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DMZ #2
DMZ, Vol. 2: Body of a Journalist
In the near future, with military adventurism overseas bogging down the Army and National Guard, the U.S. government mistakenly neglects the very real threat of anti-establishment militias scattered across the 50 states, and, like a sleeping giant, Middle America rises up and violently pushes its way to the shining seas, coming to a standstill at the line in the sand--Manhattan or, as the world now knows it, the DMZ.
168 pages, Paperback
First published February 1, 2007
26 people are currently reading
1327 people want to read
About the author
Brian Wood
1,172 books961 followersBrian Wood's history of published work includes over fifty volumes of genre-spanning original material.
From the 1500-page future war epic DMZ, the ecological disaster series The Massive, the American crime drama Briggs Land, and the groundbreaking lo-fi dystopia Channel Zero he has a 20-year track record of marrying thoughtful world-building and political commentary with compelling and diverse characters.
His YA novels - Demo, Local, The New York Four, and Mara - have made YALSA and New York Public Library best-of lists. His historical fiction - the viking series Northlanders, the American Revolution-centered Rebels, and the norse-samurai mashup Sword Daughter - are benchmarks in the comic book industry.
He's written some of the biggest franchises in pop culture, including Star Wars, Terminator, RoboCop, Conan The Barbarian, Robotech, and Planet Of The Apes. He’s written number-one-selling series for Marvel Comics. And he’s created and written multiple canonical stories for the Aliens universe, including the Zula Hendricks character.
From the 1500-page future war epic DMZ, the ecological disaster series The Massive, the American crime drama Briggs Land, and the groundbreaking lo-fi dystopia Channel Zero he has a 20-year track record of marrying thoughtful world-building and political commentary with compelling and diverse characters.
His YA novels - Demo, Local, The New York Four, and Mara - have made YALSA and New York Public Library best-of lists. His historical fiction - the viking series Northlanders, the American Revolution-centered Rebels, and the norse-samurai mashup Sword Daughter - are benchmarks in the comic book industry.
He's written some of the biggest franchises in pop culture, including Star Wars, Terminator, RoboCop, Conan The Barbarian, Robotech, and Planet Of The Apes. He’s written number-one-selling series for Marvel Comics. And he’s created and written multiple canonical stories for the Aliens universe, including the Zula Hendricks character.
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Displaying 1 - 30 of 185 reviews
August 31, 2016
"I Never Paid Attention to Politics..."
Economic inequality in the United States has grown rapidly since the 1980's. By the year 2007, the country's richest 1% owned no less than 34.6% of the country's overall wealth, while the poorest 40% had to make do with only 0.3% of their country's overall wealth. More and more people are falling into poverty, and the consequences are devastating. Since the year 2010, for example, U.S. American women have the lowest life expectancy among the women of all forty-one so-called developed countries. Just in case you are wondering - those are the facts, not fictional statistics from DMZ. In reality, major conflicts about wealth distribution are inevitable, and in that context the notion of another civil war does not appear all that far-fetched.
So is Brian Wood's fictional civil war rooted in reality? Is DMZ socially or politically relevant in any way? This second volume promises to finally reveal what the civil war at the heart of the series is all about, yet all we get is more hot air. The protagonist himself apparently has no idea why there is a war going on: “I never paid attention to politics.” So he decides to sit down and read some back issues of The New York Times, because... well, that’s where you find in-depth information on what’s really going on in the world, right? Right?!? We are not told what The New York Times has to say about the roots of the war, but our hero appears to be stunned with what he finds out: “This is not what we learned in school.” Clearly, he has the whole conflict figured out now: “This is a war of extremes pushing against each other. But the stories lie in the middle.” What the...?!? I kid you not, that is his analysis of the situation after reading all those newspapers, and it is the only analysis the reader gets.
In summary: America is divided by “a war of extremes pushing against each other,” a fact that is too disturbing to be taught in school but is revealed by the most reliable of all newspapers, The New York Times. Hmmm... Brian Wood often makes me think of a 15-year-old who can't be bothered with politics but wears a Che Guevara t-shirt because he wants to be perceived as rebellious - a comparison that is probably unfair to most 15-year-olds wearing Che Guevara t-shirts.
