100Most

100Most, also known by its Chinese name 100毛, was a Hong Kong satirical weekly magazine published by Most Kwai Chung. It launched its first issue on 7 March 2013 and became associated with a fast, highly visual form of commentary aimed primarily at younger Hong Kong readers. The publication presented itself as concise, humorous, and distinctly Hong Kong in style, using the slogan “Just Right.” Its name referred both to the Chinese character 毛, which can signify hair or a small monetary unit, and to the magazine’s format of organizing each issue around 100 separate focuses or items. The magazine was founded by Roy Tsui, Bu, and Chan Keung, who were also connected with the Blackpaper publishing and creative community. Its editorial model was designed for readers living in a busy and pressured urban environment. Most items were short, often around 200 words, and were written largely in colloquial Cantonese. The subjects ranged from everyday life and popular culture to social controversies and political questions. Rather than presenting itself as a conventional evidence-heavy news publication, 100Most emphasized personality, opinion, satire, and discussion. Its tone was deliberately irreverent and frequently confrontational. Graphics were central to the brand. The magazine often used charts, illustrations, jokes, colour schemes, and compact visual layouts to make complex or contentious topics easier to consume. Excel-style charts became a recognizable device for explaining social issues. The editorial team also placed strong emphasis on freedom of expression and adopted a political voice that was visible in its language and design. During the 2014 Umbrella Movement period, for example, some pages used black and yellow, colours associated with the pro-democracy movement. 100Most published every Thursday and also released special editions from time to time. It developed a substantial profile in Hong Kong’s magazine market; Roy Tsui said that individual issues achieved sales levels of roughly 80 to 90 percent in 2016. The readership was principally young adults, particularly people born in the 1980s and later, while the publication’s contributors were likewise drawn heavily from younger generations. Its influence came less from a long-form magazine tradition than from the ability to package topical commentary into short, shareable, visually distinctive units. The brand was also involved in copyright-related disputes. In late 2013, it was criticized for reproducing part of a local blogger’s review without proper attribution and for dismissing the blogger in insulting terms. In 2015, a special edition containing Doraemon imagery prompted questions about authorization, followed by statements from the rights holder and comments from Roy Tsui. These disputes contributed to wider debate about citation, appropriation, and the boundaries of satirical publishing. The 275th and final print weekly issue was published on 12 July 2018. After that point, 100Most continued only in digital form, while the related Most Kwai Chung ecosystem also operated the online platform TVMost. The end of the print edition marked the conclusion of 100Most as a weekly physical magazine, but its editorial identity remained tied to compact Cantonese commentary, visual satire, and a strongly local Hong Kong perspective.

100Most was established in Hong Kong by Roy Tsui, Bu, and Chan Keung, figures associated with the Blackpaper creative and publishing circle. Its first issue appeared on 7 March 2013 under the Chinese name 100毛 and the English-facing brand 100Most. The title was connected to the idea of 100 separate focuses in each issue, while 毛 could refer to hair or a small monetary amount in Chinese usage. The publication was conceived as a response to the pace and pressure of Hong Kong life. Its founders aimed to offer material that readers could finish quickly while still finding it humorous and provocative. The stated editorial qualities were short, hilarious, and Hong Kong style. Issues were generally published every Thursday, with occasional special editions. The magazine’s main audience consisted of younger adults, especially readers below 40 and people born in the 1980s and 1990s. Its editorial format relied on short, tightly written items, many of them approximately 200 words, and was largely expressed in colloquial Cantonese. Topics included popular culture, daily life, social questions, and politics. The publication was opinionated rather than conventionally neutral, and its writers placed considerable emphasis on freedom of speech and resistance to self-censorship. Visual communication was equally important. Charts, illustrations, jokes, and colour coding were used to make arguments immediate and accessible. Excel-style charts became one of the magazine’s recognizable explanatory tools. 100Most’s political character became especially visible during the 2014 Umbrella Movement. Some pages in issue 89, published on 11 November 2014, used black and yellow, colours widely associated with the pro-democracy movement. This reflected the magazine’s broader willingness to take positions on contentious public issues rather than limit itself to entertainment or lifestyle coverage. The magazine gained broad recognition in Hong Kong. Roy Tsui stated that issues reached approximately 80 to 90 percent sales in 2016, although no independently verified financial or circulation figures are established in the available material. The brand also operated within the wider Most Kwai Chung media environment, which included the online platform TVMost. Its confrontational editorial style brought copyright disputes. In late 2013, a blogger known as Lunyeah alleged that 100Most had used part of a review of the television drama Bounty Lady without attribution. The dispute became a social-media controversy because the publication not only omitted credit but also described the blogger disparagingly. In December 2015, TVMost reported that Roy Tsui had apologized on various occasions and that the blogger had accepted the apology. A second dispute arose in early 2015 after 100Most used Doraemon imagery in a special edition commemorating the late voice actor Lam Pou-chuen. Animation International Ltd., identified as the relevant copyright owner, stated that it was working on the issue. Roy Tsui initially said he was unfamiliar with the matter and later said he would not comment further after receiving a legal statement. The magazine ended its print weekly run with issue 275 on 12 July 2018. It subsequently existed only in digital form. This transition closed the print chapter of a publication that had helped popularize compact, graphic-heavy, Cantonese-language satire for a younger Hong Kong audience.

