This article examines the construction of the Soviet nuclear threat in Western political cartoons during the early Cold War, from the end of the Second World War to the first Soviet hydrogen bomb test (1945–1953). Although the mass culture of the atomic age has attracted considerable scholarly attention, the visual representation of atomic themes in political cartooning remains insufficiently studied, especially in Russian-language historiography. The article addresses this gap by showing how cartoons not only reflected, but also actively shaped nuclear discourse, politicized scientific achievement, and contributed to public perceptions of atomic energy, nuclear weapons, and international confrontation.

The study combines historical imagology, a constructivist approach, and content analysis. Its empirical basis consists of 418 Sunday issues of The New York Times, which regularly published political cartoons by artists from the United States, Canada, Europe, and Australia. The analysis identified 209 atomic-themed cartoons produced by 76 artists and drawn from 66 publications. On this basis, an iconographic codebook of recurrent visual motifs and meanings was compiled.

The results show that Western cartoonists increasingly framed the atomic question through the categories of “problem,” “threat,” and “confrontation with the USSR.” The most frequent motifs were “problem” (115 visual occurrences), “atomic bomb” (99), “threat” (87), “USSR” (77), “United States” (73), and “confrontation with the USSR” (59). The frequency and symbolic density of atomic cartoons peaked at key moments in the emerging nuclear arms race: 1945–1946, 1949, 1950, and 1953. The visual language of Western satirical graphics was dominated by a militarized and masculinized image of atomic power, above all the bomb. Early hopes for peaceful atomic progress were gradually displaced by representations of existential nuclear danger and by the logic of superpower rivalry.

A central finding of the article is that Western political cartoons transformed nuclear weapons from a universal post-war problem into a politically differentiated symbol. By the late 1940s and early 1950s, atomic and hydrogen bombs acquired a national identity: Western nuclear weapons were increasingly represented as defensive and order-preserving, whereas Soviet nuclear weapons were depicted as aggressive, illegitimate, and destabilizing. This dichotomy between “good” Western and “bad” Soviet nuclear power contributed to the visual construction of the USSR as the principal source of nuclear danger. By 1953, the dominant meaning of atomic cartoons had shifted toward nuclear confrontation between the superpowers and, more broadly, antagonism between the Western and Soviet systems. The article concludes that Western political cartoons helped consolidate durable stereotypes of the Soviet nuclear threat, many of which continued to shape the symbolic vocabulary of international relations beyond the early Cold War.