It is becoming increasingly clear in this second volume that Brian Wood cannot really be bothered with the central themes of his own story - politics, economics, and the role of the mass media. So what does he do? He turns to popular culture for inspiration, of course, to movies such as John Carpenter’s Escape from New York and other comics such as Transmetropolitan by Warren Ellis. Sure, DMZ neither has a character as engaging as Snake Plissken nor the insight or wit of Transmetropolitan, but hey, we are talking about a comic book here - nobody will notice, right?
Economic inequality in the United States has grown rapidly since the 1980's. By the year 2007, the country's richest 1% owned no less than 34.6% of the country's overall wealth, while the poorest 40% had to make do with only 0.3% of their country's overall wealth. More and more people are falling into poverty, and the consequences are devastating. Since the year 2010, for example, U.S. American women have the lowest life expectancy among the women of all forty-one so-called developed countries. Just in case you are wondering - those are the facts, not fictional statistics from DMZ. In reality, major conflicts about wealth distribution are inevitable, and in that context the notion of another civil war does not appear all that far-fetched.
So is Brian Wood's fictional civil war rooted in reality? Is DMZ socially or politically relevant in any way? This second volume promises to finally reveal what the civil war at the heart of the series is all about, yet all we get is more hot air. The protagonist himself apparently has no idea why there is a war going on: “I never paid attention to politics.” So he decides to sit down and read some back issues of The New York Times, because... well, that’s where you find in-depth information on what’s really going on in the world, right? Right?!? We are not told what The New York Times has to say about the roots of the war, but our hero appears to be stunned with what he finds out: “This is not what we learned in school.” Clearly, he has the whole conflict figured out now: “This is a war of extremes pushing against each other. But the stories lie in the middle.” What the...?!? I kid you not, that is his analysis of the situation after reading all those newspapers, and it is the only analysis the reader gets.
In summary: America is divided by “a war of extremes pushing against each other,” a fact that is too disturbing to be taught in school but is revealed by the most reliable of all newspapers, The New York Times. Hmmm... Brian Wood often makes me think of a 15-year-old who can't be bothered with politics but wears a Che Guevara t-shirt because he wants to be perceived as rebellious - a comparison that is probably unfair to most 15-year-olds wearing Che Guevara t-shirts.
It is becoming increasingly clear in this second volume that Brian Wood cannot really be bothered with the central themes of his own story - politics, economics, and the role of the mass media. So what does he do? He turns to popular culture for inspiration, of course, to movies such as John Carpenter’s Escape from New York and other comics such as Transmetropolitan by Warren Ellis. Sure, DMZ neither has a character as engaging as Snake Plissken nor the insight or wit of Transmetropolitan, but hey, we are talking about a comic book here - nobody will notice, right?
August 19, 2014
Volume one was good, but this volume (2) makes a huge jump in quality and world building. Some loose ends from the first volume are tied up in an excellent story arc involving Matty’s father* and the two opposing elements here: the US government and the Free States of America. Events that led up to NYC becoming the DMZ are explored through the character of Zee. Life and the culture that has sprung up in wartime Manhattan since the American Civil War started is explored in the excellent final issue of this volume.
Brian Wood and Riccardo Burchielli are to be commended for bringing a fresh spin on the tired dystopian genre.
*August is now officially Graphic Novel Daddy Issues month! Greeting cards, bumper stickers and coffee mugs will soon be available.
Brian Wood and Riccardo Burchielli are to be commended for bringing a fresh spin on the tired dystopian genre.
*August is now officially Graphic Novel Daddy Issues month! Greeting cards, bumper stickers and coffee mugs will soon be available.
July 25, 2021
Se nel primo volume di DMZ avevamo visto la violenza e la noncuranza con la quale gli USA attaccavano Manhattan, ignorando le vittime e i danni procurati, qui l'asticella si alza.
Il ritorno in scena di Viktor, il giornalista che Matt doveva inizialmente seguire e che era stato dato per morto all'inizio della storia, getta il nostro reporter al centro di una spirale di complotti, paranoie e violenza che rischia di sfociare in una nuova guerra senza frontiere sull'isola newyorkese.
