Sunday, January 8, 2012

Why Matty Roth?

Because he’s one damn fine character.

And maybe I’m man-crushing on him just a little.


DMZ is one of my Top 10 All Time favourite books. It’s simply amazing how well Brian Wood, and his wide cast of artists, made this book. It’s smart, beautiful, heartbreaking, smart, funny, gory, and so damn smart. This is the sort of book you want to read again and again because the plot is so tight but the characters carry the heart of the book every time.

Matty Roth is this heart and he’s been broken for some time now.

DMZ is also the kind of book you wish you wrote. I wish I had written it. It’s the sort of sprawling saga that doesn’t pad a tale and does its own thing that I love, and love to write.

DMZ just came to an end. The trades are all out there but I have a feeling some deluxe HCs will be on the way – and my wallet will be opening for such an event, you better believe it.

For now, think about checking out the book, enjoy our scripts today, and look after one another. That’s what it’s really all about, right?*

* Wrong it’s about looking after yourself. Then you can more properly look after others.


  1. Huge fan of this series (though I am trailing behind in reading it in trade now).

    Photojournalists fascinate the shit out of me. I've done a (still sadly unpublished-- artist problems) 5 page short on one (mostly silent) and I was pitching a bio-comic a while back (the company I pitched to went under sadly, the day after I pitched no less) of perhaps the most famous example of the profession.

    So now I've suitably built myself up:

    Page One- Nine panel grid

    OPEN on a CLOSE UP of MATTY ROTH’s hands fidgeting nervously.

    For those taking notes at home this scene takes place in the corridor where we first see Matty in Issue #1 of DMZ. Indeed this scene takes place immediately before that one.

    ADAMS (OFF): Matthew Roth?

    CUT TO a TIGHT SHOT of Matty as he looks up from beneath the peak of his cap.

    MATTY: Hmm?

    CUT TO A TIGHT SHOT of the man standing over Matty. This is ADAMS, a grizzled freelance photographer. He wears a pair of jeans, leather boots and a rumpled lumberjack shirt.

    Think Nick Nolte, add a little frazzle and you’re halfway there.

    ADAMS: A little advice...

    One of Adams’ hands goes to the camera around his neck, gripping it slightly.

    ADAMS: You’ll see things out there.

    TIGHTER on Adams as he points to the lens on the camera.

    ADAMS: Keep them in here.

    PAN UP slightly as Adams points to his temple.

    ADAMS: Not here.

    CUT TO a shot showing Adams walking away down the corridor.

    Adams: Good luck.

    CUT TO a CLOSE UP on Matty-- what was that?

    MATTY: ?

    Matty puts his hands behind his head and leans back (a segue into the first panel we see of him in Issue #1).

    NO COPY.

  2. Dan - nice. Working so close with continuity is a dangerous game to play but your words ring true and that moment is the perfect place t play them. Love it.


Feedback is what every good writer wants and needs, so please provide it in the white box below
If you want to play along at home, feel free to put your scripts under the Why? post for the week.