Carlo's analysis adds to the satirical edge: "He died happy, you can't ask any more than that. But he won't be collecting any more bets." The simple disregard for the dead engineer by the soldiers continues the satire, which is created through the use of flippant humour. .
Flippant humour is used as a way of expressing certain attitudes and events, without being moralistic or pontifical. This is more noticeable in Catch-22 because the satirical undertone is woven throughout the whole novel. This satire probes all aspects of the military life on the base. Cathcart's ignorance and inhumanity is clear, by raising the number of missions in hoping of promotion. Scheisskopf (meaning "shit head", which is an accurate comic description of the character) concentrates on his parades with ridiculous attention to detail which are irrelevant to the war. This "duo" emphasises their incompetence on a satirical note, though maintaining their prestige and power throughout. The American Military it seems is the real enemy, not the Germans, who are rarely spoken of.
It seems that only Yossarian (and then later, the Chaplain) protest about the way things are; the catch in which of course is Catch-22 and the absolute power of bureaucracy behind it. Early on in the novel Yossarian briefly experiences power - the narrators religious description of Yossarian signing Washington Irving's name, makes him feel temporarily "as though he was God". This later leads on to the unfortunate events and suspicions regarding the Chaplain, as he is accused of signing Washington Irving's signature and then later interrogated for crimes he is yet to commit. The dialogue between the Chaplain and the interrogators repeats Yossarian's "question to assumption" mentality, with the conversation not progressing but humorously increasing pressure on the Chaplain:.
"Chaplain, of what religious persuasion are you?".
"I"m an Anabaptist, sir.