L'asticella si alza perché Matthew assiste al cinismo e al disprezzo per la vita dei militari e dei loro vertici, viene usato e gettato da parte quando non è più ritenuto utile alla causa, e anzi diventa un bersaglio mobile sia per chi lo ritiene la causa di quanto sta per accadere, sia per chi ha bisogno di un martire e i martiri, si sa, hanno il pregio di essere dei cadaveri incapaci di parlare.
Oltre ai complotti militari e alla disillusione verso i vertici Americani che comincia a svilupparsi, abbiamo anche la realizzazione da parte di Matt, dopo aver parlato con Zee, che la storia (almeno di Manhattan) era stata abbastanza diversa da come era stata invece venduta ai cittadini statunitensi.
Una realtà fatta di promesse impossibili da mantenere, di collegamenti interrotti e di civili lasciati in una terra di nessuno, che per il pubblico era stata trasformata in spostamenti organizzati verso rifugi sicuri dietro la direzione dell'esercito e dei volontari, con una piccola percentuale rimasta in loco per aiutare i ribelli.
Differenze sostanziali, narrazioni diverse che però trasformano civili in guerriglieri, cittadini neutrali in nemici ribelli che non è un peccato eliminare.
Per ora abbiamo avuto un focus sul marciume dell'America, mi chiedo se prossimamente arriverà qualche approfondimento che mostrerà come l'Esercito Libero non sia dissimile dalla controparte a stelle e striscie, o se invece la cosa scadrà in una situazione alla buoni contro cattivi.
Non penso sia questo il caso, ma non si sa mai...
Il ritorno in scena di Viktor, il giornalista che Matt doveva inizialmente seguire e che era stato dato per morto all'inizio della storia, getta il nostro reporter al centro di una spirale di complotti, paranoie e violenza che rischia di sfociare in una nuova guerra senza frontiere sull'isola newyorkese.
L'asticella si alza perché Matthew assiste al cinismo e al disprezzo per la vita dei militari e dei loro vertici, viene usato e gettato da parte quando non è più ritenuto utile alla causa, e anzi diventa un bersaglio mobile sia per chi lo ritiene la causa di quanto sta per accadere, sia per chi ha bisogno di un martire e i martiri, si sa, hanno il pregio di essere dei cadaveri incapaci di parlare.
Oltre ai complotti militari e alla disillusione verso i vertici Americani che comincia a svilupparsi, abbiamo anche la realizzazione da parte di Matt, dopo aver parlato con Zee, che la storia (almeno di Manhattan) era stata abbastanza diversa da come era stata invece venduta ai cittadini statunitensi.
Una realtà fatta di promesse impossibili da mantenere, di collegamenti interrotti e di civili lasciati in una terra di nessuno, che per il pubblico era stata trasformata in spostamenti organizzati verso rifugi sicuri dietro la direzione dell'esercito e dei volontari, con una piccola percentuale rimasta in loco per aiutare i ribelli.
Differenze sostanziali, narrazioni diverse che però trasformano civili in guerriglieri, cittadini neutrali in nemici ribelli che non è un peccato eliminare.
Per ora abbiamo avuto un focus sul marciume dell'America, mi chiedo se prossimamente arriverà qualche approfondimento che mostrerà come l'Esercito Libero non sia dissimile dalla controparte a stelle e striscie, o se invece la cosa scadrà in una situazione alla buoni contro cattivi.
Non penso sia questo il caso, ma non si sa mai...
March 3, 2019
A stronger volume than the first, but still not Wood at his best.
The start of this one is a lot more of a rush. We get a kidnapping, a reveal of someone thought to be dead who is still alive, alot of backstabbing, and a lot of "What if" and "Who can it be" that keep you on your toes. The last two issues are one shots, one covering Zee's origins and how she ended up int he city while the last issue is basically just showing off a bunch of the city by almost news clipping type format.
Good: I did enjoy the main story in this volume. The twist and turns were solid, if not a little predictable. I like how they pushed forward in a quicker paced storyline in this one while not sacrificing telling a political thriller tale. I'm also getting a bit more used to the art form here, as it gives a good gritty feel. Zee backstory was a nice topper too.
Bad: I still don't like much of the cast. A lot of them are selfish, assholes, or just plain dumb. I also hated the last issue, as it was a slog to get through.
