As we have seen in the discussion of depictions of the Wusong and Tianjin Railways, pictorial “news” was not necessarily immediate in temporally or spatially. As a world-system, the Sinosphere in transition implicated spatial transformations and technological innovations beyond the fringes of the Qing empire. The world of tianxia 天下, or “all under heaven” in flux was characterized by simultaneous wonder and suspicion at the marvels of western science and engineering. Chinese media aggregated news from abroad, and adopted their visual idiom to venues like Dianshizhai.