The conspicuous depiction of the urban poverty in a verifiably noteworthy comic strip, making a sharp parody on city destitution (Sabin 134), features the manifestation of ideology in comic craftsmanship. This comic strip depicts a few of the suggestions and indications of ideologies hidden in the comics. As a matter of fact, the meaning of ideology can be an elusive one. It can be characterised barely, concentrating on standard ‘Politics’ (with a capital P) while talking about liberal versus moderate positions on issues, a definition that comics critic Arthur Asa Berger appears to receive in his discourse of the ideology of the U.S. comic strip Pogo (Berger 173). Or, then again it can be characterised comprehensively, to include issues of interceded influence and discourses of the impact of the mass communications on its groups of onlookers, regardless the nature of that impact (Barker 213). Thus it is obvious that ideology is firmly tied in with issues of social control. It deals with the questions of why and how may comics defy or maintain power disparities in the public eye. It also raises the question of how these comics serve to celebrate and legitimise ideological values and beliefs and social institutions, or do they investigate and subvert the established norms and status quo of the society.
To begin with, the nature of comics craftsmanship makes the form ideologically fascinating. Comics workmanship consolidates printed words and pictures in an interesting way. The