Overall, getting better. While not as good as some of Brian Wood's other works, it's starting to build into something I want to read more. A 3.5 out of 5.
The start of this one is a lot more of a rush. We get a kidnapping, a reveal of someone thought to be dead who is still alive, alot of backstabbing, and a lot of "What if" and "Who can it be" that keep you on your toes. The last two issues are one shots, one covering Zee's origins and how she ended up int he city while the last issue is basically just showing off a bunch of the city by almost news clipping type format.
Good: I did enjoy the main story in this volume. The twist and turns were solid, if not a little predictable. I like how they pushed forward in a quicker paced storyline in this one while not sacrificing telling a political thriller tale. I'm also getting a bit more used to the art form here, as it gives a good gritty feel. Zee backstory was a nice topper too.
Bad: I still don't like much of the cast. A lot of them are selfish, assholes, or just plain dumb. I also hated the last issue, as it was a slog to get through.
Overall, getting better. While not as good as some of Brian Wood's other works, it's starting to build into something I want to read more. A 3.5 out of 5.
November 1, 2007
this one has the awesome art of kristian donaldson on issue 11 (IIRC) and then #12 has the cool Time OUT magazine style illustrations by Wood himself. it's probably sacriligeous to prefer the guest artists to the main artist on the series, but yeah, me = heretic.
October 3, 2009
First of all, no matter how high I suspend my disbelief, I still can't get with Brian Wood's notion that apocalyptic war zone NYC could also serve as some hippie vegan organic utopia. Second, the protagonist here -- one Matty Ross -- has to be the dullest major character I've seen in recent comics. All he does is scowl, vomit, and explode with diarrhea. And finally, there's DMZ issue #12, entitled "New York Times" (ha ha), which is supposed to be a homemade Lonely Planet guide to post-NYC's rubble and anarchy, yet seems to be just illustrations of skinny tatted hipsters with bikes on their shoulders, publishing fancy zines, or somehow gigging in clubs. Very cruel to inflict that shit on this unsuspecting reader.
September 19, 2018
Its good but I slowly wss losing interest towards the latter issues. I likedl Roth as a character but I'm not sure he can develop much more. Very political and I guess current for the times. Not a big follower of US politics being from Australia, so didnt flow or hook me as much as I would have liked.
February 29, 2020
Mejora respecto al primer volumen. A por el tercero.
May 23, 2023
3.5*
July 2, 2020
Building off the previous foundation Vol. 2 continues as expected. Yet where it veers from its predecessor is the change in agency of our pasty faced protagonist. Not merely swept up by the forces around him, buffeted and bashed by environs and peoples alike, Matty actually forges something akin to his own path. So to does the narrative mature and grow as it trailblazes its own (somewhat) unique path in the Vertigo canon.
Compounded by thick undergrowth of lies, deceit and the unending bevy of political intrigue which ensnare each and every move by the protagonist herein, what started with a fierce dash becomes mired down in its own internal quagmire of literary quicksand. Sure, sucked in the viscous maw he is but punching up he is too, seemingly fighting for his very life across most every panel. Sloughing or hacking his way through innumerable trials, tribulations, whether they be at the end of a rifle butt or the sinister machinations of emotional manipulations we’re kept on our toes from beginning to end all across this crushing urban waste-land not all too removed from Carpenter’s Escape From New York..
Yet for all the bursts of creativity and its perfectly corresponding decent level of enjoy-ability, the final issue is a disappointing foreshadowing of the ensuing waning of quality alongside an equally legitimately high threshold for positive potentialities.
So when the first two main narratives of Vol. I and II were completed Mr. Woods penned a compilation of vignettes for his fictional DMZ to close the ending of the latter. What could have made for an easily filled out special (which for some reason are utterly devoid in this series) is instead a collection of faux ads for equally illusory bands and shops alongside a bevy of paper thin internal meditations and external write-ups of various denizens of this bombed out New York City. Indicative of all the upcoming flaws of the series nothing feels particularly creative and nor does anything really help to flesh out the world-building let alone connect to our emotions. In fact none of the mentioned shops, bands, or who’s who of the DMZ really pop up again later in the series (at least as far as I’ve gotten which is Vol.X - of XII). This is crushing on its own merits (or most accurately its lack thereof) as much as vast potential that is utterly wasted here.
