Social Media Post and Account Deletions Raise Questions About Online Freedom

 

What happens when the power to publish something online comes with an equally powerful button to delete it? This political cartoon offers a satirical take on the removal of posts and accounts from social media platforms, highlighting the tension between online expression and the control exercised over digital spaces.

The illustration shows a person preparing to publish content on a social media device while another man presses a large button marked “DELETE.” The visual contrast between the two actions captures the uncertainty surrounding the fate of online posts and accounts. Just as something is ready to be shared with the public, it can seemingly disappear at the push of a button.

The cartoon's headline refers to the issue of posts and accounts being removed from social media platforms. Its simple imagery raises questions about who controls online conversations, how moderation decisions are made and what happens when users lose access to content or accounts.

Social media has become an important space for news, public debate, political discussion and personal expression. At the same time, platforms have policies governing content and account activity. When posts are removed or accounts are suspended, questions can arise about transparency, consistency and the ability of users to challenge those decisions.

Through its exaggerated visual metaphor, the cartoon draws attention to the imbalance between the effort involved in creating and publishing content and the apparent ease with which it can be deleted. The humour lies in the contrast between the two buttons, turning a familiar digital action into a broader comment on control over online speech.

The cartoon invites readers to reflect on the balance between responsible content moderation and protecting freedom of expression in the digital age.

Cartoon by - Kirtish Bhatt

PM Modi Remark on Kharge Sparks Congress-BJP Clash Over Leaders' Language

 

Political debates in India often turn into heated exchanges, with leaders accusing one another of crossing the limits of acceptable language. This cartoon takes a satirical look at that familiar pattern, highlighting the contrast between political rhetoric and calls for restraint.

The illustration shows a television news debate featuring three political figures, with a woman speaking in the centre. The speech bubble delivers the punchline: “So, let's begin. Comment on the uncivilised language of your respective leaders in civilised language.”

The cartoon's headline refers to a controversy involving Prime Minister Narendra Modi's remarks about Mallikarjun Kharge and the resulting face-off between the Congress and BJP. Against this backdrop, the cartoon turns its attention to the language used by political leaders and the television debates that follow such controversies.

The humour lies in the contradiction at the heart of the discussion. Political representatives are expected to condemn offensive remarks, yet they are often drawn into equally aggressive exchanges while defending their own leaders. The cartoon captures this cycle through a simple question that exposes the difficulty of discussing uncivilised language in a civilised manner.

Television debates frequently turn political disagreements into dramatic confrontations, with party representatives defending their positions and criticising their opponents. By placing this familiar scene inside a news programme, the cartoon invites viewers to reflect on the role of political communication and media coverage in shaping public discourse.

With its witty dialogue and recognisable setting, the illustration makes a broader point about accountability, political hypocrisy and the standards expected from public figures. It suggests that civilised debate requires more than criticising an opponent's words; it also demands consistency in one's own language.

Cartoon by - Kirtish Bhatt

France Protests Over Inflation as Cartoon Highlights the Politics of Tolerance

 

Rising prices and public frustration have become a major concern in France, and this political cartoon takes a humorous look at the situation through an unexpected display of affection.

The illustration shows two men embracing, with one of them carrying a bag of groceries. A poster on the wall reads “Vote For,” adding a political angle to the scene. The man being hugged looks towards the viewer and declares that he is proud of the other man's tolerance, turning an ordinary embrace into a pointed piece of political satire.

The headline refers to protests in France over inflation, while the cartoon's dialogue introduces the idea of tolerance as a subject of irony. The contrast between the political backdrop and the characters' interaction invites readers to consider the gap between public concerns and the way political leaders or supporters respond to them.

The grocery bag is a subtle visual detail that may bring everyday expenses and the rising cost of living to mind. For ordinary households, inflation can affect everything from food shopping to other essential purchases, making economic pressures an important political issue.

With its understated visual humour, the cartoon encourages readers to look beyond the surface of the embrace and consider the message behind the dialogue. It offers a satirical perspective on the intersection of inflation, political loyalty and tolerance.

Cartoon by - Kirtish Bhatt

Ravana Cartoon Mocks the Idea That Questioning Authority Is Now Considered Wrong

 What happens when asking questions itself becomes a problem? This political cartoon uses Ravana and a cockroach to deliver a sharp message about the freedom to question authority and the growing discomfort with dissent.

The illustration shows a multi-headed Ravana standing beside a cockroach holding a placard. The cockroach tells Ravana to update his knowledge, adding sarcastically that asking questions now falls into the category of something bad.

