Partsch noted that both books were very much concerned with Sorge's womanising, which neither author exaggerated, but presented the aspect of his personality in different ways. Kirst portrayed Sorge's womanizing as part of the same self-destructive urges that led him to spy for the Soviet Union, but Meissner depicted Sorge's womanizing as part of his callous narcissism and as his principal weakness, as his desire for Kiyomi finally destroyed him. In turn, that led to different depictions of the male body. Meissner portrayed it as the seductive instrument that entices female desire and led women into ill-advised relationships with Sorge, whose body is perfectly fit and attractive to women. Kirst, by contrast, correctly noted that Sorge walked with a pronounced limp because of a war wound, which had Sorge sarcastically say was because of his "gallantry" in his book, and Sorge's wounded body served as a metaphor for his wounded soul. Partsch further commented that Meissner's book was a depoliticised and personalised account of the Sorge spy ring, as he omitted any mention of Hotsumi Ozaki, an idealistic man who sincerely believed his country was on the wrong course, and he portrayed Sorge as a "Faustian man" motivated only by his vanity to exercise "a god-like power over the world" and gave Sorge "an overblown, pop-Nietzsche an sense of destiny".