Sure, there’s a mostly good offering here. But the last issue is a sad harbinger of the mediocrity to come.
Compounded by thick undergrowth of lies, deceit and the unending bevy of political intrigue which ensnare each and every move by the protagonist herein, what started with a fierce dash becomes mired down in its own internal quagmire of literary quicksand. Sure, sucked in the viscous maw he is but punching up he is too, seemingly fighting for his very life across most every panel. Sloughing or hacking his way through innumerable trials, tribulations, whether they be at the end of a rifle butt or the sinister machinations of emotional manipulations we’re kept on our toes from beginning to end all across this crushing urban waste-land not all too removed from Carpenter’s Escape From New York..
Yet for all the bursts of creativity and its perfectly corresponding decent level of enjoy-ability, the final issue is a disappointing foreshadowing of the ensuing waning of quality alongside an equally legitimately high threshold for positive potentialities.
So when the first two main narratives of Vol. I and II were completed Mr. Woods penned a compilation of vignettes for his fictional DMZ to close the ending of the latter. What could have made for an easily filled out special (which for some reason are utterly devoid in this series) is instead a collection of faux ads for equally illusory bands and shops alongside a bevy of paper thin internal meditations and external write-ups of various denizens of this bombed out New York City. Indicative of all the upcoming flaws of the series nothing feels particularly creative and nor does anything really help to flesh out the world-building let alone connect to our emotions. In fact none of the mentioned shops, bands, or who’s who of the DMZ really pop up again later in the series (at least as far as I’ve gotten which is Vol.X - of XII). This is crushing on its own merits (or most accurately its lack thereof) as much as vast potential that is utterly wasted here.
Sure, there’s a mostly good offering here. But the last issue is a sad harbinger of the mediocrity to come.
July 2, 2011
Given away (to Craig?)
See also my review of the first volume.
Most of the book deals with the abduction of a journalist and the ways in which the government tries to use his experience as a propaganda tool, but this kind of forced drama just seems to squander the potential of the book's central idea.
I guess it's "urban," or "street," or "gritty and realistic" to have the government be willing to kill innocent people as an excuse to fight a war, but it's not particularly fresh or exciting. Maybe it's just me, but I'd be more excited by a nuanced look at how people on all sides of the issue might react to a modern civil war. The "let's bomb 'em all" military stereotype seems too played out.
This volume also includes a look back at the forced evacuation of New York before it was turned into a DMZ through the eyes of one of the side characters. Unfortunately, it's painted in such broad strokes so as to be totally wasted. On the one hand, you've got the saintly med-student hero who fights nobly to save lives before cutting and bleaching her hair now that she's chosen to live in the DMZ. On the other hand, you've got the fat ex-cop who wears his 9/11 t-shirt and beats up people in the street because he loves his America and has a gun. Would those people exist in this world? Sure, but they're not particularly interesting.
And finally, there's a "Guide to the DMZ," describing the various communities on the island. It's probably the best idea in the whole book, or would be if it was told organically through the story. Isn't that the whole point of a project like this?
See also my review of the first volume.
Most of the book deals with the abduction of a journalist and the ways in which the government tries to use his experience as a propaganda tool, but this kind of forced drama just seems to squander the potential of the book's central idea.
I guess it's "urban," or "street," or "gritty and realistic" to have the government be willing to kill innocent people as an excuse to fight a war, but it's not particularly fresh or exciting. Maybe it's just me, but I'd be more excited by a nuanced look at how people on all sides of the issue might react to a modern civil war. The "let's bomb 'em all" military stereotype seems too played out.
This volume also includes a look back at the forced evacuation of New York before it was turned into a DMZ through the eyes of one of the side characters. Unfortunately, it's painted in such broad strokes so as to be totally wasted. On the one hand, you've got the saintly med-student hero who fights nobly to save lives before cutting and bleaching her hair now that she's chosen to live in the DMZ. On the other hand, you've got the fat ex-cop who wears his 9/11 t-shirt and beats up people in the street because he loves his America and has a gun. Would those people exist in this world? Sure, but they're not particularly interesting.
