This chapter asks why Orwell’s novel is so often referred to as a satire even though it lacks, for the most part, the humour that is commonly associated with that mode. It begins by locating Orwell in the ancient tradition of Juvenalian satire, in which moral indignation rather than amusement predominates. It then turns to the more specific tradition of utopian and dystopian satire, in which fictional words are constructed in order to offer a contrast to, or exaggeration of, the present society, with the aim of critiquing existing social and political trends. Laying out a history of dystopia, it examines key works in this tradition – from Thomas More’s Utopia and Jonathan Swift’s Gulliver’s Travels through more recent texts by H. G. Wells, Jack London, Yevgeny Zamyatin, Aldous Huxley, and others – and their importance as precursors to Nineteen Eighty-Four. Finally, it examines Orwell’s own satiric technique in the novel, both his subtle methods of comic ridicule (generally directed at British apologists for Stalinism) and his more direct attacks on totalitarianism proper, which are woven into the setting and the action of the novel.