On page 44, Thompson depicts himself and his brother as boys, drawing on large sheets of paper. The drawings emerge from the paper to share panel space with the boys. The device echoes the elaborate, fantastic pictography in David B.'s "Epileptic Vol. 1." In "Epileptic," David B. braids the images of his fantasy life into the narrative. He confronts the possibilities of his artifice, and the resultant work has integrity. Craig Thompson, having introduced the device once, for effect, withdraws; he keeps the living drawings in check until page 60, when they re-emerge in a typically melodramatic image.