Like Mikey, I found reading Sabrina akin to watching a movie. One of the ways that this format is different from the movie is the power given to the reader about the passage of time: you are allowed to make time pass as quickly or slowly as you desire. There were a few moments where I think Drnaso effectively used this aspect of the graphic novel to heighten tension: where Calvin has to tell Teddy about Sabrina’s death (73), where Teddy is about to hear that the video of Sabrina’s murder had been leaked (107), and where Calvin and Teddy, with a knife in his hand, stand next to opposite sides of the bedroom door, juxtaposed (139) are three frame sequences that come to mind for me. In each of these sequences, Drnaso has planned that the last frames you see on the page, before you have to turn it, are where tension is the highest, and that positioning makes the suspense even greater. Even when the videotape is sent out to news outlets (68), I refuse to believe that it isn’t intentional that you have a frame as lighthearted as finding a Barney tape on the page to the left of the frame where it finally is confirmed that the video is of Sabrina’s murder; I found my eyes jumping past the former frame and to the latter upon turning the page because of the increasing tension and the suspicion of how this connects to the story, which only made the Barney comic even more horrific and foreboding, because you definitively know where the story is headed. Being able to choose the exact time frame you live in that is a powerful thing and adds so much to the experience of reading Sabrina.