This article explores the graphic reportage of Joe Sacco and his comic book travels through the conflict zones of Bosnia and Palestine. It traces the roots of travel writing comics to the politically antagonistic work of underground artists such as Robert Crumb and S. Clay Wilson, the alternative autobiographical scene that followed and how this informs the work of Sacco. The article analyzes two of Sacco's texts in particular, Palestine (2003) and Safe Area Gorazde (2000), looking at them as a whole and subjecting individual panels and sequences to close readings. This analysis teases out the ways in which Sacco engages with trauma and the wounded. It argues that although explicit violent imagery could be considered exploitative and voyeuristic, Sacco uses it to restore a sense of humanity to those dehumanized by the pace of globalized media.