I love being a journalist. It's not just a job I enjoy, but there are days when it's actually pretty cool. But I've learned over the years that as much as I love seeing my byline on top of a good story in the paper, the only people really paying attention to that byline are other journalists and the people directly involved with and embarrassed by the story. The readers, they rarely notice, and it can be frustrating when one is faced with the fact that there's a lack of realization that there's an actual person responsible for the crafting of a newspaper story. Wood explores that feeling in this script, which focuses on the power of symbols over actions and people.
It's been three weeks since Matty Roth found himself stranded in Manhattan, transformed into a no man's land by an American civil war, and as a rogue journalist filing from within the heart of the action, he's developed quite a following, both on an off the island. He's been able to do so thanks in part to his homemade Press jacket and his legitimate press credentials, which provide Matty with the protection he needs to stay alive. But when those items are stolen by a crafty thief, Matty is forced to give chase through the city, vulnerable to every sniper and anarchist he approaches.
Burchielli and Wood have crafted a thoroughly believable yet extraordinarily different vision of Manhattan. the city with which the whole world is familiar has been merged with images one might more closely associated with Beirut or London during the Blitz. The angular and hip designs for the various characters maintain a youthful energy throughout the book, and the expressions Burchielli brings to those characters' faces reinforces the cynical tone of the premise. Perhaps the most interesting aspect of the art is the fact that Matty, without his press protection, is running around the city literally with a target on his back. It's not subtle, but it says volumes about the core plot.
This fifth issue of the series offers a standalone story, and it's clear Wood is reaching out to potential readers who may have missed out on the previous four episodes. Smart move, marketing-wise, and he achieves that end quite well with a thoroughly accessible script. Wood tells the reader everything s/he needs to know to delve into this war-stricken corner of a fictional United States. I like how he makes room in this frantic story for a brief bit of character interplay between Matty and Zee, not only summing up their conflict but reinforcing that there's a strong connection there.
The fact that there's something in Manhattan telling stories that had previously gone untold is important, but Matty learns that the symbol of a free press, even if it's just one person, is just as important, if not moreso. That symbol is treated as sacred in this story by characters that hold nothing sacred anymore, by people who feel abandoned and alone. There are a multitude of factions in the Manhattan of DMZ, but they all agree on one thing: don't kill the reporter. The power of the press isn't just to inform, but to unite, and that's presented somewhat literally in this exciting but quietly poignant script. 9/10
