Cyborg She, a love story
about a female android and a shy young man (credit: Gaga Communications, for use in critical commentary)
Can
humans and robots get along together? Actually, they already do in a wide range
of applications from surgery to assembly lines. The question is more vexing
when the robots are androids—human-like creatures that can recognize faces,
understand questions, and behave as social, emotional, and affective beings. It
is this aspect that troubles us the most, partly because it creates a power to
manipulate and partly because it transgresses the boundary between human and
nonhuman.
A
manipulative female android appears in the recent British film Ex Machina. Ava exploits Caleb's sexual
desire and sense of compassion, convincing him to help her escape from the
research facility. She succeeds but leaves him behind, trapped in the building.
This kind of negative portrayal runs through many sci-fi movies of the past
four decades. In some, particularly the Terminator
series (1984, 1991, 2003, 2009, 2015), androids are evil and seek to destroy
mankind. In The Stepford Wives
(1975), they are simply tools of wicked people: in a small town, the men
conspire to murder their wives and replace them with lookalike android
homemakers. In Westworld (1973), a
Wild West theme park becomes a killing field when a gunslinger robot begins to
take his role too seriously.
In
other movies, the portrayal is more nuanced but still negative. Blade Runner (1982) assigns the human
Rick Deckard the role of a bad good-guy who seeks out and kills android
"replicants." Deckard hunts them down mercilessly, the only exception
being Rachael, whom he rapes. Conversely, the replicants emerge as good
bad-guys who show human mercy, particularly in the final scene when the last
surviving one saves Deckard from death. This theme is further developed in AI (2001), where a couple adopt an
android boy, named David, after their son falls victim to a rare virus and is
placed in suspended animation. When their biological son is unexpectedly cured,
and refuses to accept his new sibling, they decide to abandon David in a forest,
much as some people get rid of unwanted pets. He meets another android, Gigolo
Joe, who explains why David's love for his adoptive mother can never be
reciprocated:
She
loves what you do for her, as my customers love what it is I do for them. But
she does not love you, David. She cannot love you. You are neither flesh nor
blood. You are not a dog or a cat or a canary. You were designed and built
specific, like the rest of us, and you are alone now only because they are
tired of you, or they replaced you with a younger model or were displeased by
something you said or broke.
In
short, androids can love humans, but this love has a corrupting effect, making
humans more callous and self-centered than ever.
Some
American and British movies have featured androids in unambiguously positive
roles, like some of the droids in Star
Wars (1977), Lisa in Weird Science
(1985), Bishop in Aliens (1986), and
Data in the TV series Star Trek: The Next
Generation (1987-1994). Usually, however, androids are either villains or
tragic heroes. One might conclude, therefore, that this dominant view is the
logical one that emerges when thoughtful people weigh all the pros and cons.
And
yet, we have the example of another cinematographic tradition where androids
are viewed quite differently.
The Japanese
exception?
Japan
has diverged from Western countries in the way it depicts androids on screen.
This is especially so in three productions that have appeared since the turn of
the century:
This
TV series begins in the near future with Hideki, a young man who lives on a
remote farm. He has never had a girlfriend and decides to go to a prep school
in Tokyo, where he can meet other people his age. On arriving in the big city,
he is surprised to see so many androids, called “persocoms.” The life-sized
ones are expensive, but many of his college friends have mini-persocoms—small
fairy-like creatures, a bit larger than Tinkerbell, who can take email
messages, help with schoolwork, provide GPS directions, or simply sing and
dance to keep your spirits up.
One
night, walking home, he sees a girl's body in the trash piled alongside the
curb. He takes a closer look, realizes it's a persocom, and takes it home,
where he manages to turn it on. But the persocom—a strangely beautiful girl
with large eyes and floor-length hair—can speak only one word and knows nothing
about the world. Hideki tries to teach her how to live in society, but he too
is socially inept, so other people have to step in to provide help and advice.
From
time to time, we see the girl with a children's book that Hideki bought to
teach her how to read. It is about a place called Empty Town where people
remain secluded in their homes and refuse to venture outside. At the end of
each episode, we see this town and a female figure wandering through its
deserted streets.
