The series' format involve Old Master Q and his friends as they navigate life in a modern Hong Kong, with Mr. Chiu or a third party often serving as antagonists. The comics are known for its wry sense of humour lending itself from a degree of unpredictability. While usually down-to-earth, the series does not shy from increasingly surreal scenarios such as aspects of horror and science fiction. Long-format comics have been produced revolving around lengthier adventures of the main cast pitted against gangsters in modern Hong Kong or warriors in a
wuxia setting. While Old Master Q comics primarily focus on humour, they also reflect changing social trends; particularly from the 1960s to the 1980s. The comics would sometimes feature societal problems in urban life, such as poverty, petty thefts and
secret societies. It also poked fun at fashion,
contemporary art and rock music. The comic strips sometimes also bemoan the decline of ethical or moral values in modern-day living. Characters often display acts of selfishness or misery; although the comics occasionally display good values like filial piety. The language barrier between the Chinese language and the English language is also depicted in some comic strips; illustrated with Old Master Q's difficulty communicating with foreigners, especially Westerners. The comics have, on some occasions, expressed complexity in the plots and serious views on major political changes taking place in Hong Kong during the 1960s-1980s. It had previously criticised overly Westernised Chinese, who were often shown in the comic strips kowtowing to Western interests over the local Chinese interests. The run-up to the handover of Hong Kong to
China following the
Sino-British Joint Declaration of 1984 also became a point of interest, as a few comic strips were published through the late 1980s and early 1990s expressing the characters' fears of handover, frequently represented in a numeral of the year it would take place: 1997. Some of these comic strips also depict direct assault of representations of the
Chinese government and the
Chinese Communist Party, occasionally in the form of caricatured depictions of
Deng Xiaoping. The handover was later depicted in more a positive light in the years leading to the actual event; possibly representing a changing perspective from the author. ==Films==