Fleming used the casino to introduce Bond in his first novel because "skill at gambling and knowledge of how to behave in a casino were seen ... as attributes of a gentleman". Lycett sees much of Bond's character as being "wish fulfilment" by Fleming. Bond's superior, M, was largely based on Godfrey, Fleming's NID superior officer; Godfrey was known for his bellicose and irascible temperament. One of the likely models for Le Chiffre was the influential English occultist, astrologer, mystic and ceremonial magician Aleister Crowley, on whose physical features Fleming based Le Chiffre's. Crowley's tastes, especially in sado-masochism, were also ascribed to Le Chiffre; as Fleming's biographer Henry Chancellor notes, "when Le Chiffre goes to work on Bond's testicles with a carpet-beater and a carving knife, the sinister figure of Aleister Crowley is there lurking in the background." Style Fleming later said of his work, "while thrillers may not be Literature with a capital L, it is possible to write what I can best describe as 'thrillers designed to be read as literature. He used well-known brand names and everyday details to produce a sense of realism, which the author Kingsley Amis called "the Fleming effect". Amis describes it as "the imaginative use of information, whereby the pervading fantastic nature of Bond's world ... [is] bolted down to some sort of reality, or at least counter-balanced." Within the text the novelist Raymond Benson—who later wrote a series of Bond novels—identifies what he described as the "Fleming Sweep", the use of "hooks" at the end of chapters to heighten tension and pull the reader into the next. The hooks combine with what the novelist Anthony Burgess calls "a heightened journalistic style" to produce "a speed of narrative, which hustles the reader past each danger point of mockery". The semiotician and essayist, Umberto Eco, in his 1979 examination of the Bond books, "The Narrative Structure of Ian Fleming", considered that Fleming "has a rhythm, a polish, a certain sensuous feeling for words. That is not to say that Fleming is an artist; yet he writes with art." When examining the passage relating to the death of Le Chiffre, Eco wrote that "there is a ... baroque feeling for the image, a total adaptation off the image without emotional comment, and a use of words that designate things with accuracy", and he went on to conclude that "Fleming is more literate than he