Chobits seems to have
been made principally for a mature male audience, while containing elements
that normally appear in magazines for teen and pre-teen girls. This is not
surprising, given that it was created overwhelmingly by female storyboarders
and animators.
Most
of this movie is set in the present. There are obvious similarities with The Terminator (1984): an android
arrives from the future in an electrical discharge; it has superhuman strength
and, initially, no emotions; and near the end it must crawl around on its arms
because it has lost the lower half of its body. But the similarities end there.
The android is female and has come to befriend a shy young man, Kiro, who is
spending his 20th birthday alone. She is, in fact, a creation of an older Kiro
who wishes to change the course of his life. In this role, she saves him from a
gunman who would otherwise leave him a cripple and, later, from a devastating
earthquake. She also breaks his vicious circle of shyness/withdrawal, thus transforming
him from a boy into a man.
The
changes to Kiro are paralleled by changes to her. She develops feelings of
jealousy and becomes conscious of her appearance; after being mutilated by a
collapsing wall, she begs Kiro to leave, so that he will no longer see what she
has become. In these final moments of her life, she tells Kiro that she can
"feel his heart." The rest of the building then collapses on her, and
when he later retrieves her remains from the rubble, he clings to them,
overwhelmed by grief.
This
TV series features a timid boy called Heita who attends a private high school.
He feels a chasm between himself and the world of love, preferring to be alone
in places like the school's science lab. One day, however, he enters the lab
and finds the inanimate body of an android girl. When he touches her teeth, she
comes to life and asks him to give her a name. He chooses “Kyuuto” because her
serial number is Q10 … and because she’s cute.
She
follows Heita everywhere, and the principal tries to head off a potential
scandal by enrolling her at the school and making the boy her caretaker. Heita
tells his science teacher that he doesn't want the job and asks her to turn the
android off, but she simply smiles and says there is no going back. The rest of
the series recounts the weird love that develops between Heita and Kyuuto.
A common theme
You
may have noticed a common theme: male shyness. It's nothing new in Japanese
society. Indeed, it seems to prevail in all societies where the father invests
much time and energy in providing for his wife and children. In exchange, he
wants to be sure that the children are his own. So monogamy is the rule, and
something is needed to keep the same man and woman together.
In
such a context, male shyness deters men from sexual adventurism, i.e.,
wandering from one woman to another. Of course, the shyness must not be so
strong that it leaves a man with no mate at all. This is not a problem in
traditional societies, where intermediaries can step in and help the process
along. It becomes a major problem, however, in modern societies where each man
is expected to be a sexual entrepreneur.
Male
shyness is becoming pathological in today’s Japan. The pathology even has a
name: hikikomori—acute withdrawal
from all social relationships outside the family. Numbers are hard to come by,
but such people may exceed over a million in Japan alone, with 70-80% of them
being men (Furlong, 2008). These figures are really the tip of the iceberg,
since many men can lead seemingly normal lives while having no intimate
relationships.
A form of therapy?
When
the Japanese talk about future uses of androids, they invariably talk about
elder care or home maintenance. It is really only in movies and manga comics
that the subject of loving relationships is explored, and this is where we see
the greatest difference between Japanese and Westerners. The latter seem
pessimistic, seeing such love as manipulative or corrupting. In contrast, the
Japanese see it as beneficial, even therapeutic.
Who
is right? Some insight may be gleaned from research on love dolls, which occupy
an early stage of the trajectory that leads to affective androids. In a study
of 61 love doll owners, Valverde (2012) found them to be no different from the
general population in terms of psychosexual functioning and life satisfaction.
In contrast, the rate of depression was much higher among individuals who did
not own a love doll but were planning to buy one. It seems likely, then, that
the dolls are enabling these men to achieve a healthier psychological state. We
will probably see a similar therapeutic effect with affective androids.
But
will this psychological improvement help such men move on to real human relationships?
After all, many of them will simply be too unattractive, too socially marginal,
or too lacking in personality to make the transition. Others may prefer
androids to real women. This point comes up in Chobits when a woman tells Hideki that she feels jealous of his
android and its perfect beauty.
One
thing is sure. No android, no matter how lifelike, can procreate. When Hideki
is walking with a friend by a lake, he is warned that an android can never be
as good as a real human. We then see a woman in a boat, with two young
children. This fact also explains the convoluted ending of Cyborg She. There can be no happy ending until Kiro's life path is
fully rectified, and this can happen only when he becomes a husband and father.
