<p><i>Saving Princess Tarakanova</i> is the 2024 issue in the <i>Saving</i>… series of comic books/graphic novels (published by the magazine <i>Dilettante</i>). The series reinvents and gives visual expression to the history of certain figures, mainly from the Russian past, showing how they could have been saved rather than being murdered. The <i>Saving</i>… series is aimed at popularizing history across diverse social and political groups and generations in Russia. I analyze the issue <i>Saving Princess Tarakanova</i> taking into account (1) some of the main previous visual depictions of Tarakanova, false-pretender to the Russian throne under Empress Catherine II, and (2) the comics genre as it has (or has not) existed in Russia. The Tarakanova theme was introduced to broad audiences by Konstantin Flavitsky (1830–1866) in his painting <i>Princess Tarakanova</i> (1864), which became the most popular portrayal of the impostor, making it nearly impossible to think of her without recalling the painting itself. A much closer precedent to <i>Saving Princess Tarakanova</i> was the graphic novel <i>Princess Tarakanova. Kidnapping on the Adriatic</i> (1938) by Alexei Rankhner (1897–1942). He belonged to a group of first-wave Russian emigrants who settled in Belgrade and turned the comics genre into a successful business in the Kingdom of Yugoslavia. Addressing various precedents of <i>Saving Princess Tarakanov</i>a, I try to answer the following questions: Can this publication serve as propaganda? Where are the boundaries between the popularization of history and propaganda? Why did the Soviet Union provide no fertile ground for comics, and is such a ground possible in Russia today?</p>