The punchline turns a simple exchange into a pointed comment on the importance of critical thinking and open debate. Asking questions is an essential part of a healthy democracy, helping citizens seek answers, challenge decisions and hold those in power accountable. But the cartoon suggests that questioning itself can sometimes be portrayed as an offence rather than a legitimate exercise of free expression.

Ravana, a familiar figure associated with Dussehra, provides the visual backdrop for the satire. His multiple heads make the illustration instantly recognisable, while the cockroach's remark delivers the central message through irony and humour.

Political cartoons often use exaggerated characters and witty dialogue to highlight contradictions in public life. This illustration follows that tradition, inviting readers to reflect on how society responds to people who question established ideas, decisions or authority.

The cartoon's message is simple but thought-provoking: when asking questions is treated as something wrong, the space for meaningful discussion and accountability begins to shrink. Through its humour, the illustration reminds readers that questioning is not a weakness or a fault; it is an important part of independent thinking.

Cartoon by - Kirtish Bhatt

Delhi Burns Ravana Effigies With Cockroach, Sparking Satire on Election Commission Protests

What happens when a cockroach joins the protest against the Election Commission? This political cartoon delivers a sharp dose of satire by bringing together Ravana, a cockroach and the controversy surrounding paper leaks and protests against the Election Commission.

The cartoon features a multi-headed Ravana holding a sword, standing alongside a cockroach carrying protest placards. The headline refers to the burning of Ravana effigies along with those of a cockroach in Delhi, while the speech bubble raises an ironic question: did Ravana also protest against paper leaks and the Election Commission?

The humour lies in the unexpected comparison between the mythological figure and a contemporary political controversy. Ravana, traditionally associated with the Dussehra celebration, becomes a symbol in a satirical commentary on public anger, political accountability and the issues dominating the news.

By introducing a cockroach into the scene, the cartoon adds another layer of absurdity to the visual joke. The unusual pairing turns a familiar festival tradition into a pointed political statement, inviting readers to think about the issues that lead people to take to the streets and express their frustration.

Political cartoons often use mythology, current affairs and exaggeration to question the actions of institutions and public figures. This illustration follows that tradition, using the symbolism of Ravana's many heads and the cockroach's presence to create a humorous take on protests and political controversies.

With its bold imagery and witty dialogue, the cartoon encourages readers to look beyond the festive spectacle and consider the political message behind the satire.

Cartoon by - Kirtish Bhatt

Jantar Mantar Protest Cartoon Mocks Notice Asking Actor Imran Khan to Leave India

 A political cartoon takes a satirical look at the controversy surrounding actor Imran Khan and a reported notice asking him to leave India. The illustration connects the issue with protests at Jantar Mantar, using humour to question the distinction between Indian citizens raising their voices and a foreign national participating in demonstrations.

The cartoon features a policeman holding a baton beside a Jantar Mantar sign, while two people carrying a protest placard appear to be moving away. Two birds perched on the sign deliver the punchline, pointing out the irony of citizens in their own country being unable to protest while a foreigner was participating in one.

The humour comes from the contrast between the police action and the birds' sarcastic observation. By using Jantar Mantar as the backdrop, the cartoon refers to a location widely associated with public demonstrations, political campaigns and demands for accountability in New Delhi.

Political cartoons often use exaggeration and irony to question official decisions and encourage readers to look beyond the immediate headlines. This illustration uses a familiar public space and a simple visual metaphor to raise questions about protest rights, citizenship and the treatment of people who express dissent.

The reference to Imran Khan adds a contemporary political dimension to the cartoon, while the dialogue turns the scene into a pointed comment on the perceived contradictions surrounding public demonstrations.

With its straightforward drawing and sharp punchline, the cartoon invites readers to reflect on the space available for peaceful protest and the way authorities respond to people who challenge decisions. It is a satirical take on the intersection of politics, public dissent and freedom of expression in India.

Cartoon by - Kirtish Bhatt

Centre Removes Jantar Mantar Protest Zones, Sparking Satire Over Name and Political Symbolism

 

The Centre’s decision to remove designated protest areas at Jantar Mantar inspires a sharp take on the changing space for public demonstrations in India. In this political cartoon, a politician makes a sarcastic suggestion: if the name Jantar Mantar itself has become a headache, why not change that too?

Jantar Mantar in New Delhi has long been associated with demonstrations, public campaigns and citizens raising their voices on issues of national importance. The landmark has become a familiar gathering place for people seeking to draw the government’s attention to their demands.

The humour lies in the politician’s suggestion that the name itself should be changed because it has become synonymous with trouble. The remark offers a tongue-in-cheek take on restrictions on designated protest spaces and raises questions about how authorities respond to public dissent.

