Genre
Victorian psychological horror, graphic novel, Gothic suspenseTagline
Rational mind versus ancient darkness: a visual deconstruction of the early chapters of Bram Stoker’s masterpiece through the aesthetics of monumental monochrome and claustrophobiaTarget Audience
Readers of auteur graphic novels and adult horror (ages 18–35).
Collectors of high-quality print and art books.
Professional community of illustrators and designers.

Sociocultural and Market Context:
Bram Stoker’s novel «Dracula» (1897) is one of the most frequently adapted and illustrated texts in world literature. However, over the past century, mass popular culture (Hollywood, mainstream comics) has flattened the Count’s figure into kitsch: fangs, a crimson satin cape, and a superficial vampire slasher.

What niche does this publication fill:
A deficit of adult psychological reinterpretation: The Russian book market virtually lacks high-end graphic novel author adaptations of «Dracula» (in the style of publishers such as Humanoids, SelfMadeHero, and Fantagraphics).

Volume: 40 pages (20 spreads = 2.5 print booklets).
Binding: Hardcover (7BC) with a semi-open spine and exposed colored sewing threads for the block (thread color—Oxblood).
Block Paper: Uncoated, cotton stock Munken Pure (150 g/m²), tactile, white.

Block Dramaturgy:
Act I (Spreads 01–05): «Entering the Labyrinth» (Borg Pass, carriage, castle threshold, first dinner).
Act II (Spreads 06–15): «Claustrophobia and Delusion» (Mirror without a reflection, locked doors, graph-lizard, the three sisters).
Act III (Spreads 16–20): «Crypt and Fall» (Sleeping Count in the coffin, the shovel strike, the leap into the abyss).Modular Grid and Layout:
A 4-column modular grid on the strip with a baseline grid, anchored to the leading of the diary’s running text.
Harker’s text is set in a Victorian antique typeface in the form of diary entries with precise dating and timing.

Characters:
— Jonathan Harker: Dressed in a sharp three-piece suit, with a slicked-back part, delicate, nervous features, and the silhouette of a coiled spring. Visually degrades throughout the book: tie askew, collar torn, stubble, inflamed eyes.
— Count Dracula: A tall, monumental shadow. Aquiline nose, bat-like ears, pale palms with hair on the fingertips (strictly adhering to Stoker’s text). Transforms from a dry aristocrat into a titan brimming with fresh blood.
— The Three Brides: Translucent figures woven from moonlight and dust, possessing an erotic-predatory grace and accent lips.Location:
The Castle—an infinite vertical well of rough stone. Slit windows overlooking kilometer-deep abysses, and an abandoned chapel containing fifty boxes of consecrated earth.

Upon pointing the smartphone camera at key turns: — Mirror Turn: the reflection in the frame begins to tremble and slowly dissolve, creating a physical sensation of the loss of the reflection. — Castle Wall Turn: the silhouette of the Count begins a silent, minute downward movement along the stonework.

Competitive Matrix and Analogues
— International Precedents: Alberto Breccia’s «Dracula» (silent grotesque), graphic adaptations from Humanoids, and the horror works of Bernie Wrightson.
— Russian Market: The niche for authorial graphic novels based on classics in the Russian Federation is currently occupied by children’s illustrated books or the classic Marvel comic format. Our project occupies the segment of collectible art publishing (Artbook/Graphic Novel crossover).Promotion Strategy and Partners
— Submitting the pitch package to specialized independent publishers: «Boomkniga, ” „Komilfo, ” „MIF.Graphica, ” and „Alpina Zangavar.“
— Participating in relevant festivals: „KomMissiya, ” the International Nonfiction Fair, and author book markets.

At this stage, we are gathering information and sourcing references.