Theron Couch
Matty Roth wanted no part of chaotic Manhattan when DMZ began. Yet by the end of the series’ first arc, the photo tech intern had pushed his way into the role of an embedded reporter in the Manhattan DMZ. But Matty Roth has no training or experience as a journalist. Tracking how he develops in that role and what he chooses to do with the power he possesses becomes one of the series’ major character arcs. At the same time, Matty’s presence and his actions pose questions about how the news media operates.
The following will contain spoilers for DMZ 4-5.
Chasing the Story
Issues 4 and 5, “Ghosts” and “Crosstown” respectively, are stand alone entries. “Ghosts” catches up with Matty in a snow covered expanse where Central Park used to be. The self-appointed reporter has traveled several miles up the island searching for the Ghosts, a rumored special ops team made up of AWOL soldiers who are based in what was Central Park.
In the course of Matty’s investigation he finds a group of militarized environmentalists. Their goal is to preserve what Central Park still offers. They buried the zoo to protect themselves and the animals living in it. The group operates their own power generation, waste disposal, and recycling systems. And they grow a large amount of bamboo that they want to trade with other factions as an alternative to cutting down the park’s remaining trees. Soames, the group’s leader, is willing to be interviewed by Matty so long as he puts out the equivalent of a commercial for their goals and their bamboo trading plan. Matty tries to resist reporting something so biased. But ultimately he expresses a reluctant willingness if he is allowed to go on patrol with the Ghosts and write about it. The patrol turns violent when they’re attacked by a rival gang. As one injured Ghost lays dying, he gives Matty a key to an apartment in Stuy Town so that the reporter has somewhere permanent to live.
DMZ #5
“Crosstown” is much more straightforward. Someone breaks into Matty’s new apartment in Stuy Town and steals his press credentials and homemade press jacket while Matty hides. Matty could make another press jacket, and it would probably keep people from attacking him at first glance. But it’s the press credentials that give him access to parts of the city where he would otherwise be killed. Matty chases the thief through several neighborhoods such as a private block “kill zone” on East 17th, a makeshift art studio in Gramercy Park, and past the wrecked Macy’s on 34th until he and the thief are stopped by the fortifications at the Lincoln Tunnel–the border of Free States occupied territory. Recognizing Matty, the Free State guards threaten the thief until he returns Matty’s credentials. They also invite Matty to return when he wants to do a story on “genuine, home-grown, flag-burning, good ol’ American turn-coats.”
Compared to almost all of DMZ’s stories to follow, “Ghosts” and “Crosstown” are small in scope and straightforward in plot. But they are the first stories to really help build out DMZ’s environment. Matty’s entrance into the DMZ in “On the Ground” introduced a lot of basic concepts. One of which is how the DMZ is broken up into different territories that function in very different ways. Zee explains this to Matty, but the opening three issues don’t visualize that status quo.
Issues 4 and 5 visit new parts of the DMZ. “Crosstown” shows off a variety of what the Manhattan DMZ has to offer, demonstrating how vastly different neighborhoods are sandwiched together. And perhaps most importantly, the issue puts a face to the Free States spoken about in the first three issues. “Ghosts” introduces the faction of the same name and provides a more detailed look at how people might survive when cut off from the modern luxuries we take for granted. The Ghosts are a compelling combination of two post-apocalyptic fiction tropes: an environmentally conscious commune finding ways to subsist in a formerly urban space and a hierarchical, militarized force that can defend against or attack rival factions.
An Objective Goal
The real power of “Ghosts” and “Crosstown,” though, is the way they encourage readers to think about the press. Matty’s first foray into journalism in “Ghosts” is one of an idealized objective journalist. The Ghosts’ position isn’t particularly extreme. As Matty points out, they basically just want a commercial. But even that’s too much for him.
DMZ #4
“Crosstown,” meanwhile, emphasizes the notion that the press have some special immunity when embedded in places like warzones. Matty’s narration establishes his greater chance of safety and access with his press credentials. That idea of special immunity plays into the credibility that DMZ is setting up for Matty. Like “Ghosts,” it creates an idealized starting point.
The notion of impartiality established in “Ghosts” combines with the symbolism in “Crosstown” to offer reminders of the press’ power and its value. The years following DMZ’s publication have borne out the comfort people find in confirmation bias and the media echo chambers that foster it. DMZ anticipated this development. But first it took a moment to showcase, however unconventionally, the press’ power and potential to truthfully inform rather than manipulate.
As part of this discussion on media, it’s important to highlight one of the series’ main storytelling devices. Matty provides first person narration via his own internal monologue throughout the series. This was established in the first issue. But it’s especially noteworthy here because throughout the series, Matty’s narration doesn’t necessarily match what he’s writing. This is reflected in “Ghosts” where, despite the limited narration provided, he is chafing against what the Ghosts want him to do. It showcases his goal of not editorializing what is considered news. This is important to pay attention to as the series goes on.
The idea of truly objective journalism is relatively new in the United States, and it has been the exception rather than the rule. From the country’s beginning, media sources have often been loyal to certain political parties, politicians, philosophies, and so on.
DMZ doesn’t acknowledge that history, instead portraying the would-be reporter as someone trying to be truly objective. As a storytelling choice, it gives Matty credibility from the start. No matter where the character goes as the series progresses, he begins in a place of pure intentions. It’s possible that objective media can’t truly exist. But as a means of examining the media, DMZ’s early issues present an ideal against which present day reality can be measured.
