Dysart starts tying his two narratives (between the CIA operative and his protagonist) together here.
He opens with the CIA guy, set before the end of the previous issue and continues, again, from before the last issue ended, showing a different point of view of the situation (it’s the bad guys’ perspective–bad guys being the kids with guns).
The CIA guy offers Dysart the chance to talk about the setting, the war-torn country, apolitically (even though it’s an American operative reflecting on it). It gives the reader the opportunity to see the country differently, to bask in the great things about it. Dysart juxtaposes these soldier youths with these pleasant kids the CIA guy runs across. It’s a strange, lovely scene.
The “voice” doesn’t return this issue, though it’s present. Dysart’s mixing up the points of view, making the comic less horrific, even if the events are terrible.