And finally, there's a "Guide to the DMZ," describing the various communities on the island. It's probably the best idea in the whole book, or would be if it was told organically through the story. Isn't that the whole point of a project like this?
July 17, 2009
America is in the midst of a civil war, and New York City is a battle ground popularly called the DMZ. Matty, who grew up a privileged annoying richwhitestraightable guy, is still pretty privileged and annoying in the DMZ. The plot is weak and certainly not novel. The art is typical Vertigo--lots of harsh lines, cross-hatching, gratuitous female nakedness (without matching sexy male nakedness). An obese woman in a bikini is blown apart in the opening scene. There's a whole page of a guy getting shot in the head in graphic slo-mo. So...there's that. Those (big) caveats aside, the DMZ itself takes a larger role in this trade. What kind of food is available (mostly vegan), water shortages, zines, PTSD, what neighborhoods are left--all of it is at least mentioned, although not explored in-depth.
September 6, 2010
Great followup to the first. Loved it. Definitely provocative and timely.
March 31, 2018
Great series. Totally believable? Nah. But fun. The art is still growing on me. When it’s landscapes, it’s fantastic. But the people leave something to be desired. Excited to see what comes next.
September 20, 2024
There's still a lot to be revealed as yet, but for the art and the interesting characters that keep coming up, I'm along for the ride.
November 18, 2010
Enjoyed the personal story and many of the politics, but the back story of the history leading up to this point is spotty at best and ludicrous at worst. One must believe that everyone in the mountain states is a gun toting libertarian to swallow the premise that no one stood up to the free armies as they started their campaign. As someone who has lived much of their life in Wyoming (and a big chunk in New York as well), I just don't see it going down the way it is portrayed here. There are enough groups with completely different political aims in the west that they would never be able to march through these states uncontested - militarily or politically. I also think it is a pretty awful thing to assume that everyone in the national guard would abandon their posts in a situation like this. Overall, the logic is just flawed on so many levels. A HUGE suspension of disbelief is required. Not that I'm saying a civil war over these issues isn't possible, but I don't think the history was well thought out before Wood started writing and it shows. His people all have such simple motivations and thoughts... Basically, a bunch of people in Montana who loved guns and hated big government were able to march all the way to NY more or less unchallenged and along the way convince nearly everyone to join them?
And that is saying nothing of the idea that what remains of the US forces are holed up on Long Island - probably the least defensible spot in the whole continental states. And, besides, I've lived in Long Island. If that's all that's left of the U.S., it's time to face the fact that we've lost.
Also, the history is still somewhat spotty. I was particularly ticked off when the New York Times issues were shown large enough to read, but the articles were all just random letters. How hard would it have been to write up articles to provide even a little backstory? I'm sure that is to keep people reading, but at this point, my interest is pretty much lost.
And that is saying nothing of the idea that what remains of the US forces are holed up on Long Island - probably the least defensible spot in the whole continental states. And, besides, I've lived in Long Island. If that's all that's left of the U.S., it's time to face the fact that we've lost.
Also, the history is still somewhat spotty. I was particularly ticked off when the New York Times issues were shown large enough to read, but the articles were all just random letters. How hard would it have been to write up articles to provide even a little backstory? I'm sure that is to keep people reading, but at this point, my interest is pretty much lost.
August 10, 2013
This fantastic series continues here, with rookie photo-journalist Matty having now been in the DMZ for nearly a whole year. Suicide bombers, kidnappings, food and water rationing...NYC just like Iraq/Afghanistan. Terrorism, resistance, government manipulation, competing media trying to get the scoop by any means necessary, and the real issue, the condition of the people living in the DMZ, just forgotten amidst the chaos of the powerplays.
This is an angry book, written by someone who has watched what's going on overseas and what it's doing to those affected on the ground, those who's homes are gone, and those who are just pawns in a game.
In spite of it all, Matty tries to find his way, decide what needs to be shared with the outside world, who are wholly ignorant of what life is like, while still maintaining his own safety and friendships within the DMZ. Watching him navigate it is a joy.
A very strong series, happy to keep at it. HIGHLY recommended.
