Damon Hurd could have told this story with one issue. Hell, he could have told it with just this issue, but I'm pleased he didn't. The longer form allowed him to really manipulate the reader effectively when it came to his little plan to misdirect about a key plot point. It makes the ultimate revelation all the more effective. Hurd explores how friendships -- even the most important ones in our lives -- are imperfect things that are both strong and fragile at the same time. The achronological storytelling challenges the reader and enhances the emotional impact of the story, and some inventive panel layouts convey a sense of movement in the story despite the fact that it's all about talking heads.
As David's funeral approaches as well as the time when he must finally face his loss, Owen looks back on key moments from his friendship with David. He recalls the night he said good-bye to his friend, as David prepared to head out west to embark on a promising music career. Owen thinks of another funeral -- his father's -- and how David helped him through it. He thinks of the last telephone conversation he had with his friend, how he was disappointed about his drinking and how he looked forward to their regular movie-going reunion. And he thinks of how it never came it pass.
Camello's work here is as strong as it was in the first issue... stronger, in some ways. Though the childhood remembrances are gone from the story by this issue, there's no confusion as to the jumps forward and back through time. The transitions are subtle but clear. The panel layouts in the opening bar scene bring motion and energy to the story. One almost forgets the story is just about two guys sitting and talking to one another at that point in the book. Camello drives home the tortured emotions that Owen goes through with real power.
I think what makes this issue work so well and come off as fresh in the wake of the previous two chapters is the fact that Owen comes off as a bit of a bad guy at one point. Before, it was David who was deeply flawed, but he's the one exhibiting the strength early on in this final issue. It's easy to relate to Owen's insecurity, but it's also easy to relate to David's frustration and anger. The David character shows tremendous growth, sensitivity and awareness as well, and it rounds him out nicely.
Hurd examines the grieving process from a thorougly honest place. Owen's behavior in both stages of grief in his life strike me as the sort of thing we all would rather do. We'd all rather hide away with a best friend to comfort us. We'd all rather scream and rant and crumble. We tend not to, because we occupy ourselves with how others feel as opposed to our own emotions.
