Cartoon in the context of Andrews McMeel Syndication

A political cartoon, also known as an editorial cartoon, is a cartoon graphic with caricatures of public figures, expressing the artist's opinion. An artist who writes and draws such images is known as an editorial cartoonist. They typically combine artistic skill, hyperbole and satire in order to either question authority or draw attention to corruption, political violence and other social ills.

Developed in England in the latter part of the 18th century, the political cartoon was pioneered by James Gillray, although his and others in the flourishing English industry were sold as individual prints in print shops. Founded in 1841, the British periodical Punch appropriated the term cartoon to refer to its political cartoons, which led to the term's widespread use.

A superhero or superheroine, is a character who typically possesses superpowers or abilities beyond those of ordinary people, is frequently costumed concealing their identity, and fits the role of the hero, typically using their powers to help the world become a better place, or dedicating themselves to protecting the public and fighting crime. Superhero fiction is the genre of fiction that is centered on such characters, especially, since the 1930s, in American comic books (and later in Hollywood films, film serials, television and video games), as well as in Japanese media (including kamishibai, tokusatsu, manga, anime and video games).

Superheroes come from a wide array of different backgrounds and origins. Most superheroes (for example, Superman and Spider-Man) usually possess non-human or superhuman biology, while others (such as Batman and Iron Man) derive their status from advanced technology they create and use, but some of them may use or possess objects that have superhuman, mystical, or alien powers (such as Green Lantern and He-Man), or study and practice magic to achieve their abilities (such as Doctor Fate and Doctor Strange). The Dictionary.com definition of "superhero" is "a figure, especially in a comic strip or cartoon, endowed with superhuman powers and usually portrayed as fighting evil or crime," and the Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers; also: an exceptionally skillful or successful person." Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits.

Fan fiction or fanfiction, also known as fan fic, fanfic, fic or FF, is fiction typically written in an amateur capacity by fans as a form of fan labor, unauthorized by, but based on, an existing work of fiction. The author uses copyrighted characters, settings, or other intellectual properties from the original creator(s) as a basis for their writing and can retain the original characters and settings, add their own, or both. Fan fiction ranges in length from a few sentences to novel-length and can be based on fictional and non-fictional media, including novels, movies, comics, television shows, musical groups, cartoons, anime and manga, and video games.

Fan fiction is rarely commissioned or authorized by the original work's creator or publisher or professionally published. It may infringe on the original author's copyright, depending on the jurisdiction and on legal questions, such as whether or not it qualifies as "fair use" (see Legal issues with fan fiction). The attitudes of authors and copyright owners of original works towards fan fiction have ranged from encouragement to indifference or disapproval, and they have occasionally responded with legal action.

Speech balloons (also speech bubbles, dialogue balloons, or word balloons) are a graphic convention used most commonly in comic books, comics, and cartoons to allow words (and much less often, pictures) to be understood as representing a character's speech or thoughts. A formal distinction is often made between the balloon that indicates speech and the one that indicates thoughts; the balloon that conveys thoughts is often referred to as a thought bubble or conversation cloud.

A cartoonist is a visual artist who specializes in both drawing and writing cartoons (individual images) or comics (sequential images). Cartoonists differ from comics writers or comics illustrators/artists in that they produce both the literary and graphic components of the work as part of their practice.

Cartoonists may work in a variety of formats, including booklets, comic strips, comic books, editorial cartoons, graphic novels, manuals, gag cartoons, storyboards, posters, shirts, books, advertisements, greeting cards, magazines, newspapers, webcomics, and video game packaging.

A gag cartoon (also panel cartoon, single-panel cartoon, or gag panel) is most often a single-panel cartoon, usually including a caption beneath the drawing. In some cases, dialogue may appear in speech balloons, following the common convention of comic strips. A pantomime cartoon carries no caption (see also: pantomime comics).

As the name implies—"gag" being a show business term for a comedic idea—these cartoons are most often intended to provoke laughter. Popular magazines that have featured gag cartoons include Punch, The New Yorker and Playboy. Some publications, such as Humorama, have used cartoons as the main focus of the magazine, rather than articles and fiction.

A comic book, comic-magazine, or simply comic is a publication that consists of comics art in the form of sequential panels that represent individual scenes. Panels are often accompanied by descriptive prose and written narrative, usually dialogue contained in word balloons, which are emblematic of the comics art form.

Comic Cuts was a British comic published from 1890 to 1953. It was preceded by Ally Sloper's Half Holiday (1884), which is notable for its use of sequential cartoons to unfold narrative. These British comics existed alongside the popular lurid "penny dreadfuls" (such as Spring-heeled Jack), boys' "story papers" and the humorous Punch magazine, which was the first to use the term "cartoon" in its modern sense of a humorous drawing.

Modern manga, in the sense of narrative multi-panel cartoons made in Japan, originated from in a sense Western-style cartoons featured in late 19th century Japanese publications. The form of manga as speech-balloon based comics more specifically originated from translations of American comic strips in the 1920s; several early examples of such manga read left to right, with the longest running pre-1945 manga being the Japanese translation of the American comic strip Bringing Up Father. However, Japan has pre-World War II 'manga' just not in the contemporary sense. The term manga first came into use in the late 18th century, though it only started to refer to various forms of cartooning in the 1890s and did not become a common word until around 1920.

