By William Johnston
Max's latest—and probably greatest—case. simply think Max and ninety nine fighting the paralyzing, petrifying powers of Guro Optimo, a mind-manipulating, Indian hypnotist and his cruel grasp, fortunate Bucky Buckley!
To retailer the area from falling lower than Optimo's sinister spell, Max and ninety nine crew up with—of all people—a Kaos agent named V.T. Brattleboro. unimaginable issues take place to the Control-Kaos blend inside of Buckley's evil medieval fortress. they're menaced by way of brain-washed guards, tremendous crocodiles, and a colossal avalanche of peanut brittle!
But can Max rather belief Brattleboro? Or Brattleboro belief Max? and will ninety nine belief both one—especially Max?
The leader of keep watch over is bound that this time Max is in over his head. yet he needn't fear, for optimum doesn't have a anxious bone in his physique or his head. As continually, he's ill-prepared for probability of any kind—AND LOVING IT!
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Extra info for And Loving It (Get Smart, Book 6)
This paragraph and the remainder of this section are taken from Pernick, “Defining the Defective,” pp. 93–94, 97. 27. Charles Musser, The Emergence of Cinema (New York: Scribner 1990); Francois Dragognet, Etienne-Jules Marey (New York: Zone, 1992); Marta Braun, Picturing Time: The Work of Etienne-Jules Marey (Chicago: University of Chicago Press, 1992). Thanks to Rebecca Zurier for helping me think through these ideas. 28. 24. This distinctive aesthetic mix culminated in The Way to Strength and Beauty, a 1925 German film shown in the United States, which combined dramatically modern steep-angle cinematography with scenes of both classical and primitive Teutonic athletes.
25 An attractive body also was explicitly equated with a sleek streamlined locomotive, whose beauty became manifest in powerful motion and efficient function. 26 Films did not simply illustrate this modernist health aesthetic; they helped to create and shape it. Motion pictures emphasized vision and motion. Film made it possible to display and dissect the beauty of bodily action. The desire to depict the poetry and science of motion contributed to the invention of the cinema. 27 However, these explicitly modern representations did not completely replace older, romantic images of healthy beauty.
Yet while these films emphasized aspects of the new etiology, they also retained many older causal concepts as well. Although they attributed disease to specific new microscopic agents, they simultaneously blamed older general causes like filth. They continued to assess who to blame, and in assigning guilt, they emphasized individual responsibility rather than structural or systemic failures. When someone gets sick in these films, it is usually a specific person’s fault, though the guilty party is often someone other than the victim.
And Loving It (Get Smart, Book 6) by William Johnston