With its simple visual style and sharp dialogue, the cartoon highlights the relationship between protests, political accountability and freedom of expression. It invites readers to reflect on whether removing a designated protest venue addresses the underlying issues or merely changes the setting in which public grievances are expressed.

Political cartoons often use irony to raise questions that conventional political statements leave unanswered. This illustration turns a decision about a protest venue into a broader comment on the space available for democratic dissent in India.

Cartoon by - Kirtish Bhattt

Delhi Protest: Cartoon Questions Police Action Against Journalists Covering Demonstration

This political cartoon takes a sharp look at allegations of police misconduct against journalists covering a protest. It highlights a troubling question: when reporters face intimidation or physical force while doing their jobs, who protects the people responsible for reporting what is happening?

The cartoon shows two police officers holding a visibly frightened journalist by the arms. His press identity card hangs around his neck, making his profession clear. In the background, other people appear to be running amid the commotion. The scene captures the vulnerability of a journalist caught between the responsibility to report events and the force being used to control the situation.

The contrast between the sarcastic dialogue and the physical scene is central to the satire. It exposes the gap between the public image of a loud, influential media and the reality that individual journalists can face risks while covering protests and public demonstrations.

The cartoon also draws attention to press freedom and accountability. Journalists need to be able to report on public events without being subjected to unjustified intimidation or violence. At the same time, any allegation of misconduct deserves proper investigation rather than being dismissed or assumed to be proven without evidence.

Through dark humour, the cartoon asks whether a media that is often criticised for being too loud can still be vulnerable when it reports from the ground.

Cartoon by - Kirtish Bhatt

CJP Protest in Delhi Sees Heavy Police Deployment, Cartoon Highlights the Irony of Security

A massive police deployment to manage a protest in Delhi becomes the subject of this political cartoon, which uses irony to question the scale of the security arrangements around the demonstration organised by the Campaign for Judicial Accountability and Reforms (CJP).

The cartoon shows a large gathering of police personnel packed together near a sign reading “Jantar Mantar,” a familiar venue for demonstrations in the capital. The caption explains that heavy police forces have been deployed in Delhi because of the CJP protest. Amid the crowd, one police officer makes a sarcastic observation: “This looks strange. Even though we are the police, we are surrounded by police from all sides.”

That line is the heart of the cartoon. The officers, who are usually associated with maintaining order and controlling crowds, appear to be hemmed in by their own colleagues. The exaggerated scene turns a large security presence into a visual joke about over-deployment and the atmosphere surrounding public demonstrations.

The satire also raises a broader question about how authorities balance public order with the right to peaceful protest. Police deployment may be intended to manage crowds, prevent clashes and maintain security. However, an overwhelming presence can also create an impression of excessive control, particularly when citizens gather to express dissent or raise concerns.

By showing police officers surrounded by other police officers, the cartoon shifts attention away from the protesters and towards the security arrangements themselves. The joke is not simply about the number of personnel present; it is about a situation in which the machinery meant to control a crowd seems to have become a crowd of its own.

With a single punchline and a tightly packed group of uniformed officers, the cartoon offers a pointed comment on protest management, policing and the fine line between maintaining order and creating an atmosphere of intimidation. 

Cartoon by - Kirtish Bhatt

Delhi Police Accused of Blocking Protesters, Cartoon Turns Tomato Shopping Into Political Satire

 This political cartoon takes a humorous look at the reported attempts to stop people from reaching a BJP protest in Delhi. It shows a young woman being escorted by a group of police officers, who appear determined to keep her away from the demonstration.

The joke comes from the woman’s explanation. She tells the officers that she is carrying tomatoes because she has sent someone to buy them for her. She insists that she is not going to the protest. In other words, an ordinary shopping trip has become suspicious enough to invite police attention.

The cartoon’s caption makes the political context clear: “Delhi: Attempts to stop people from reaching the CJP protest.” The contrast between the caption and the woman’s innocent-sounding explanation creates the satire. The police appear so focused on preventing people from joining the demonstration that even someone claiming to be out for groceries becomes part of the scene.

The tomato reference adds a familiar everyday detail. Tomatoes are a common household purchase, but their prices have also become a recurring symbol of the cost-of-living pressures faced by Indian families. Here, however, the main joke is not about inflation; it is about the difficulty of distinguishing a genuine protester from an ordinary citizen when authorities are trying to control access to a political gathering.

The cartoon raises a broader question about the balance between public order and the freedom to assemble and protest. Police may impose restrictions for security or crowd management, but such measures can become controversial when people feel they are being prevented from exercising their democratic rights.