• 2018

  End of weekly print publication

  [1]100Mosten.wikipedia.org

  Issue 275, published on 12 July, was the final weekly print edition; subsequent publication was digital only.

• 2016

  Reported strong issue sales

  [1]100Mosten.wikipedia.org

  Roy Tsui said that individual issues were reaching approximately 80 to 90 percent sales.

• 2014

  Umbrella Movement-era visual positioning

  [1]100Mosten.wikipedia.org

  Issue 89 used black and yellow design elements associated with Hong Kong’s pro-democracy Umbrella Movement.

• 2013

  First issue published

  [1]100Mosten.wikipedia.org

  100Most released its inaugural issue on 7 March 2013 as a Hong Kong satirical weekly magazine.

A concise, humorous, visually driven Hong Kong commentary magazine for younger Cantonese-speaking readers, combining satire with social and political discussion.

• Print magazine · 2013

  100Most weekly magazine

  The core product was a Thursday weekly magazine containing approximately 100 short editorial focuses. It combined Cantonese-language commentary, satire, social observation, political opinion, graphics, charts, and jokes. Items were intentionally brief, allowing readers to consume topical material quickly while retaining the publication’s distinctive irreverent voice.

• Digital magazine · 2018

  100Most digital editions

  Following the end of the print weekly run in July 2018, 100Most continued in digital form. The digital format extended the magazine’s established approach of concise, visual, Cantonese-language commentary and allowed the brand to remain part of the wider Most Kwai Chung online publishing environment.

• Special publication

  100Most special editions

  In addition to its regular Thursday issues, 100Most produced special editions on an unscheduled basis. These editions applied the brand’s satirical and graphic-driven editorial style to particular themes or events and included the publication involved in the 2015 Doraemon copyright dispute.

• 2015

  Doraemon image copyright controversy

  A special edition using Doraemon imagery led to questions about whether the magazine had permission to reproduce the material. Animation International Ltd. said it was addressing the alleged infringement, and Roy Tsui later declined to comment after receiving a legal statement.

  Source

• 2013

  Plagiarism and attribution dispute involving a television review

  A local blogger alleged that 100Most reproduced part of his review of Bounty Lady without credit and then referred to him dismissively. The dispute generated strong social-media criticism. TVMost later stated that Roy Tsui had apologized and that the blogger accepted the apology.

  Source

Read more

• 2018

  Shift from weekly print to digital publicationStrategy

  Background

  After publishing 275 weekly print issues, the magazine ended its physical weekly edition in July 2018.

  Action taken

  100Most stopped regular print publication after the issue released on 12 July and continued only in digital format.

  Aftermath

  The change ended the brand’s print-magazine phase while preserving a digital presence.

  Source

• 2018

  100Most publishes its final weekly print issue[1]100Mosten.wikipedia.org

  Other · Product generation

  The magazine released its 275th and final weekly print issue on 12 July 2018, after which the publication moved to a digital-only format.

1. 1100Mosten.wikipedia.org