The downside of the many brief glimpses of plot lines that are not yet quite relevant to Cassandra Hack’s current circumstances is that, not reading the entire storyline in one huge gulp, it’s easy to get lost and not quite remember people when they do finally take center stage. The upsides more than make up for that, though; not only is there a sense of a world that matters out there, a world that is moving and changing and preparing to hand nubile slasher-killer Cassie her next big emotional or physical face-plant, but a quick glance at my previous review is usually more than enough to remind me of what was going on. I mean, these are really good T&A horror-films-presented-as-comics, but they’re still T&A horror stories, and only so much depth of plot or theme can be accommodated between panels of girls naked in bathtubs or disrobing prior to exactly the kind of sexual shenanigans that rile up slashers so much in the first place.
In this particular case, the depth of plot that is permissible revolves mostly around revelations about the cult that has made the world the way it is, which is to say: full of dead and yet unkillable slashers that mindlessly stamp out “sin”, by which we tend to mean underage drinking, drug use, or pre-marital sex. Mix that with a handful of those hints about what else is going on that I previously mentioned, a few scenes of light angst for Cassie and her comrade-in-arms Vlad, and probably an only four-to-one ratio of regular panels to titillating ones, and there’s not really room for anything else in the latest such volume, New Blood, Old Wounds. I know I’m making these sound like a guilty pleasure kind of read, but even if I were guilty about reading them, the truth is, they’re a little bit higher rent than the connotation behind that phrase. Not a lot higher, but a little bit.
 I mean, I wouldn’t anyway, but the incomplete nature of the series would make it impossible even were I so inclined.