Pretty astounding, to be honest. Does a great job showing the boys grow up, each seeking to both fight back against Nazi Germany, as well as to seek escapism from the horrors they learn of, as the nemesis literally becomes more terrible and disturbing than, I’m sure, absolutely anyone thought they could possibly be.

It actually comes out pretty well balanced on the escapism front too. Certainly the boys aren’t well adjusted and sometimes they over compensate into their diversions rather than face realities head on, very much to their determinant. With a large caveat as validating it too, though. It’s a necessary need, especially under capitalism and fascism, to ration and manage anxiety and trauma and harm. And this here is a perfectly valid tool.

Then there is the real life, I guess fantastical aspect? injected into the text too, which becomes a surrealist symbol that tow a liminal space; used to exceptional, masterful effect, in my opinion.

The prose are great, but somehow didn’t have great flow for me, either. I can’t really figure it. It’s readable and not all that small a font. Either way, despite that quality I still came out loving this. The characters felt nuanced to me and messy, in a complex human way, not a sophomoric way. The ending was an actual surprise for me. At first it actually bugged me, but I think it does go to the theme a lot more than what the ending I thought was coming would have delivered.

There are some great lines of dialogue and even better exchanges codified into stage work, essentially. It, of course, parallels some real life aspects of the industry; especially creators getting preyed upon. Kirby, hello. And still relevant. The union for Image comics only recently requested voluntary recognition. Ironic, since the Image founders left Marvel and DC precisely for better treatment.