Adaptations re-narrate familiar stories in new forms, media, and contexts. As both products and processes of “creation and reception,” they help the literary source text to adapt to and survive in different times, media, and under altered historical circumstances. While Fred Fordham, the author of the 2018 graphic novel adaptation of Harper Lee’s To Kill a Mockingbird, insists on his faithfulness to the literary source text, scholars have nevertheless focused on the ways in which the adaptation goes beyond Lee’s juvenile classic. Based on Hutcheon’s theory of adaptation and the medium-specifics of the sequential art of comics, this chapter examines the ways in which Lee’s story lives on in Fordham’s twenty-first-century graphic novel rendition. It considers the narration and its ideological implications, the dominant modes of narration, and the genre of the Southern Gothic. In a final step, I attend to the limits of (White) empathy and the function of sentiment in relation to Maycomb’s crisis of justice as encapsulated in the courtroom trial and its disastrous outcome. I argue that the graphic novel adaptation translates Lee’s ‘original’ into a version whose perspectival multiplicity highlights social diversity and intersectional concerns. It shifts the adapted text’s dominant mode of narration from comedy and relief to tragedy and pain while also reworking the Southern Gothic into a social realist variant of the genre. The limits of (White) empathy live on in the comics adaptation at the same time as it seeks to compensate these limitations through the use of sentiment, including unfiltered expressions of existential suffering by the Black victims of Maycomb’s crisis of justice as well.