See, I understand what the purpose of this prequel is. Before now, Cassie Hack’s origin has only been told in bits and pieces here and there. We know about her mom, we know she became a slasher hunter, and we know somewhere down the road she eventually met Vlad and they paired up to fight evil.
But it wouldn’t be the worst thing in the world if we went back to the normal flow of the series with the normal characters. While I definitely want to know about Cassie Hack and her story, I miss the other characters. It’s tough to sit and read an issue without Vlad harping poetic about his latest kill, or the Hack/Slash team helping the duo along for the ride with pokes at the slasher genre.
This is the story of Cassandra Hack, a young nerdy woman whose own insults and tormented high school life led her tortured obese mother to seek revenge on all of the young girls who made Cassandra’s life difficult and painful. Cassandra lived to see her mother become a classic slasher, a woman called the lunch lady who hung and mutilated and devoured these girls and it was up to Cassie to bring her down once and for all.
When I first watched “Scream” back in 1996 I thought it was a masterpiece, a horror film filled with endless possibilities. But as I’ve gone on and managed to watch “Scream” again I’ve come to realize that Wes Craven played many people, and (whether I like it or not) the series he followed it with has been successful. “Scream” is just more of the same humdrum slasher fare that we’ve seen a billion times, except it’s served up with the deceit that we’re seeing something wholly original. What with the Ghost Face’s eerie facade and the atmospheric setting, “Scream” definitely has that illusion that what we’re laying our eyes on is something we’ve never seen before. In actuality we have, except Craven and writer Kevin Williamson never quite let on about it. “Scream” is a movie that never knows what it wants to be. Is it a murder mystery posing as a slasher film? Is it a horror comedy? Is it a spoof of slashers? Is it a loving satire? If it pretends to be an anti-slasher then why does it jump head first in to cliché slasher trappings in the final half of the film?