Ivory Madison talks Huntress Year One (her belief that female heroes, in particular, should have their own independent origin, heighten tension with Batman, thinks Helena works better as a loner, discusses what she’d do if she kept writing the Huntress), mentions Trina Robbins, possible Vertigo projects in the future, and gives a little advice to aspiring writers.

NOTE: It’s a short interview, about 27 minutes, and well worth a listen.

Helena: Justina…Why aren’t there any women heroes?

Justina: There are, Helena. There was a female pope once. She dressed in men’s clothing. When she died, they discovered she was a woman, and   ever since, they’ve pretended she never existed. She’s one of my heores. In all the operas, women only matter if they are young, innocent, and die. Men can’t handle women their own age, you see. And innocence *sigh* is overrated. As for death, well…you must vow to outlive them all.

I’ve talked with Huntress Year One writer, Ivory Madison, on many occasions about her story. Each conversation leaves me wistful for her return to Helena. Huntress Year One was an ambitious story - many of the plots and threads had a sophistication and depth that don’t scream first time comic writer. That’s not to say that I think HYO is flawless, but the few negatives I felt are out weighted by the positives, and Ivory’s passion and unwavering commitment to tell the story she believed in and would be proud of. 

Now, I wasn’t always at this point. It took me a good three years and what felt like were hundreds of readings to really appreciate the scope and intellect with which Ivory approached the storytelling. HYO could have benefited by being twelve issues instead of six. I also felt the feminist mouthpiece in which she spoke with now and again was jarring and more about her, and less about Helena. At times, I felt it interrupted the emotional flow of Helena’s journey. But I’ve come to appreciate how assured and comfortable Ivory is in her own skin. It’s those attributes she used to project Helena in much the same way: confident, committed, focused, principled, and mature beyond her years. 

I’ve already shared by feelings here and here about Helena’s relationship with her cousin Sal, a HYO highlight, and about Helena’s brief, but exciting confrontation with A Mano Iddio.   

In issue 2 of Huntress Year One – “La Donna e Mobile”, we are treated to a specific flashback of Helena’s childhood, at the Opera House with Justina, her tutor. We’d later come to see that Justina’s words and influence had an enormous impact on Helena. The prisms, in which Helena viewed not only the world, but her own self-esteem, were shaped largely by Justina. Despite this one page appearance and a few name drops, we know they spent a lot of valuable time together and that she was a great source of inspiration in Helena’s life.  When Helena meets Catwoman for the very first time, she is reminded of Justina, and that is our reminder of their bond, and that Helena viewed Justina as a mother figure.

There is a touch of brilliance in the last panel with Justina. Ivory conveys to readers there is more to her than even the young and impressionable Helena is aware. “You must vow to outlive them all”.  I want to know what Justina’s back-story is and how she came to play such an important role in Helena’s life, because as Ivory told me once, “it’s huge”, and “it wasn’t by accident”.

NOTE: As for the art direction, the opera that Ivory Madison used as a reference in this scene is Rigoletto, a story that reflects the overwhelming sexism of the time.  The Italian actress from the forties/fifties, named Alida Valli, was the inspiration for Justina’s visual look.

Huntress Year One tpb contains issue #1-#6 and was written by Ivory Madison with art by Cliff Richards.

One of the more interesting subplots to arise out of Ivory Madison’s Huntress Year One was Helena reclaiming her birthright; as the last surviving member of The Bertinelli’s, she stood to inherit three billion dollars when she turned 21 years of age.  Except a group of men, known as A Mano Iddio (The Hand of God,) had their own self-serving plans for her money. They conspired to divide it up equally amongst themselves.

Stefano Mandragora, who during this time was Boss of Bosses of the mafia worldwide, had previously laid down orders to assassinate The Bertinelli’s, a Mafia dynasty that could trace its roots from the small town of Cimina in Italy to Gotham City and beyond. It was Helena’s Great-Grandfather, Giuseppe Bertinelli, who  was once Don of Gotham. When he died, it was passed down to his son, Alfredo Bertinelli, Helena’s Grandfather. When Alfredo died, his son, and Helena’s father, Franco Bertinelli ascended to the title of Don of Gotham.  Stefano Mandragora was also one of the five fingers of A Mano Iddio . The other fingers of the hand were some of the most powerful men in the world: the heads of government, the church, the banks, and the media.  

Huntress Year One never delved into the intricacies and history of A Mano Iddio. It was one of the most fascinating, brief glimpses into Helena’s mafia roots.  The Hand originated in Sicily. It grew out of the mob and out of Italy, and stretched into industries worldwide in a global conspiracy hundreds of years old.  Helena would confront the current members of The Hand, simply steal back her fortune, moved on, and never look back. But if she did look back, if she looked into the history of A Mano Iddio, what would she have found, and how if any would it tie to her own family history.

I also wonder how an organization so powerful and corrupt, could allow Helena to live a relatively peaceful and anonymous life. Granted by the time Huntress Year One ended, no one involved with A Mano Iddio was aware that Helena reclaimed the full amount of her inheritance. Furthermore, Helena has never lived the life of a wealthy socialite or sought public recognition for her philanthropy work.  She’s never flaunted her wealth, openly. In private she’s known to indulge in pricey red wines and foods, designer clothes, expensive array of exotic cars, a love and knowledge of the arts (the opera being her favorite), and a vast library. She’s owned entire blocks of apartment complexes.  What she’s done with them  is unknown, though it wouldn’t be hard to imagine that she’s used them to benefit others in some way while seeking no acknowledgment (A bit of the allure that is Helena/Huntress is that she’s ever unfolding before us).  She hunts for sport and practice.  She’s used her fortune to fund, obscure, non-profit groups that deal with causes closest to her heart, namely children.  

 Despite being one of the wealthiest of people, Helena has been able to fly under the radar, mostly out of necessity. She knows  as long as A Mano Iddio exist in a cloud of secrecy and corruption, they pose a danger to her, the few around her that she calls family and friends, and all that she has worked for and the principles upon which she stands. For someone whose life mission is to bring down the mob and all that it stands for, it’s evitable that one day she will yet again cross paths with The Hand of God.   

Real life can sometimes be too mundane and ordinary; too emotionally safe and predictble. So it’s a joy when you can escape to a created reality and be moved to experience emotions outside the peripheral of everyday life. Tears shed for something that isn’t real but feels real. That’s how I felt while reading Ivory Madison’s Huntress Year One #1. Not to take anything away from the writer, but Cliff Richards rendering of the assassination of young Helena’s family was so magnificent and dramatic that written words weren’t neccessary and felt slightly intrusive. That’s the power of art. That’s the power of the imagination. And that’s the power of letting go of the real world if only for 22 pages. 

I was in an adventurous and brave mood and decided to tell that Huntress story through video instead of posting scans.

From Huntress Year One.