Through a simple visual gag, the cartoon turns a routine errand into a pointed comment on policing, political demonstrations and the treatment of citizens in public spaces.

Cartoon by - Kirtish Bhatt

BJP’s Viksit Bharat 2047 Vision Faces a Reality Check Over Development Timelines

The BJP’s vision of a “Viksit Bharat” (Developed India) by 2047 is the target of this political cartoon, which questions whether the country can achieve its ambitious development goals within the promised timeframe.

The cartoon shows a man holding a placard marked “2047,” representing the government’s long-term vision for India. A woman standing at the doorway challenges his timeline with a pointed remark: “You keep talking about development. There isn’t that much time. Make it 2035–36.” Her words turn a grand national ambition into a demand for quicker, more visible results.

The humour lies in the contrast between a distant deadline and the impatience of ordinary people. The year 2047 marks the centenary of India’s independence, and the Viksit Bharat vision imagines the country becoming developed by then. But the cartoon asks a simple question: should citizens have to wait until 2047 to see meaningful improvements in their everyday lives?

The woman’s demand to bring the deadline forward to 2035–36 is not necessarily a literal policy proposal. It is a satirical way of expressing impatience with promises that stretch far into the future. People judge development through what they experience today: better roads, reliable public services, employment opportunities, affordable living costs, and improved access to education and healthcare.

The cartoon does not dismiss the idea of a developed India. Instead, it pokes fun at the gap between announcing a distant national goal and delivering tangible progress in the present. Long-term planning matters, but citizens also want milestones they can see and benefits they can feel.

Cartoon by - Kirtish Bhatt

RBI Repo Rate Hike Targets Inflation, But Common Man Feels the EMI Pressure

 

The Reserve Bank of India’s decision to raise the repo rate becomes a sharp and humorous economic joke in this cartoon. The stated aim of a repo rate hike is to control inflation by making borrowing more expensive and reducing excessive demand in the economy. But for an ordinary borrower, the impact can feel very different.

The cartoon shows a common man trying to kill a fly sitting on his head. The fly represents inflation, constantly irritating him with the rising cost of everyday life. Instead of using a small object to swat it, the man reaches for a huge brick labelled “REPO RATE.” The visual exaggeration creates the central joke: the weapon being used to fight inflation is so heavy that the person using it may end up hurting himself.

The paper marked “EMI” in his hand adds another layer to the satire. When interest rates rise, borrowing costs can increase, and borrowers with loans linked to floating interest rates may face higher EMIs or a longer repayment burden, depending on how their lenders pass on the change.

That creates the dilemma captured by the cartoon. Inflation puts pressure on household budgets, but measures taken to control inflation can also create financial pressure for people who already have home loans, personal loans or other borrowings.

The cartoon does not question the need to control inflation as much as it pokes fun at the uncomfortable side effect of the remedy. The common man wants the inflation “fly” gone, but the giant repo-rate brick comes with its own price.

With simple imagery, the cartoon asks a familiar economic question: when fighting inflation, who ultimately feels the pain of the cure?

Cartoon by - Kirtish Bhatt

Rahul Gandhi Climbs Barricades During Anti-SIR Protest, Inspiring a New Barrier Challenge

 The cartoon takes a humorous look at Rahul Gandhi’s dramatic climb over police barricades during the Opposition’s protest against the Special Intensive Revision (SIR) of electoral rolls. On October 6, INDIA bloc MPs marched from Parliament towards the Election Commission headquarters in New Delhi, demanding action over alleged irregularities in the SIR process and calling for Chief Election Commissioner Gyanesh Kumar’s resignation. Police stopped the march with barricades, but Rahul Gandhi climbed over them before the protest later moved to the Akashvani Bhawan premises. 

The cartoon takes that moment and imagines its hilarious consequence. The headline reports that Rahul Gandhi climbed the barricades during the Opposition march. The central character then delivers the punchline: “A high-level meeting has been called to make new barricades that nobody can climb over.”

The cartoon imagines officials responding to Rahul Gandhi’s feat by treating the barricade as the problem. Instead of asking why the protesters were determined to cross it, they are supposedly preparing for an even more formidable version. The exaggerated “high-level meeting” makes the situation even funnier, suggesting that considerable administrative energy may now be devoted to designing a barricade capable of defeating one determined politician.

The visual also captures the unusual spectacle of a senior opposition leader physically climbing a police barrier during a major political protest. Rahul Gandhi’s barricade-climbing moment quickly became one of the defining images of the demonstration.

