1949年後中華民國政府檢討大陸的失敗，認為中共無孔不入的宣傳，方是造成赤焰橫流的禍因，於是在來臺後，特別重視文化宣傳的工作。過去針對臺灣反共文藝的研究，所論多矣，但大多把焦點集中在反共文學的身上，對於其他的藝術創作則殊少觸及，事實上，1950年代的臺灣漫畫，不論就創作數量之眾、發表園地之廣或對社會的影響力上，都可謂是臺灣漫畫最興盛的一段時期；然而，在少數有關戰後臺灣漫畫史的研究中，卻又不諱言地鄙夷這段時期漫畫創作失去批評時政的獨立空間，淪為政治文宣工具的附庸角色。 本文以1950年代最主要的漫畫發表園地《中央日報》副刊〈漫畫半週刊〉及《新生報》副刊〈新生漫畫〉等為分析的主要取樣對象，根據國民黨所頒布的文宣指導原則，規範創作者所奉行的目標是希望呈現出正/邪、善/惡的二元對立，藉由揭發共黨倒行逆施的暴行，以激起民眾堅定的反共信念，只有透過對彼岸負面的描述，才能證明反共抗俄戰爭的正當性。然而，創作的旨趣既是「以自由與極權對照、以安定與恐怖對照」，臺灣與大陸的現況報導應該是站在天平的兩端，以一種光明與黑暗的對應形式來表達，但仔細觀察1950年代數量龐大的臺灣政治漫畫，絕大多數的漫畫作品都是單方面地在描繪所謂「大陸匪區的實況」，呈現出一種「恐懼的意象」，其主要訴諸的不是觀者感同身受的同理心，而是難以逾越的恐懼，這些漫畫創作者所要傳達的反共手段，簡單明瞭，以戰爭回答戰爭，將暴力合理化。描繪的主題多半是中共對大陸同胞身體上的傷害與虐待，以及對現存社會秩序的破壞，並沒有以自由、民主、正義與公平等放諸四海而皆準的人類價值，做為基本的訴求。

After 1949，the ROC government reviewed the reason for the failure of the Civil War is that because of the success of Chinese Communist propaganda. With the ROC government coming to Taiwan, the government specially emphasized in the work of cultural propaganda. Most of the previous Taiwan's anti-communist propaganda researches only focused on anti-communist literature. Other forms of art creation are always ignored. In fact, the history of the Taiwan’s political cartoons in the 1950s is absolutely the most prosperous period of time. However, most of the researchers regarded cartoons just as a tool of political propaganda. This paper focuses on political cartoons in "Semi-weekly comic” of “Central Daily” for the analysis of the main sampling targets. According to the KMT propaganda issued by the guiding principles, norms creators pursued goal is to show the dichotomy between positive and demonic, as well as good and evil. By exposing the atrocities of communist, political cartoons aroused the people's firm belief. It is the method to negatively portray the communist to prove the legitimacy of the war. By observing closely in a huge number of Taiwan's political cartoons in the 1950s, most of comics portrayed unilaterally in "the fact of mainland China" and "a fear of the image". The main resort is not the viewer’s empathy but the insurmountable fear. These cartoons creators wanted to convey the simple and clear means of the anti-Communist. That is, War is war and war will be the rationalization of violence. In 1950s, cartoons mostly depicted the theme in the Chinese Communists on the mainland compatriots’physical harm and abuse, as well as in the destruction of the existing social order, not in freedom, democracy, justice and fairness as the basic demands.