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This paper attempts to analyze mechanized characters in The Complete Wild Body and Snooty Baronet by Wyndham Lewis the writer and painter. The concept of the puppets opposed to natures derives from Johann Wolfgang von Goethe. The puppets represent human beings subordinated to the outer forces of socio-political systems in the machine age. The First World War was the turning point of the modernist’s career. In The Complete Wild Body, a variety of puppets appears: acrobats literally similar to the puppets, an American businessman obsessed with absolute nationalism combined with capitalism, Father Francis constituted by the mass culture, and Ludo representative of a soldier’s body. In Snooty Baronet, Humph, an Anglo-Saxon disciplined body, is a site on which the contemporary social discourses operate. A manikin in a show window illustrates that the puppet is represented as a commodity in a capitalistic system. Lewis’s satire of the automata are based on Henri Bergson’s Laughter. The philosopher emphasizes laughter’s capacity to reveal and correct the absurdity of men-machines deprived of vital energy.