Absolutely, positively NOT.
This will get you rejected by agents before they finish the first three pages.
Sorry to be harsh, but I'm trying to help you sell something, and this is a deal killer.
I have been told by agents it is a common rookie mistake, and is sometimes known as a "sitting on the bus" opening, and will not sell.
As in, your character is alone and sitting on the bus on the way to work, and thinking about their life, so you can dump a ton of history.
It doesn't work.
Advice from professionals is to have your main character interacting with others before page 3 (counting about 250 words per page).
And preferably, doing something interesting in those 3 pages, solving a problem perhaps. Definitely not being a bore, or bored, sitting around waiting and thinking.
All your backstory has to be actual story, not memories.
The best way to do this is to actually write the story. You can do this like JKR did it for the first Harry Potter book: it opens with the infant Harry being deposited on his uncle's doorstep, after his parents were killed. The entire first chapter is all about the backstory, but in story form with other characters. Then Chapter 2 starts with a big time skip, like "almost ten years have passed since...".
For your story, I'd tell about the invasion from the parent's POV, as it is happening. Consider it a "short story", at the conclusion of that story, perhaps your protagonist is born and named (e.g. "Joshua".)
Then Chapter 2 can begin "Joshua was 15."
I've done this myself in a story, traumatic events occur in the life of my protagonist at the age of 7 that completely shape her future (these include the loss of her parents, and adoption), that covers two chapters, and then we skip forward to begin her professional life 12 years later.
Always keep the reader immersed in an unfolding story. You can always skip the boring bits, like growing up (as JKR did).
You want characters experiencing that war first hand, including at first confused, then desperate, etc.
Do not open with your character sitting on the bus, remembering and thinking. Ever. Or anything similar to that.
Always, by page 3, have your protagonist interacting with other characters; good, neutral or bad is your choice, but somehow interacting, be it talk, negotiation, fighting, running, whatever.
Scrap the ruminations and write a story and keep your protagonist busy, preferably with a problem they need to solve, so there is conflict and tension.
All this other backstory can come in later. I fail to see how most of this influences the plot, so leave it out. It can come in as asides later, like in response to a question he can say, "No, my parents are in stasis."
I'm not even sure why that matters, I imagine for almost everybody their parents are in stasis. You might leave it for later, when somebody he knows will be going into stasis because their child is coming of age.
The reason info-dumping doesn't work in stories, no matter how you try to do it, is that you are implicitly asking readers to memorize facts. And they do not. We don't remember written facts, we remember scenes. What you write becomes a movie in the reader's imagination.
This is the essence of "Show Don't Tell", we mean create a scene, not a fact dump. Even if the scene takes 100 times as many words: People that read for fun do not mind reading, as long as you are creating that movie in their head. They do mind reading when the reading is boring, a bunch of facts we are somehow supposed to memorize and remember.
Start your story earlier. Then Jump forward, and have your protagonist occupied by the present and what they are doing, not ruminating and waiting.
