Max is busy with his pretty new secretary and puts Koko and Bimbo on automatic for the day -- he sets a pantograph to draw a world run by slot machines like mechanical banks. However, is the creator in control of his creation, or is it the other way around? The Fleischer Brothers liked to play with such surrealistic concepts, but they never let it get too serious. The point of the cartoon is to make a joke, not to educate their audience in the theory of dialectics. Really, this typically fine Ko-Ko cartoon -- probably the most popular film cartoon series after Felix the Cat -- is probably more due to the absent-mindedness of the Fleischer Brothers as they planned for their next assault on sound films; the gags are well executed but seem to be inserted in random order, rather than leading up to the final pay off.