The properties of editorial cartoons

Symbols/metaphors, exag­geration/distortion, stereo­types, caricature, irony, cap­tions and background knowledge, are seen as the elements that give both their shape and meaning.
The argument is that by analysing the seven proper­ties listed above, one not only compre­hends the meaning, but the obtained data is sufficient to provide an understanding of the meaning, and, by extension, the general function of the editorial and political car­toons.
Symbolism is seen as the use of a sign or an object in a work of art to stand for something other than itself. Its effectiveness is cultural-based — it depends on a pre­sumption that it may be understood by the audience it is created for.
Some Zimbabwean political cartoonists often use soccer or athletics to symbolise local political develop­ments primarily because the majority of newspaper read­ers would be familiar with how soccer is played and what it means for one ath­lete to pass a baton to another.
Metaphors are defined as rhetorical devices that are not simply the substitution of one concept or image for another. Instead, they encompass a complete transfor­mation whereby two originally distinct meanings are merged so that a new meaning is effected to con­vey new meanings. 
Their power lies in having inherent in them rhetori­cal capabilities in both verbal texts and visual texts.
In other words, metaphors can “convey a complex message in a much more immediate and condensed fashion than language. Giv­ing Aids the face of a vicious man-eating monster makes the meaning of an editorial cartoon immediate and direct.
Exaggeration and distortion are primary tools often employed by cartoonists to stress the power or weak­ness, the importance or the insignificance, dangerous­ness or helplessness of some person, group, or social force. In other words, exaggeration and distortion help to emphasise extremes in personalities or actions.
In Zimbabwean editorial or political cartoons, edu­cated politicians are often depicted with bigger heads and the bigger stomachs imposed on others are meant to stress their affluence.  
Caricaturing is closely related to exaggeration and distortion. Caricature is viewed as an exaggeration of or distortion of one or more of a person’s prominent features. Although caricatures are often unflattering renderings of personalities, they reveal vital informa­tion about the subject.
Caricatures of Joseph Chinotimba are interesting in that they always show a serious-looking face that is sometimes contrasted by less serious or even amusing speech bubbles. 
The private media’s rendering of the President in edi­torial cartoons exaggerate his age while the public media’s depictions of the Prime Minister show that he is not the most good looking guy around by overstating his facial features.
Stereotypes may be defined as simplistic, often exag­gerated representations of a person or thing. They may be defined, too, as a scheme or a prejudice in terms of which people interpret things and form particular con­ceptions. There are both negative and positive traits of stereotyping.
On the one hand they could rather nega­tively be defined as conventional, formulaic and over­simplified conception, opinion or image, while, on the other hand, they may communicate dramatically and well without much subtlety or nuance.
The problem with stereotypes is that opposing groups are sometimes depicted as having similar traits in different newspapers. For example, Zanu-PF sup­porters in the private media are treated in exactly the same fashion as MDC-T supporters in public media.
Stereotypes are created through perceptions. Locals can fear Chinese nationals because of perceptions that every South Asian is familiar with martial arts. Simi­larly, thieves find white people to be easier targets because of the perception that every Caucasian has loads of money.
Humour in editorial cartoons is created through the use of irony and satire. These two humourous devices provide the comic relief found in cartoons. Irony is described as a strong statement that is at odds with reality, while satire refers to the use of exaggeration to poke fun at subjects.
These two devices are employed not just as a way to make fun of editorial cartoon subjects, but are also use­ful in engaging the reader as an active participant in the discourse. Irony and satire provoke and demand an emotional response from the reader.
The use of language in editorial cartoons is common. Words are often employed to reinforce the cartoon’s non-verbal features. They complement the visuals, and the combination provides the overall meaning of the editorial cartoon.
The background information/argument is the data that is made available within the society that the edito­rial cartoon is created for — it is related to the information present within the editorial cartoon.
Although there are usually multiple exaggerations or distortions in editorial cartoons, the background knowledge that they are based on is basic knowledge of the subject, and the references found in editorial car­toons are vital for the decoding of the signs given by the cartoonist.
The cartoonist therefore bases his or her opinion on topical or current news, and the background informa­tion that he or she refers to justifies the production of the artwork.
The background information/argument gives the editorial cartoon the base from which everything else is launched from, and without it, it loses all its relevance.
If a cartoon is based on false information, such as inaccurate information regarding the President’s health, or a biased sport report, then the editorial car­toon becomes less a commentary on contemporary issues, and more an extension of a lie.