For part 2, we've got the second issues of two series, and I'm writing this on the 2nd. I hope Batman will at least knock on the door rather than crashing through the window.
Brynne finds a camera at the base of the mountain, but it's frozen solid, so she takes copies of her own footage to the nearest village where the sheriff is not on the same page about there being foul play. Brynne finds the locals uninterested in talking with her, minus a pilot who flew the two climbers in a few times, and that they worked with a local hunter. Likely the guy whose traps Brynne messes with.
The camera thaws and the footage reveals one of the climbers was nervous about something, and was recording the trip without his buddy's knowledge. The rest is unknown, but someone went through Brynne's cabin while she was away, the sheriff's looking funny at her (or Brynne's paranoid, I didn't really get the sense the sheriff was thinking of her as a suspect from their conversation), and her boss is on her butt to get those bird photos, which Brynne has decided don't matter.
We get a few more panels about some incident from Brynne's past. It looks like she recorded a man committing suicide, possibly in her office while they were talking. But there's never any dialogue, and it's always just one panel at a time, so it could turn out to be something entirely different. Much like Brynne's attempts to piece things together from the various footage she's found. Some of which has convinced her the climbers switched jackets at some point before reaching the summit.
I can't really tell that from the art, so maybe we're meant to take that as commentary on Brynne's character, that she jumps to conclusions based on insufficient evidence. The way Izzo draws the scene, as small panels of still images from the footage, where the climbers are little more than brightly colored stick figures, it doesn't really look like "Red" barely moved from being shoved, as Brynne sees it, given how far apart the two appear in the panel.
The family prepares to scatter the ashes, but the daughter, Marabeth, has some things to work through. Feeling abandoned by a father who willingly jumped out of planes into forest fires, mostly. Her mother tries to explain it, but it's unclear if that helps. And Charlie always seems at a remove. Jo reaches out to draw him into the hug and it looks like he steps back. At least, he's still at arms' length after the hug.
But the ashes get scattered and next morning, Charlie's gone. The ranger isn't answering the phone, so Marabeth goes looking while Jo waits to see if Charlie returns. No sign of Charlie either way, but Marabeth encounters a deer acting a little strangely. Not nearly so strangely as it does once it's out of sight, however.
The conversation that felt most relevant was thee part where Jo and Marabeth discuss which parent each kid is more like. Marabeth think Charlie is the one who takes after their father, while Jo is sure it's Marabeth. I think it says the most about how Marabeth saw her father, and how Jo sees herself. Jo describes Charlie, and herself, as feet in the air, head in the clouds. Charlie hasn't seemed at all connected to reality or the rest of his family up to this point, so I wonder if that's how Marabeth sees her father. Always off chasing some fantasy or dream.
Meanwhile, Jo saw her husband as a solid sort, protective, an anchor, based on how she compliments Marabeth and trusts her to take a rifle and go look for Charlie. But Nathan's the one who accepted a candle from a Romani woman and gave it to Jo, promising that as long as she burned it, he'd always come home to her, which seems pretty "head in the clouds" to me.
As for the weird animal behavior, I don't know. Something's infected them or duplicated them, I assume. What and why, no idea.
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