relief to be given permission to laugh about it, to mock the situation a little.
There’s no doubt Tales from the Quarantine has left its mark. It’s a scar on the landscape. It’s the junkyard at the edge of our AONB. The sporadic updates won’t likely stop and I doubt there’ll ever be a confession of truth. It drags on. But there is hope and resilience in the community and I believe we can use this experience to protect ourselves and others from bad actors in the future.
In early 2023 The Sleeze Brothers were announced as part of the TFTQ line-up. We’re still waiting.
Andrew Belding: As a backer, I am feeling disappointed and frustrated. The general discussion in the comments section from the other backers is that we will never see our books. I have supported many projects on Kickstarter and even with delays there have only been about five projects out of almost two hundred that I have backed that have not delivered their rewards. I can’t imagine how the creators (artists and writers) feel about this. I suspect that they are
also feeling frustrated as well. I have asked Frazer Brown for a refund which is probably fruitless and there has been no response so far to my message that I sent him through Kickstarter. I have seen many amazing projects brought to life over the years I’ve been on Kickstarter, however, I will not be backing any further projects initiated by Frazer Brown.
Paul Carroll (Limit Break Comics): Some context: I had contacted Frazer Brown to try to be involved in the book when he was at the stage of putting the contributor list together. He didn’t respond to me, so I never quite reached the status of contributor, but I am a comic creator. Since the Tales from the Quarantine Kickstarter, I’ve edited, crowdfunded and published three comics anthologies through Limit Break Comics, and am lining up the Kickstarter for the fourth to go live in March.
As a backer, I’ve been left disheartened by the experience of Tales From the Quarantine. This was an opportunity to see some friends’ work published alongside some of our favourite creators, professionals and other small press folks alike. The repeated promises at delivery of the book, and then promises of updates about updates, have made the whole TFTQ debacle a frustrating running joke. It’s tempered how many comics projects I support that come from creators I don’t know, particularly large books.
This is, of course, on top of other financial considerations, but the damage TFTQ has done to backer trust can still be felt.
Mock-up of the Rachael Stott cover
As a comic creator, in particular as one who has run anthology projects via Kickstarter as well. I announced details of the first when Tales from the Quarantine was still technically still in production, before any doubts over it were felt. (That is to say, the book wasn’t a response to TFTQ; it was a project to undertake while the pandemic was still underway.) The second book launched a year later, in March 2022. The floppies began to arrive around this time, so there was a sense that maybe Frazer was just terribly slow at fulfilment.
By the time anthology three went to Kickstarter in March 2023, the TFTQ softcovers were supposed to have been shipped by Frazer. I’m not naive enough to think that the slower uptake on this book was directly a result of TFTQ, but it was more of a challenge getting eyes on this book. The phrase “cost of living crisis” was becoming more common, and the impact of Brexit was beginning to be felt in earnest in the quote-unquote post-Covid era. Even still, public distrust in Kickstarter campaigns was on the rise, with many comments on TFTQ saying they would never back another campaign again after Frazer failed to send out books.
While Kickstarter itself is doing more to build up backer and creator trust in the comic community, I worry that they’ve gotten a late start on it, and have let TFTQ go on too long without repercussions. (It is, admittedly, not a lot of money for Kickstarter compared to many non-comics projects, and compared to projects by publishers or well-established creators, so I understand there’s not a lot of urgency when all you see is the financial side of it.)
I’m hopeful that other comics projects can help rebuild the trust that was lost. While I’ll continue to do my small part with the Limit Break Comics anthologies, I’m also excited to see projects like Secrets from the Majestic (edited by Chris Mole, a contributor to TFTQ) getting press coverage – it establishes a sense that comics belong, and throws support behind the medium when it needs it most.
Phil London: As a KS backer, TFTQ has made me less trusting of new projects. I now back things I know people or big names but FB has turned me off backing unknowns.
Joonatan Itkonen: I know that some of my friends have sworn off Kickstarter for good because of this. It’s the straw that broke the camel’s back. Elsewhere, it feels like anthologies like this are harder to get into. People have circled the wagons and retreated to the circles they know and trust. And I get why, it’s already hard enough to make art. Harder still when there’s someone giving the whole thing a bad name this loudly.
Baden James Mellonie (The March of the Hare):
1) It has damaged the reputation of the UK comics scene.
2) It has had a knock-on effect regards a negative attitude to funding platforms, Kickstarter especially.
3) [Losing] the goodwill of so many creators may impact on future charity projects.
4) The lack of resolution for backers is a concern. People genuinely wanted to support this project.
Andy Oliver (Editor-in-Chief, Broken Frontier): There’s another aspect to this from a community perspective that I feel has understandably been lost in the wider issues of trust and fulfillment. If Tales from the Quarantine did indeed have contributions from 400 creators then in terms of a social record of the pandemic (whether autobiographical or metaphorical) that’s a truly appalling loss of testimony. Comics are an incredible form for communicating lived experiences and this book should have been there on our resource list of Pandemic Comics as a vital collection of stories for future readers.
Top banner art from the cover by Rachael Stott.
Article compiled by Andy Oliver
