Cyberspace has recently become the chosen space for Chinese cartoonists' visual satire to take part in an international public discourse and in the " online carnival " (Herold and Marolt, 2011:11-15), therefore replacing magazines and printed press. From a media perspective, the present paper shows how Chinese cartoon developed from 1920s-1930s society ̶ when the " modern magazine " was the most important reference and medium for this newly-born visual language – to the present. As well as their western counterparts, Chinese cartoonists have always based much of their art on the strong socio-political potential of the format, establishing a mutual dependence of pictographic material and press journalism. A cartoon can mask a forceful intent behind an innocuous facade hence it is an ideal art of deception " (Hung, 1994:124). By definition, the cartoon (satirical, single-panelled vignette) "reduces complex situations to simple images, treating a theme with a touch of immediacy.
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