Both Craig Thompson (even in the looser diary format of Carnet de Voyage) and Guy Delisle follow comic book conventions. In Thompson’s work they show up in the idealized women, for example, the relative inexpressiveness of the faces and in the representation of himself as a Woody Allen kind of character usually underdrawn compared to the rest of the characters. Delisle’s Pyongyang reads even more like a comic — lots of frames per page, action (what there is!) moving along linearly, and his own self-depiction is VERY cartoony: none of the other characters is so unnaturalistic.
Sacco lives in a different world — War’s End: Profiles from Bosnia 1995-96 wants to demolish the acceptable boundaries of comics, the affect of most Sacco books. The subject matter is grimmer. The drawings act as though they want to spill off the page. Words can fill huge chunks of space. (There are moments in Carnet that resemble Sacco’s work: Thompson has cited Sacco as an influence.) I like the subversion and the obsession with getting it right: We interpret it immediately as “seriousness of purpose,” and I accept it as a reasonable account of what happened, especially the events that Sacco witnessed directly.