clearly express the ideas behind the cartoons. Sensitive topics At the time that Lat started drawing for the New Straits Times, local political cartoonists were gentle in their treatment of Malaysian politicians; the politicians' features were recreated faithfully and criticisms were voiced in the form of subtle poems. Lat, however, pushed the boundaries; although he portrayed the politicians with dignity, he exaggerated notable features of their appearances and traits. Lat recalled that in 1974, he was told to change one of his works, which portrayed Malaysian Prime Minister Abdul Razak from the back. Lee refused to print the work unchanged, and pointedly asked the cartoonist "You want to go to jail?!" In 1975, however, Lat's next attempt at a political cartoon won Lee's approval. The satire featured a caricature of Razak's successor—Hussein Onn—on the back of a camel, travelling back to Kuala Lumpur from Saudi Arabia; its punchline was Hussein's hailing of his mount to slow down after reading news that a pay raise for the civil service would be enacted on his return. Malaysia's political class grew comfortable with Lat's caricatures, and like the rest of the country, found them entertaining. Muliyadi described Lat's style as "subtle, indirect, and symbolic", following traditional forms of Malaysian humour in terms of ethics and aesthetics. The cartoonist's compliance with tradition in his art earned him the country's respect. When Lat was critical of politicians, he portrayed them in situations "unusual, abnormal or unexpected" to their status or personalities, using the contrast to make the piece humorous. Mahathir bin Mohamad, Malaysia's fourth Prime Minister, was Lat's frequent target for much of his political career, providing more than 20 years worth of material to the cartoonist—enough for a 146-page compilation Dr Who?! (2004). Lat's political wit targeted not only local politicians, but also Israeli actions in the Middle East and foreign figures such as prominent Singaporean politician Lee Kwan Yew. Despite his many works of political nature, Lat does not consider himself a political cartoonist and openly admits that there are others better than he is in this field. Lat prefers to portray his ideas with as little antagonism as possible. He heeds the advice of his mentor, Rejabhad, and is aware of sensitivities, especially those of race, culture, and religion. As he devises the concept for his cartoon, he eliminates anything he believes to be malicious or insensitive. At the Fourth Asian Cartoon