Historians and writers on manga history have described two broad and complementary processes that shaped modern manga. While their views differ in the relative importance they attribute it to the role of cultural and historical events following World War II versus the role of pre-war, Meiji, and pre-Meiji Japanese culture and art. One view, represented by other writers such as Frederik L. Schodt, Kinko Ito, and Adam L. Kern, stresses continuity of Japanese cultural and aesthetic traditions, including the latter three eras; the other view states that, during and after the occupation of Japan by the allies (1945–1952), manga was strongly shaped by the Americans' cultural influences, including comics brought to Japan by the GIs, and by images and themes from U.S. television, film, and cartoons (especially Disney). According to Sharon Kinsella, the booming Japanese publishing industry helped create a consumer-oriented society in which publishing giants like Kodansha could shape popular tastes. Manga reflects Japanese society, myths, beliefs rituals, traditions, and fantasies.

A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or other artistic drawings (compare to: cartoon). Caricatures can be either insulting or complimentary, and can serve a political purpose, be drawn solely for entertainment, or for a combination of both. Caricatures of politicians are commonly used in newspapers and news magazines as political cartoons, while caricatures of movie stars are often found in entertainment magazines. In literature, a caricature is a distorted representation of a person in a way that exaggerates some characteristics and oversimplifies others.

Punch, or The London Charivari was a British weekly magazine of humour and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term "cartoon" in its modern sense as a humorous illustration. Artists at Punch included John Tenniel who, from 1850, was the chief cartoon artist at the magazine for over 50 years. The editors took the anarchic puppet Mr Punch, of Punch and Judy, as their mascot—the character appears in many magazine covers—with the character also an inspiration for the magazine's name.

With its satire of the contemporary, social, and political scene, Punch became a household name in Victorian Britain. Sales of 40,000 copies a week by 1850 rose above 100,000 by 1910. After the 1940s, when its circulation peaked, it went into a long decline, closing in 1992. It was revived in 1996, but closed again in 2002.

The Pyramid of Capitalist System is a common name of a 1911 American cartoon caricature critical of capitalism, copied from a Russian flyer of c. 1901. The graphic focus is on stratification by social class and economic inequality. The work has been described as "famous", "well-known and widely reproduced". A number of derivative works exist.

It was published in 1911 by the Industrial Worker (The International Publishing Co., Cleveland, Ohio), a newspaper of the Industrial Workers of the World, and attributed to "Nedeljkovich, Brashich, & Kuharich".

Psychedelia usually refers to a style or aesthetic that is resembled in the psychedelic subculture of the 1960s and the psychedelic experience produced by certain psychoactive substances. This includes psychedelic art, psychedelic music and style of dress during that era. This was primarily generated by people who used psychedelic drugs such as LSD, mescaline (found in peyote) and psilocybin (found in magic mushrooms) and also non-users who were participants and aficionados of this subculture. Psychedelic art and music typically recreate or reflect the experience of altered consciousness. Psychedelic art uses highly distorted, surreal visuals, bright colors and full spectrums and animation (including cartoons) to evoke, convey, or enhance the psychedelic experience.

Psychedelic music uses distorted electric guitar, Indian music elements such as the sitar and tabla, electronic effects, sound effects and reverb, and elaborate studio effects, such as playing tapes backwards or panning the music from one side to another.

Goofy is a cartoon character created by the Walt Disney Company. He is a tall, anthropomorphic dog who typically wears a turtle neck and vest, with pants, shoes, white gloves, and a tall hat originally designed as a rumpled fedora. Goofy is a close friend of Mickey Mouse and Donald Duck, and is Max Goof's father. He is normally characterized as hopelessly clumsy and dim-witted, yet this interpretation is not always definitive; occasionally, Goofy is shown as intuitive and clever, albeit in his own unique, eccentric way.

Goofy debuted in animated cartoons, starting in 1932 with Mickey's Revue as Dippy Dawg, who is older than Goofy would come to be. Later the same year, he was re-imagined as a younger character in the short The Whoopee Party. During the 1930s, he was used extensively as part of a comedy trio with Mickey and Donald. Starting in 1939, Goofy was given his own series of shorts that were popular in the 1940s and early 1950s. Two shorts starring Goofy were nominated for an Oscar: How to Play Football (1944) and Aquamania (1961). He also co-starred in a short series with Donald, including Polar Trappers (1938), where they first appeared without Mickey Mouse. Three more Goofy shorts were produced in the 1960s after which Goofy was only seen in television and Disney comics. He returned to theatrical animation in 1983 with Mickey's Christmas Carol. His most recent theatrical appearance was How to Hook Up Your Home Theater in 2007. Goofy has also been featured in television, most extensively in Goof Troop (1992), House of Mouse (2001–2003), Mickey Mouse Clubhouse (2006–2016), Mickey Mouse (2013–2019), Mickey and the Roadster Racers / Mickey Mouse Mixed-Up Adventures (2017–2021), Mickey Mouse Funhouse (2021–present) and Mickey Mouse Clubhouse+ (2025).

The golden age of American animation was a period that began with the popularization of sound synchronized cartoons in 1928, and gradually ended throughout in the early-1960s when theatrical animated cartoon film shorts started to lose popularity to the newer medium of television. Animated media from after the golden age, especially on television, were produced on cheaper budgets and with more limited techniques between in the late-1950s and in the mid-1980s.

Multiple highly-popular animated cartoon characters emerged from this period, including:

Punch, or The London Charivari was a British weekly magazine of humour and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term "cartoon" in its modern sense as a humorous illustration. Artists at Punch included John Tenniel who worked for the magazine from 1850 and was its chief cartoonist from 1864 to 1901. The editors took the anarchic puppet Mr Punch, of Punch and Judy, as their mascot—the character appears in many magazine covers—with the character also an inspiration for the magazine's name.

With its satire of the contemporary, social, and political scene, Punch became a household name in Victorian Britain. Sales of 40,000 copies a week by 1850 rose above 100,000 by 1910. After the 1940s, when its circulation peaked, it went into a long decline, closing in 1992. It was revived in 1996, but closed again in 2002.