This is an angry book, written by someone who has watched what's going on overseas and what it's doing to those affected on the ground, those who's homes are gone, and those who are just pawns in a game.
In spite of it all, Matty tries to find his way, decide what needs to be shared with the outside world, who are wholly ignorant of what life is like, while still maintaining his own safety and friendships within the DMZ. Watching him navigate it is a joy.
A very strong series, happy to keep at it. HIGHLY recommended.
January 17, 2013
wow, wow, wow.
The first volume set the scene. This one takes it to a whole other level.
My advice. Grab a shot, stick some chilled NY hip hop on (Nas first album for me) and immerse yourself into a New York City life that you could never begin to imagine.
Seriously. Go out and buy this.
I am going to somehow wait till next month as at £9.99 a Vol (feels right to buy it in Gosh comics, Soho, rather than Amazon. Though I am far from an Amazon hater), I could burn through a lot of money very quickly.
Brilliant
The first volume set the scene. This one takes it to a whole other level.
My advice. Grab a shot, stick some chilled NY hip hop on (Nas first album for me) and immerse yourself into a New York City life that you could never begin to imagine.
Seriously. Go out and buy this.
I am going to somehow wait till next month as at £9.99 a Vol (feels right to buy it in Gosh comics, Soho, rather than Amazon. Though I am far from an Amazon hater), I could burn through a lot of money very quickly.
Brilliant
January 23, 2016
It was a cool graphic novel. I picked it up used cos Vertigo seems like a good comics company and I was not disappointed. Interesting idea pretty well executed. I liked the art, even though it was extra dark and girtty (I realize it's a book about war) but the main character's motivations were a little perplexing to me. I did really like how the political situation was explained throughout though.
March 23, 2018
Hard for me to be completely unbiased about this series, because I spend so much time in the DMZ, so for me, it's fascinating just to see how Wood depicts the various neighborhoods. He must send a ton of pictures to the artists, because some of the blocks and buildings are completely recognizable.
Anyway, second arc, Matty gets caught in the middle of a negotiation between the USA and the Free States, and the residents of the DMZ are going to lose no matter who wins. So Matty has to find a way to protect his new home. And he goes freelance, finding another network that will file his reports, even the ones that don't flatter the USA.
Great writing, great art, extremely believable characters, good, logical twists, and convincing dialogue. I really enjoy Burchielli's art too; he's great at capturing the rundown quality of the DMZ and still making it feel like Manhattan. Kristian Donaldson's fill-in art was good, as was Wood's "New York Times" tour of the DMZ - though I'd rather the book skip a few months and stick with Burchielli instead of having fill-in art. Just my preference, I suppose that the monthly market forces being what they are, it's not very likely or even practical.
Anyway, second arc, Matty gets caught in the middle of a negotiation between the USA and the Free States, and the residents of the DMZ are going to lose no matter who wins. So Matty has to find a way to protect his new home. And he goes freelance, finding another network that will file his reports, even the ones that don't flatter the USA.
Great writing, great art, extremely believable characters, good, logical twists, and convincing dialogue. I really enjoy Burchielli's art too; he's great at capturing the rundown quality of the DMZ and still making it feel like Manhattan. Kristian Donaldson's fill-in art was good, as was Wood's "New York Times" tour of the DMZ - though I'd rather the book skip a few months and stick with Burchielli instead of having fill-in art. Just my preference, I suppose that the monthly market forces being what they are, it's not very likely or even practical.
October 10, 2019
This volume takes place a year after Matty's settled into the DMZ, and focuses on the political struggles over another journalist captured, and Matty gets thrust into the middle. There's a lot of political posturing, kidnappings, and betrayals, and Matty gets a chance to actually make a real difference in the world. The volume also includes Zee's origin, which is almost as strong as the main plot.
It's hard to really put into words how powerful the story is, painting the world of a war zone in a way that is still recognizable as America, but Wood and Burchielli manage it - Burchielli's art is a big part of it in this volume. This book seems as timely as ever, and definitely worth the read.
It's hard to really put into words how powerful the story is, painting the world of a war zone in a way that is still recognizable as America, but Wood and Burchielli manage it - Burchielli's art is a big part of it in this volume. This book seems as timely as ever, and definitely worth the read.
