 He disregards psychology and coherent dialogue, thereby depicting a dehumanized world with mechanical, puppet-like characters who speak in "non-sequiturs".Language becomes rarefied, with words and material objects gaining a life of their own, increasingly overwhelming the characters and creating a sense of menace.With "Tueur sans gages" translated as "The Killer" (1959; his second full-length play, the first being "Amédée, ou Comment s'en débarrasser" in 1954), Ionesco began to explore more sustained dramatic situations featuring more humanized characters.