It was a relief not to think about words, and to do a different kind of research. On a visceral level, it was just a pleasure to think only in terms of drawing. So it seemed like a very simple idea, and to be honest, I just wanted to draw. It just came to my mind that I could show soldiers marching up to the front, going to the trenches, going over the top, and then returning after they’ve been wounded, back through the lines to the casualty-clearing station behind the front. William the Conqueror in France is getting ready for the invasion they’re building the boats they’re crossing the English Channel then there’s the Battle of Hastings, and you basically read it left to right. But immediately I thought of the Bayeux Tapestry… which has a narrative. When we first talked about my drawing a panorama of the Western front, the idea seemed static. Joe Sacco talks to The New Yorker about his new accordion book The Great War, which folds out to create a twenty-four-foot-long panorama of the Battle of the Somme:
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