***Contains Spoilers***
The Huntress ’94 series was designed to give Helena Bertinelli some much-needed closure on her origin story while paving the way for her to become a more integrated member of the Bat-Family. The plot follows Huntress as she confronts her past and the criminal forces that shaped her life, ultimately tying up loose ends from her violent upbringing. Along the way, Helena grapples with the moral and ethical boundaries of her vigilante persona, setting the stage for her future character evolution. Although the series aimed to define Huntress more clearly as a player in Gotham, I found myself feeling a bit conflicted about how it turned out.
What I did appreciate about the series was its intention to try something different. The creative team took risks, especially with the art, which embraced a gritty, experimental style to reflect Helena’s inner turmoil and the bleak tone of her story. It’s not something I loved, but I respect the ambition behind it. Additionally, the narrative does serve an important purpose in closing out some of Helena’s origin threads. By the end, the Huntress is better positioned to step out of her mob-driven backstory and into broader, more dynamic storylines within the Batman universe. For long-time fans of the character, there’s value in seeing that transformation.
That said, I found the story itself to be largely forgettable. While it had moments of tension and action, the pacing felt uneven, and the stakes never resonated with me on a deeper level. The writing lacked the emotional punch needed to elevate this kind of personal journey. Worse, there were some truly baffling moments—one involving Helena leaving a child trapped in a pit in her house for several days sticks out as particularly strange and jarring. It was a choice that felt out of character and ultimately undermined the serious tone the series was trying to achieve.
The artwork, though bold in its stylistic choices, didn’t land for me either. It was often hard to follow, with chaotic layouts and panel compositions that made the story feel disjointed. While I can appreciate the attempt to mirror Helena’s fractured psyche through the visuals, it just didn’t connect with me in a way that enhanced the narrative. Instead, it often made reading the series more of a chore than an immersive experience.
In the end, I have to give Huntress ’94 2 stars. While I liked the idea of the series and appreciate its role in Huntress’s overall character development, it’s not a story I’d revisit. The muddled execution, forgettable plot, and disorienting art kept it from living up to its potential. If you’re a Huntress completionist or curious about her pre-Batman days, it might be worth a read—but for everyone else, this one is skippable.
Feature Image The Huntress #1 cover art by Michael Netzer
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