Another old review I dug up for the benefit of folks thinking of picking the trade of this mini coming out this week.

I’m out of breath. I’m over stimulated. I think I may be suffering from a testosterone overload. I just read Huntress: Year One #2. If there ever was any doubt that Ivory Madison could write a good story, those doubts have been put to rest, nay crushed to death in this issue. Issue 2 of 6 keeps with the moody mafia noir style of issue #1 but amps up the plot and drama by a factor of, like, one hundred! Just like the click click clicking of a roller coaster climbing higher and higher still, issue 1 set us up for a wild ride in #2 and hang on because we just cleared the hump and things are about to get a whole lot more intense!

Two weeks ago Helena Bertinelli (the lead character) didn’t run that wide an emotional gamut but we really get to know her a lot more intimately this time around. She’s still pissed off a lot of the time, but we see more tender moments and some vulnerability. We also observe how strong an impact she has on the world around her. Do you know how to tell if  “the last of the Bertinellis” has been to visit? Everyone is either pissed off, confused, scared shitless or bruised, or any combination thereof. That’s how you can tell. I’m not sure Helena realizes it either. She’s just doing her thing. I’m also mesmerized by the way Ivory writes this character as being simultaneously spinning out of control while somehow still having the upper hand. Madison isn’t just good at characterization. The plot is dense yet comfortable to follow – save for the numerous families which I find confusing. But that’s par for the course when dealing with Italian mafia intrigue. The story beats are tight and delivered swiftly. The dialog is noir as noir gets and injects the interactions with high voltage drama. And do I detect a Shakespearean motif in one the scenes with Tony and Helena? Nice!

On the art side of things, I was pleased to see more night scenes which the colorist (Jason Wright) handles well, adding blues and other hues that fit well within the framework of the overall comic. The chapel interiors were veritable eye music, especially with the light pouring through the windows. It’s not just pretty but it complements what’s going on in the scenes. Cliff Richards (penciller) flexes his characterization muscle quite a bit here. The range of emotions drawn are appropriate and especially well defined in the close ups. I find myself staring for minutes at a single panel, incapable of moving on because of a particularly poignant facial expression or significant body language. I did find some of the pages a tad cramped and busy. It’s not that the panel to panel is difficult to follow but that the page as a whole doesn’t “flow” (sorry, that’s kind of a lame and vague nitpick). It could be that Madison crammed too much stuff in there or that Cliff wanted to create a claustrophobic atmosphere. Another thing Cliff is good at are action sequences. They are raw and kinetic without being gratuitous. I’ll also tip my hat to inker Art Thibert for giving us page 16. Wow!

The cover of this issue is a smidge enigmatic. It refers to a location in the book but it is not entirely clear who the ominous character is. Intentional? Am I just not getting it? I love the overall composition however, and the stained glass is a gorgeous sight.

Finally, another thing this miniseries has going for it is the direct yet unobtrusive handling of important social issues, most notably domestic abuse. No need to turn off your brain to enjoy this book.

If you like high octane, dramatic mafia stories with bad ass characters. This book is for you! Go buy it!

P.S: I cheered out loud at the first page.