The Oregonian interviewed Rucka about a TV adaptation of his Stumptown graphic novels, and as expected, they sugarcoated his record:
Greg Rucka isn’t just a successful writer of comics, graphic novels and fiction, moving nimbly from stories about Batman and Superman to his original creations. The Portland-based author is also a veteran of having projects optioned for potential movies or TV series.
I wouldn’t call him a success at all, at least not in superhero comics, what with the increased social justice positions he’s taken in the past decade, which included censoring a Frank Cho illustration of Wonder Woman, and effectively slapped Bill Marston in the face as a result, since he rightly believed in giving his creation all the allure of a beautiful woman as much as the superhuman strength to make it really appealing to the audience. As a result, Rucka also nullified any defense he might’ve raised after the UN rejected using WW as a project mascot. Now, here’s the part I take issue with in regards to Stumptown GNs themselves:
“One of the joys of television,” Rucka says, is how it allows actors to give viewers a sense of the internal lives of the characters, in ways a comic or graphic novel doesn’t always have room for.
In the “Stumptown” graphic novels, for example, “Dex is someone I can focus on,” Rucka says. “I don’t get to spend a lot of time with Grey, or Ansel, and we tend to see those characters only when the lens catches them in relation to Dex.”
By contrast, Rucka says, there’s “no better medium” than television when it comes to conveying the wants and desire of a variety of characters.
This is laughable, considering Stumptown is his creator-owned property, and if he wanted to, I’m sure he could write and edit it all to the lengths needed for character focus on any and every cast member he put in. To me, this is just comedy gold. Sure, it may be relatively expensive to produce a long GN. But with the right effort, I’m sure anybody can turn out something that gives all the room Rucka says he can’t find in his creator-owned series.
The Washington Post also fawned over Rucka, who hilariously stated:
Writer Greg Rucka will be the first to tell you: Lois Lane, the greatest reporter in the history of DC Comics, subscribes to The Washington Post. “Find me a good journalist who doesn’t actively pursue other good journalism,” he says.
Because he wrote she does! In any event, shame on him for whitewashing such an awful newspaper.
In the “Lois Lane” maxi-series that debuted in July, Rucka and artist Mike Perkins are out to prove democracy doesn’t die in even the darkest garages of the DC universe. When Lane wants to meet discreetly with a secret source, she’ll text them, “full Woodward.” Rucka even has the Daily Planet’s top reporter opining on why she thinks Bob Woodward and FBI source Mark Felt’s famous garage meetings during The Post’s Watergate investigation worked: Even if you can’t see someone coming, you can hear them, and scram if you must.
“Lois Lane’s” 12-issue tale is titled “Enemy of the People,” a term at times shouted from the highest political office in the country to describe reporters assigned to cover politics. Rucka thought it necessary to mirror modern journalism with the most famous reporter in comics, who’s now covering the White House in addition to the superpowered happenings in Metropolis.
I’m afraid the only “modern” journalism he’s bound to mirror is left-wing journalism. I mean, hey, he’s practically championing it! In the worst ways possible, as evidenced by the following:
In the first issue, Lane is in the other DC universe, the District of Columbia, grilling a fictional White House press secretary on whether her administration is monetizing the separation of children from their families at the U.S. border. Lane is ejected from the news conference and has her press privileges revoked. (She ends up moving on to investigate other stories, including a suicide in Russia where it looks like foul play was involved.)
So we see, it’s a metaphor for the Trump administration in the most negative sense. And no worries about the many women in central America who’ve fallen victim to sexual assault on the way to the US borders. Looks like Rucka’s just proven ultra-leftism is alive and well at DC, and how even metaphors can be truly despicable.
Rucka also carried over a storyline begun by Brian Bendis in Superman:
Rucka brought over the kissing scandal he inherited from Brian Michael Bendis’s current run writing “Action Comics” and “Superman” for DC. In a smartphone world where everyone has a camera in their pocket, Lane is photographed kissing Superman. The problem? She’s married to Clark Kent, who the world doesn’t know is Superman.
It leads to attacks on her character, with the double standard that no one seems to be pointing a finger at the Man of Steel.
“Let’s be honest. What’s our society like?” Rucka asks. “Who’s that [drama] going to get aimed at. It ain’t going to get aimed at [Superman].”
I assume this has what to do with the Man of Steel reportedly intending to go public with his secret ID as Clark Kent. But this sounds so biased, to say society literally never considers a man accountable in an act of alleged philandering with a married woman. I think he’s just looking to write up a metaphor for conservatives.
Interestingly enough, he did say, however:
Rucka says its just a day in the life of a married couple, super or otherwise. “Every now and then they’ve got to disagree. They love each other. They trust each other. The marriage is a good one. You know, a lot of times you hear that once characters hook up, the drama’s gone. No. It’s not. And it’s insulting to every couple who has been happily together for more than 18 months.”
No kidding. In that case, does he agree with Spider-Man fans that Joe Quesada’s anti-Mary Jane Watson bias was reprehensible in the extreme? And that the death of Green Lantern cast member Katma Tui at the hands of Carol Ferris, under the Star Sapphire influence at the beginning of the brief Action Comics Weekly run in 1988-89, was abominable? He’s worked at Marvel too in the past, but I’ve never seen or heard of him calling the Big Two out on some of those grave artistic mistakes that may never have been repaired. If you don’t make your voice heard, just because you’re so scared of being blackballed by the majors, then you haven’t accomplished anything.
And based on the leftism he’s injecting into his Lois Lane miniseries, that’s why Rucka remains very unimpressive as a scribe.
Originally published here.