Another highly important dividing line between ‘within’ and ‘without’ created by automobilism is what separates drivers (úrvezetők) and pedestrians. (The Hungarian term úrvezető is quite revealing: it is a compound noun [gentleman + driver] that speaks not only about the strongly gendered nature of the ownership and use of cars, but also about the high social status of the men who are in this privileged position.) The conspicuously high frequency of this theme among the car-relevant cartoons of Ludas indicates clearly its perceived/experienced weight and significance in a Hungarian society striving to absorb and cope with growing automobilism. At first sight it appears that, in this respect, it is not the ownership, or the lack of it, that structures society: the driver–pedestrian division may in a criss-cross manner overlap the distinction between the haves and have-nots. Every now and then, even car owners have to walk, and even pedestrians may get behind the steering-wheel. Yet, in the final analysis, the division of society getting about the streets remains but one (dynamic) aspect of the hierarchic social order revolving around car ownership – a social order in which power and defencelessness confront one another. In the works of the artists of Ludas, it is the humiliating powerlessness of the pedestrian that is thrown into sharp relief.