April 12, 2021
1.5 stars
DMZ rides that fine line between being edgy or lame, then falls flat on its face on the side of being lame. There is a good concept there, it's just that all of the characters talk and act like a cross between angry teenagers and members of a hippie commune. There might be some sort of political or general point to the story but it's lost on me, war is bad or something?
It reminds me of the likes of Warren Ellis' Transmetropolitan, except Ellis does stick the landing and Transmet is still a classic read. DMZ is just too earnest and naive for me, the younger less cynical version of me might have enjoyed this, but now I find it a bit meh.
DMZ rides that fine line between being edgy or lame, then falls flat on its face on the side of being lame. There is a good concept there, it's just that all of the characters talk and act like a cross between angry teenagers and members of a hippie commune. There might be some sort of political or general point to the story but it's lost on me, war is bad or something?
It reminds me of the likes of Warren Ellis' Transmetropolitan, except Ellis does stick the landing and Transmet is still a classic read. DMZ is just too earnest and naive for me, the younger less cynical version of me might have enjoyed this, but now I find it a bit meh.
August 22, 2017
vien quasi da pensare che il primo numero fosse la preparazione a questo secondo volume, semplicemente perfetto: è qui che la trama prende una piega nuova, che viene chiarita la natura della guerra tra usa e stati liberi e che il personaggio di matty si sviluppa completamente. fumetto dell'anno, e uno dei migliori del decennio.da rileggere più volte la splendida "guida" che chiude l'albo, che contribuisce a far diventare la new york di "dmz" più reale di quanto si possa immaginare.
December 6, 2022
Continuamos con DMZ ... Se nota que entra en Harina en materia, empieza a tejer las primeras historias e indagar en los personajes, las diferentes zonas de la ciudad, su día a día, y hasta donde salir de cena y copas, todo un mundo paralelo a la guerra que vuela sobre sus cabezas.
Muy bueno, sube el nivel un poco, con respecto a la anterior entrega y te deja con ganas de más.
Habrá que seguir con la historia.
Muy bueno, sube el nivel un poco, con respecto a la anterior entrega y te deja con ganas de más.
Habrá que seguir con la historia.
February 18, 2017
I came to this book having just read volume 3 and volume 2, in that order. In this one the mayor has to get to the bottom of a blackout, and we see more of what he did on September 11 (and people think they stretch out the backstory in Lost!). I enjoyed this just as much as the previous books, but damn that sketchbook at the back for tricking me into thinking I still had lots of comics to go.
July 1, 2017
Volume 2 of DMZ definitely builds on the first volume and moves it forward greatly. The main character no longer looks out of his depth and has matured a lot between the two volumes which makes the story more believable. The artwork is still fabulous and the back story for some of the characters brought a lot to this volume. Four stars from me
April 25, 2019
There is a jump happening in this volume, it seems like a jump in time but it isn't; we continue where we left off, but something is different, it is more mature in writing and the world around us.
The Civil War is ragging on, and politics are having its spin on the situation in this volume.
I like the story so far; not that much fond of the artwork though.
The Civil War is ragging on, and politics are having its spin on the situation in this volume.
I like the story so far; not that much fond of the artwork though.
April 19, 2022
Gives a little bit more on the sides of this Civil War, kinda. We meet some of the leadership of the Free Americans. Apparently the take over of America started in Montana and I kinda believe it, even though the population is nill out there.
Art is still great, we get some backstory for Zee and some growth for Matty. Onward to volume 3!
Art is still great, we get some backstory for Zee and some growth for Matty. Onward to volume 3!
March 12, 2023
Nearly as good as the first volume, this one does a little more world building, a little more character building. The one thing that didn't make sense to me, and I had to really ignore, was that somehow in a near future Civil War Manhattan, there exists a vegan utopia. I will continue with this series because it is engrossing.
December 29, 2024
I'd honestly forgotten just how goddamn good this series is, and how it gets better and better as Matty stsrts to become accustomed to life in the DMZ. Every page drips with paranoia, twnsion, and the ever present rusk of death for the people trapped between the warring factions, the random crazies and the warlords that battle for control of Manhattan.
Stunningly good.
Stunningly good.
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