After a three-month delay, Milton’s suicide mission to win the war against a fascist empire comes ever closer in Escape #7. The series has been an incredible war story, blending tension with the realities of war on both sides. Milton is close to possibly swinging a victory for his side if he can take out a plane-killing cannon; it’s just him against an army, with time running out.
Escape #7 opens with a bat general flying above the stronghold Milton is now inside, and plotting against. Down below and in charge of the men on the ground is a lieutenant who is trying to maintain order and control, but it’s evident that with C4 and bullet casings, something is afoot. To make matters worse for the lieutenant is he’s a nepo baby to the man on the other line up in the sky, belittling him in front of his men. It’s a way to recap where we are, while establishing the stakes for the man on the ground. Kill Milton not just to save the stronghold, but to save face.
After that extra layer of conflict is established, the story shifts back to Milton, who is hiding in plain sight in enemy garb. Writer Rick Remender keeps us with Milton via captions, detailing his thoughts as he sneaks to the cannon to plant C4. Continuing in these captions is his self-suicidal point of view, thinking he’s no good for his baby momma. Again, a layer of emotion to the stakes is in place.
Aww, the nepobaby is mad.
Credit: Image
Another huge win for this series is when action takes place, with captions detailing every pain Milton feels and quick thoughts while life and death hang in the balance of quick thinking. Five or so pages detail a close encounter with an enemy, hand-to-hand combat, and an eventual edge being made in the battle. It shows how small moments in a giant war between millions of men can come down to pulse-pounding moments.
That intensity carries through to the very end of the book with some surprising twists and payoff thanks to things set up in previous issues. Given the loner nature of Milton’s journey so far, the events of this issue complicate things with major ramifications incoming.
Art and color by Daniel Acuña continue an Eisner-worthy run on the series. The play of light on hyperrealistic backgrounds helps set the mood throughout the book. Costumes are great, of course, but when action intensifies, you’re on the edge of your seat with his control of pacing via layouts and panel work. The melodrama of war is nothing without the human element, as seen in the soldiers witnessing bombs going off, or Milton trying to squeeze the life out of a bat enemy. Milton may be a bear fighting bat-humanoids, but they’re as real as anything in Saving Private Ryan.
Escape #7 continues the series’ streak as one of the most gripping war comics on shelves today. Rick Remender sharpens the tension by trapping Milton inside enemy territory while layering in psychological turmoil and brutal combat. Daniel Acuña’s art remains astonishing throughout, elevating every explosion, stare, and desperate act of violence into something cinematic and emotionally raw. The issue rewards longtime readers with meaningful payoffs while pushing the story toward what feels like an explosive turning point.
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