Cartoon by - Kirtish Bhatt

From Detention to SIR: A Voters’ Journey with No Clear Destination

 

This cartoon takes a satirical look at the growing political controversy around the Election Commission and the protests demanding accountability from the Chief Election Commissioner.

In the first frame, protesters are packed into a detention vehicle after demonstrating at Jantar Mantar. Their simple question — “Where are you taking us?” — captures the uncertainty and frustration often felt when protesters are detained during political demonstrations. The vehicle itself carries the word “DETENTION”, making the situation clear without needing a long explanation.

But the cartoon then takes an unexpected turn. The next vehicle is marked “SIR”, a reference to the Special Intensive Revision of electoral rolls. This time, the people running behind the vehicle are asking, “Where are you leaving us?” The visual joke lies in the similarity between the two situations: whether people are being taken away in a detention vehicle or being moved into the complicated process of SIR, the cartoon suggests that ordinary citizens are left wondering where exactly they stand.

The Jantar Mantar sign anchors the cartoon in the setting of public protest, while the two buses create a visual contrast between detention and the electoral-roll revision exercise. The humour is deliberately simple, but the underlying point is sharper: when political decisions and election-related processes become confusing, citizens can feel as though they are being taken along a route whose destination has not been properly explained.

Cartoon by - Kirtish Bhatt

If Gandhiji were alive in 2026, what would happen to him? - Cartoons

On the occasion of Gandhi Jayanti, this cartoon series imagines a playful but pointed question: If Mahatma Gandhi were alive in 2026, what would he be doing in today’s India? October 2 marks Gandhi Jayanti, commemorating Mahatma Gandhi’s birth anniversary. In 2026, the country is observing his 157th birth anniversary, with official programmes once again highlighting his ideas of truth, non-violence, simplicity and public service.

The cartoons bring Gandhi into the world of smartphones, social media, political protests and contemporary public life. Instead of simply presenting him as a historical figure frozen in textbooks and portraits, the series asks what his methods of protest and communication might look like in the digital age.

In one cartoon, Gandhi is imagined sitting at the charkha while someone holds up a smartphone and asks him to look at a photograph in a WhatsApp group. The familiar symbol of self-reliance is humorously placed alongside modern digital communication.

Another cartoon imagines Gandhi taking part in a protest, walking with a placard while a journalist asks whether he is “breaking the rules.” The contrast between his traditional non-violent protest methods and the language of contemporary public demonstrations forms the central joke.

A third cartoon plays with the modern political and religious landscape, with Gandhi responding when someone asks whether he has taken the name of Ram and whether he has visited Ayodhya. The reference connects Gandhi’s well-known association with “Ram” to contemporary debates surrounding Ayodhya and religion.

The final cartoon returns to Gandhi’s historic use of fasting as a form of protest. Here, he is shown sitting on a hunger strike while someone suggests that he join their political party and become a minister.

Together, the cartoons ask how Gandhi’s familiar tools — the charkha, non-violence, protest, fasting and moral persuasion — might translate into the realities of 2026. The humour comes from placing an iconic figure of India’s freedom movement inside the very different political, social and technological environment of today.

Cartoons by - Kirtish Bhatt

Cartoon on SIR Controversy: Voter Asks for His Deleted Vote Back

 The Special Intensive Revision (SIR) of electoral rolls has triggered a wider debate over the process of updating and verifying voter lists across India. The Election Commission of India has undertaken the exercise to revise electoral rolls, while its voter-services portal allows electors to search their names, check electoral-roll details and seek corrections or enrolment.

This cartoon looks at the controversy from the perspective of an ordinary voter. The headline in the cartoon refers to allegations of irregularities in SIR. Two men are shown discussing the situation while pointing towards a notice asking people to vote. The central character makes a simple but pointed statement: “There is neither election, nor he is candidate. He is a voter, sir. He is asking for his vote back after it was cut in SIR.”

The satire focuses on the difference between being eligible to vote and actually finding one's name on the electoral roll. The cartoon imagines a voter whose name has been removed during the revision process and turns that situation into an absurd question: if the voter has no candidate to choose from because his electoral status itself has become uncertain, how does he get his vote back?

Cartoon by - Kirtish Bhatt

Gadkari’s Flying Buses: When Potholes Turn Roads Into Launchpads

 A satirical take on India’s pothole-ridden roads, where a bus appears to take flight after hitting a massive pothole. The cartoon humorously imagines Union Minister Nitin Gadkari becoming the man responsible for “flying buses,” while a passenger points out that buses are not flying at all—the broken roads are launching them into the air. The cartoon highlights the persistent problem of potholes and poor road conditions through sharp political satire.

Cartoon by - Kirtish Bhatt