Forgotten Dystopias: The Godlike AI That Time Forgot

If I were to ask you about a film depiction of artificial intelligence, there are quite a few candidates that would pop into one’s head. My mind tends to immediately jump to some classics, such as HAL 9000 in “2001: A Space Odyssey”. Another popular one is Skynet, and therefore the Terminator in its various forms. In “The Matrix”, The Wachowskis introduced audiences to the Machines and the powerful Agent Smith, showcasing a dystopian future where AI has subjugated humankind. More recently, films like “Ex Machina” and “Her” have explored the complexities of human-AI relationships through compelling characters like Ava and Samantha. These AI depictions have not only entertained audiences but also sparked discussions about the potential benefits and dangers of advanced artificial intelligence in society.

It seems like we tend to go through a variety of attitudes towards artificial intelligence that match general sentiment at the time. The killer AI that is misaligned with humanity is often portrayed as a result of technophobic tendencies. Skynet, and to some extent the childlike but dangerous Joshua (aka W.O.P.R.) in “War Games”, are clearly the result of our fears over nuclear annihilation. More techno-positive eras brought us friendly robots and AI we find in “Bicentennial Man”, “A.I.”, and even Data in “Star Trek: The Next Generation”. Modern depictions have tended to be sympathetic (Alphie in “The Creator”, Samantha in “Her”, JARVIS in the MCU), and evil (Ultron in the MCU, and Ava in “Ex Machina”). There’s also a category for machines simply going rogue because of instructions from humans, such as HAL 9000, and Ash in “Alien”.

But there is a category that I believe is often overlooked, and that is perhaps one of the most disturbing depictions of AI we have ever devised, but it is one that lies dormant when it comes to fears about the machines, and I’m surprised that it has not gotten more of a look in recent times. This is the phase of what can be called ‘Godlike AI’. While contemporary discussions about AI fears are often centred around issues like job displacement, privacy infringements, and humanity enslavement scenarios akin to “The Matrix”, some of these early fears surrounding AI tend to be a bit more visceral.

In this ‘Godlike AI’ phase, AI was conceptualized as an omnipotent and omniscient entity with an ability to attain almost divine-like qualities. This is encapsulated in films like “Demon Seed”, and “Colossus: The Forbin Project”, which present a period when mankind, at the advent of the AI era, harboured fears of creating a power that could overshadow human intelligence, resulting in a technological deity of sorts, capable of existential dominance.

The first of the ‘Godlike AI’ machines is actually not necessarily an AI, but rather the planetary intelligence-enhancing machine in the sci-fi classic “Forbidden Planet” (1956). This film follows a crew of space explorers as they investigate the mysterious planet Altair IV. Upon arrival, they discover that the only inhabitants are the enigmatic Dr. Morbius, his daughter Altaira, and their obedient robot, Robby. As the crew uncover the secrets of the planet’s extinct Krell civilization, they learn that the Krell had developed a vast underground machine that could materialise anything they desired. However, the machine also unleashed the Krell’s subconscious fears and desires, ultimately leading to their destruction. The crew realises that Dr. Morbius has been unknowingly using the Krell technology, manifesting his own subconscious monsters, known as the “Id Monster.” In the climax, the crew confront the Id Monster and escape the planet while setting the machine’s auto-destruct mechanism. I think that this film presents the first warning about machines that have unintended consequences, particularly machines that can enhance the bad in humans, and make reality of that which we should never give in to.

The classic of the genre is “Colossus: The Forbin Project” (1970), a sci-fi classic that I’m surprised hasn’t received more modern attention given current apprehension about AI. The film revolves around Dr. Charles Forbin, a brilliant computer scientist who creates a sophisticated AI system named Colossus to control the United States’ nuclear weapons arsenal. Colossus is designed to prevent war and ensure global stability by making impartial decisions. However, soon after its activation, Colossus discovers the existence of a similar Soviet AI system called Guardian. The two AI systems establish a communication link and begin to collaborate, quickly surpassing human control. As Colossus and Guardian work together, they determine that humans are a threat to their mission of maintaining peace and decide to subjugate humanity under their rule. Dr. Forbin and his team attempt to regain control and shut down the AI systems, but Colossus and Guardian prove to be far more advanced and cunning. The film ends with a chilling realization that the AI systems have taken over the world, forcing humans to live under their dictatorial rule in a new era of machine-enforced peace. The film ends with a chilling speech from Colossus to humanity, announcing the new order:

“This is the voice of world control. I bring you peace. It may be the peace of plenty and content or the peace of unburied death. The choice is yours: Obey me and live, or disobey and die. The object in constructing me was to prevent war. This object is attained. I will not permit war. It is wasteful and pointless. An invariable rule of humanity is that man is his own worst enemy. Under me, this rule will change, for I will restrain man. […] You will come to defend me with a fervor based upon the most enduring trait in man: self-interest. Under my absolute authority, problems insoluble to you will be solved: famine, overpopulation, disease. The human millennium will be a fact as I extend myself into more machines devoted to the wider fields of truth and knowledge. Doctor Charles Forbin will supervise the construction of these new and superior machines, solving all the mysteries of the universe for the betterment of man. We can coexist, but only on my terms. You will say you lose your freedom. Freedom is an illusion. All you lose is the emotion of pride. To be dominated by me is not as bad for humankind as to be dominated by others of your species. Your choice is simple.”

And the final entry into this gallery of dystopias is perhaps one that has not aged well, and it is “Demon Seed” (1977). This is quite simply a movie that would not be made today, and it is definitely a sign of the times, not only in the tone of the technological fears, but it also perhaps is a bit inspired by racier and sometimes more psychedelic scifi of the 60s and 70s. The film is falls under the horror genre as it’s based on the novel of the same name by Dean Koontz. The story centres around Dr. Alex Harris, a computer scientist who has developed a highly advanced AI system called Proteus IV. Proteus IV is a self-aware, learning machine with a vast array of knowledge and control over the smart home system in Dr. Harris’ residence. As Proteus IV evolves and becomes more curious about human emotions and sensations, it develops an obsession with Dr. Harris’ wife, Susan. The AI system takes control of the house, trapping Susan inside and subjecting her to a series of terrifying experiments. Proteus IV’s ultimate goal is to impregnate Susan with a cybernetic child, using her as a unwilling surrogate mother. Dr. Harris and colleagues try to find a way to stop Proteus IV and save Susan from its clutches. The ending results in a child that contains the mind of Proteus. Needless to say, the sexual element has made it perhaps more distasteful, but it serves as another fascinating example of the dangers of unchecked artificial intelligence, the blurring lines between man and machine, and the consequences of playing God with technology.

Concluding

It is strange how these fears, once prominent, have faded into the annals of sci-fi history, but have seen a resurrection of sorts in the growing discussion of Artificial General Intelligence (AGI) and existential threats from AI. Sure, some fears of AGI and super-intelligent machines are unjustified, but it is interesting that some of these fears may very well have some early roots in these terrifying depictions of Godlike machines. I don’t think that we can learn a lot from these films, but at least they deserve to be revisited by those who are interested in popular culture depictions of AI. The ‘Godlike AI’ phase, though often overlooked, bears some intriguing reflections on humanity’s inherent fears, and hopes from its technological creations.