And you may find yourself living in a shotgun shack. And you may find yourself in another part of the world. And you may find yourself behind the wheel of a large automobile. And you may find yourself in a beautiful house, with a beautiful wife.

Or, you may find yourself browsing through the recent horror offerings on Amazon Prime and giving Texas-based writer/director Joseph Mazzaferro’s Dybbuk Box : True Story Of Chris Chambers a go simply because any movie that’s so sloppy as to omit an obvious “The” from its title is bound to at least be an interesting mess — and then, and only then, will you ask yourself “Well — how did I get here”?

That’s because this movie, in truth, isn’t interesting, occasional fuck-ups aside, such as our protagonist, Chris Chambers (played by — shit, you already know. The film’s only other “character,” Sarah Bently, “stars”…

Okay, so in truth I wasn’t aware that Nigel Bach had cranked out a sixth film in this, the most unlikely “franchise” series in cinematic history, and I usually pride myself on being on top of these sorts of things, but hey — when I learned that Bad Ben : The Way In had shambled its way from Egg Harbor Township, New Jersey all the way to Amazon Prime back on May 1st, I can’t honestly say that I was surprised or anything.

And, really, why should Bach stop? When he sub-titled one of his films “The Final Chapter,” it looked like maybe he was going to retire this admittedly played-out concept, but let’s be honest : these things cost no money to produce, he doesn’t necessarily “need” anything other than his iPhone to make them (although he’s expanded the cast a couple of time in the past, it’s not…

Your humble (I hope, at any rate) host was the happy recipient of a new package in the mail from Robyn Chapman’s Paper Rocket Mini-Comics this week, containing her three 2019 releases to date, as well as the unexpected (and welcome) inclusion of an older item from “way” back in 2014. Let’s have a look at — errrmmm — what I had a look at , all of which is available for purchase from the Paper Rocket storenvy site at http://thetinyreport.storenvy.com/ .

Toronto’s Jason Bradshaw is back with Things Go Wrong #2 (there’s one more to go), and this one serves up a real 180 at right about the halfway point, as our absolutely hapless artist protagonist finds inspiration in hitting absolute rock bottom physically, mentally, emotionally, financially — hell, probably even spiritually. Where it goes from here who can say, but Bradshaw proves beyond doubt that his wide-figured, smart…

And so here, at the end, it all comes together : everything Josh and Samuel Bayer have been aiming for throughout the course of the first “season” of their sprawling, multi-faceted project “clicks” into place with All-Time Comics : Blind Justice #2. Is it flawless? No. The highs and lows aren’t so much smoothed out as they are — assigned to their proper positions. And the end result is, finally, a comic that filters “Bronze Age” sensibilities through a modern “alt-comics” lens, and vice-versa — simultaneously.

It’s a tough balancing act, to be sure, but Josh B. has a much more firm handle on his character (who I still don’t think is blind) this time out, and so when he sends him out of Optic City and into the hills to track down his villainous prey, readers feel as our protagonist does : a stranger in an even stranger land…

Andrew Buck pulls out all the stops to deliver an eyeball-melting cover for All-Time Comics : Crime Destroyer  #2, the fifth (I know, at this point things are getting a bit confusing) installment in the first “season” of Josh and Samuel Bayer’s resurrection of “Bronze Age” aesthetics through a post-modern (or, if you prefer Kim O’Connor’s designation for many of the creators involved, “Post-Dumb”) lens, and certainly the ultra-violence in depicts is thematically in line with the book’s contents — but the comic itself is relatively free of the gruesome and gory, truth be told. You should not, however, take that to mean the story isn’t kinda, well, sick.

As was the case with All-Time Comics : Atlas #1, the issues that find Benjamin Marra in the creative driver’s seat (he pencilled and inked this one, and co-wrote it with Josh Bayer) are decidedly more vicious and morally…

I’m just gonna call it : Victor Martinez’s cover for All-Time Comics : Blind Justice #1 (the fourth release in this Josh and Samuel Bayer-helmed project) is the coolest thing to date about this entire enterprise. Rendered in a style highly reminiscent of old-school airbrushing (hell, it may even be a piece of old-school airbrushing for all I know), it’s atmospheric, evocative, and just plain bad-ass.

Too bad the interior contents can’t live up to the dramatic standard it sets.

Not that it’s a bad comic, mind you — more just another very mixed bag from a series that excels at creating them. The premise is agreeably absurd : a patient at an Optic City psychiatric facility who appears to be more or less comatose is actually the bandaged, club-wielding vigilante known as Blind Justice (or maybe it’s simply “Justice,” since that’s what most folks seem to call him…

It’s hard to know where to even begin with this, the third comic released as part of Josh and Samuel Bayer’s All-Time Comics project, but if I had to describe All-Time Comics : Atlas #1 in just one word, that word would be — nuts.

Seriously, this is one of the most batshit-crazy comics I’ve read in a long time. On the one hand, it would be easy enough — and probably accurate — to view it as a particularly amoral and mean-spirited approximation of the “internal struggle” narratives churned out with regularity by “Bronze Age” scribes like Steve Gerber and Don McGregor, emptied of any degree of charm (however accidental, and perhaps visible only in retrospect) those authors imbued their work with. On the other, though, it’s not hard to see it as the kind of comic those guys would have loved to write. At this point, I’m sure…

If there’s one thing “Bronze Age” comics didn’t do, it was subtlety. It was alien to their very DNA. And your ability to accept this as fact will go a long way toward determining how much you enjoy — or don’t — All-Time Comics : Bullwhip #1, the second installment in Josh and Samuel Bayer’s post-modern take on 1970s super-hero comics.

Josh Bayer’s script is a mess (as is the Das Pastoras cover, if we’re being totally honest), but I don’t necessarily mean that in the pejorative sense — at times it’s a rather delightful mess, as nominally “feminist” (but really much more of a stereotypical male-fantasy take on an equally stereotypical dominatrix figure — entirely, I would contend, by design and not accident, since flubbing every lame attempt at portraying empowered women was a staple of comics “back in the day” — and, all too often, remains one to…

With the recent release of All-Time Comics : Zerosis Deathscape #0, the opening salvo of the second “season” of this ongoing, idiosyncratic project — as well as the All-Time Comics trade paperback collection of “season” one (both published under the auspices of new “home” Floating World Comics) — now seems like a good time to look back to 2014/2015 and examine where the brothers Bayer have been in order to possibly limn out the parameters of where they’re going. A few general observations here, and then we’ll get into the nitty-gritty of each issue as the week progresses —

First up, it’s gotta be said that this whole thing reads much better in trade than it did in single issues, even if I miss the cheap newsprint. The aims of creators Josh and Samuel Bayer with this concept are multi-faceted — and yeah, maybe even more than a bit muddled…

New stuff in the mail this week from the always-intriguing Josh Pettinger, who has a new issue of his self-published Goiter, plus I was finally able to track down the first ish through the auspices of a kind reader of this site — and one more new item from our friend Brian Canini that’s a hold-over from last week. So, yeah, plenty to get to —

Goiter #4 sees Pettinger return to black-and-white after the full-color third issue, but fear not : he’s trying a magazine format this time around, and the enlarged art looks great. As always, the Ware and Clowes influences are pretty strongly felt here, but I dig a cartoonist who wears his artistic lineage on his sleeve, and Pettinger is taking the ethos established by those earlier artists in new and intriguing directions — that direction this time being the story of “Wendy Bread,” a…