You’re working in a shared universe, so you have to think about characters like Donna Troy, who also have knotty continuities. Is that part of your plan?
Rucka: No. To be very straightforward, the focus here is very tight. This is one of the things that I talked to Geoff [Johns] about initially, when they asked me to come and work on it. It’s one of the things I’d been telling to Doyle— my editors Chris Conroy, Rebecca Taylor... a thing that Liam [Sharpe] and I have talked about, Nichol and I have talked about. The focus has got to be on Diana and that immediate orbit. So it’s Diana, Etta, it’s Steve, it’s Barbara-Ann, it’s the villains that are in that tight orbit, as well. Once all of that is sort of fixed—and I mean that not as in “broken,” but as in “staked into position”—then we can start talking about what’s going with Donna. What’s going on with Wonder Girl.
Because Wonder Girl herself, there’s a huge continuity problem there. Cassie Sandsmark is really problematic, and I love the character. But you only get Cassie Sandsmark because John Byrne decided he was going ignore that all the Vanessa Kapatelis stuff. And so you’re like, why does my continuity allow a character teed up as one Wonder Girl, and then somebody cut into the front of the line and said, “No! Here’s another Wonder Girl!” What the hell, man? Honor the rest of the material.