The art of satirical cartooning in Vietnam, a one-party state where the media environment is not fully open, is currently subject to multiple liberating forces: a globalized emerging economy, the rise of social networks, and a rich tradition of satire. This thesis examines the effects of this new dynamics on the evolution of the satirical art form by analyzing changes in the representation of corruption in cartoons of a well-known and pioneering state-owned online news outlet in Vietnam. Using a mixed method approach, the study finds a heavy use of auxiliary markers (in 100% cartoons of the random sample) and an enduring taboo of not depicting real-life public figures too realistically or unflatteringly (99% of the sample is generic depiction of people). These findings indicate the influence of a strict media environment as well as of a Confucian culture where “face” is almost a sacred value. The growing trend of depicting corruption as a systematic problem, which is present in 45% of the sample, hints at a change in the sensibility of the audiences and a movement toward a more tolerant mediascape. Yet, this may also be a worrying sign of increasing cynicism and apathy among the audiences. Nonetheless, the practice of political cartoons in Vietnam has provided an important public venue for collective political reflections and social solidarity on a daily basis.