36 pages • 1-hour read
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The post-apocalyptic setting is at the heart of the storyline and its conflicts. Brallier presents a lighter take on a dystopian world where zombies and monsters have taken over. Jack and his friends are Surviving and Thriving in a Dying World, using humor, pop culture, and togetherness to keep themselves alive.
Jack and his friends have gotten used to the idea of living on their own to an extent and spend most of their days engaging in risky and exciting games together. They play Mario Kart, The Streets are Lava, and host an Olympics-style competition with the friendly monsters. They eat makeshift meals made up of foods like Reese’s Pieces and Lucky Charms. It may seem like an ideal adventure for a group of pre-teens, but there is a sinister undertone and a constant threat of danger. Jack is the first to admit that nothing ever stays perfect for long in a post-apocalyptic world.
Brallier uses sensory details to evoke the dystopian setting. Jack describes the sounds, sights, and smells around him, such as when explaining how the fire station “smells like rotted people and spoiled cheesecake and old Chinese takeout” (10). The King Wretch, its followers, and the town-plaguing zombies emit a smell of evil. Holgate’s illustrations further emphasize the importance of the story’s setting and coincide with Brallier’s written descriptions.
Dreams and nightmares emphasize Jack’s fears and desires. When Jack falls into one of the Ŗeżżőcħ’s visions, the pages turn black, indicating that the undertone of these dreams stem from a dark source.
Ŗeżżőcħ uses visions to try and control Jack. The first vision seems filled with possibility: Jack sees a life in which he is a sort of king and protector of those he loves. He is well-liked and respected, and his friends are by his side. This is all Jack wants in life. In an opposite vision, everything Jack loves is destroyed. Jack makes the mistake of believing that only one of these two outcomes is possible, and becomes preoccupied with trying to prevent the total destruction he saw.
In Jack’s final vision, he sees himself alone and wandering a deserted landscape. His friends have all found their families, and Jack is left to take care of himself and Rover. This seems to be the worst outcome of all; it instills a sense of loneliness in Jack that he finds terrifying. It takes extreme strength and will to fight against his fear and resist Ŗeżżőcħ’s demands.
In the end, all of the visions turn out to be false, and Jack realizes that he can create his own vision of the future.
In the narrative, pop culture represents a connection to the past and the old world. It makes surviving and thriving in a dying world not just easier for Jack and his friends but possible.
A post-apocalyptic world implies the loss of life and everything that was familiar. However, the comic book store and memories of favorite movies and video games helps the kids stay grounded and connected to a simpler, more innocent time: “We’re in a small town comic book store. We’re someplace normal and wholesome and okay” (222).
The story begins with pop culture, a scene of Jack and his friends playing a real-life game of Mario Kart. This demonstrates the kids’ creativity, ingenuity, and resilience. Throughout the story, Jack references other pop cultural phenomena like Star Wars and various superheroes. Dirk admires Conan the Barbarian and enjoys dressing up like him, and Jack carries a baseball bat he calls the Louisville Slugger. In the story’s climax, Jack finds himself in a comic book store, surrounded by the characters who inspired him to become the courageous and self-sacrificing individual he is today. The setting helps Jack find the courage to face the King Wretch once and for all.



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