Through a series of unusual events, the android's memory is transferred to a similar-looking
woman who then travels back in time to meet Kiro after the earthquake.
Although
we will soon have androids that can recognize individual humans and respond to
them affectively, there are no procreative models on the drawing board. This
limitation will have to be recognized before we begin to use them for
therapeutic purposes.
Two different
paths
Why
does Japan have a more positive attitude toward androids in particular and
robots in general? Most observers put it down to the animist roots of the
country’s religion, Shinto, which teaches that everything has a spirit, be it
the sun, the moon, mountains, trees, or even man-made objects (Mims, 2010). In
contrast, Christianity teaches that only humans have souls, so there is no
moral difference between swatting a fly and killing an android. When Deckard
rapes Rachael, he is merely masturbating. She loves him, but her love can only
have a corrupting effect because humans of Christian heritage feel no need to
reciprocate.
This
cultural explanation isn’t perfect. For one thing, the divergence between Japan
and the West is less obvious the farther back in time you go (Anon, 2013). Before
the 1970s, robots were generally likeable characters on the American big screen
or small screen, from the Tin Man of The
Wizard of Oz (1939) to the robot of Lost
in Space (1965-1968). There was even a romance genre: in the seventh
episode of The Twilight Zone (1959),
a female android saves a man from the loneliness of solitary confinement.
The
change of attitude among cineastes seems to have happened during the 1970s. Perhaps
not coincidentally, the same decade saw a parallel change of attitude in the
business community. Previously, with the West moving toward an increasingly
high-wage economy, automation and robotization were considered inevitable,
since there would be nobody available to do low-paying jobs. This attitude
changed during the 1970s with the growing possibilities for outsourcing of
high-wage manufacturing jobs to low-wage countries and, conversely, insourcing
of low-wage workers into industries that could not outsource abroad (construction,
services, etc.). This easier access to cheap labor made the business community
less interested in robots, so much so that robotics research has largely
retreated to military applications. There is very little research into use of
robots as caregivers or helpmates.
This
new economic reality has spawned a strange form of Japan-bashing in the press,
as in this Washington Post story:
There
are critics who describe the robot cure for an aging society as little more
than high-tech quackery. They say that robots are a politically expedient
palliative that allows politicians and corporate leaders to avoid wrenchingly
difficult social issues, such as Japan's deep-seated aversion to immigration,
its chronic shortage of affordable day care and Japanese women's increasing
rejection of motherhood.
"Robots
can be useful, but they cannot come close to overcoming the problem of
population decline," said Hidenori Sakanaka, former head of the Tokyo
Immigration Bureau and now director of the Japan Immigration Policy Institute,
a research group in Tokyo. "The government would do much better spending
its money to recruit, educate and nurture immigrants," he said. (Harden, 2008)
Of
course, this kind of argument could be stood on its head. Aren’t we using
immigration as a means to evade the challenges of caring for an aging
population and robotizing low-paying jobs out of existence?
Conclusion
It
is no longer fashionable to believe that economics can influence culture and
ideology. Yet there seems to be some linkage between the growing indifference
toward robots in our business community and the growing hostility toward them
in our popular culture. In Japan, major corporations like Honda strive to rally
popular opinion in favor of robotics. In the West, big business plays no such
role and, if anything, has to justify its relative indifference. There is thus
no organized faction that can push back against anti-robotic views when and if they
arise.
So
we will fail in robotics because we’re not trying very hard to succeed. This is
one of those basic rules of life: if you don’t try, not much is going to
happen.
But
will the Japanese succeed? I cannot say for sure. I can only say there is a lot
of pent-up demand for personal robots, especially androids with affective
capabilities. Modern society is creating loneliness on a massive scale with its
war on “irrational” and “repressive” forms of sociality—like the family and the
ethny. I remember doing fieldwork among elderly people on Île aux Coudres and
expecting no end of trouble with my stupid questions about attitudes toward
skin colour in a traditional mono-ethnic environment. I needn’t have worried.
The interviewees showed an unusual degree of interest in my questions and would
talk for hours on end. Then I discovered these people typically went for
days—sometimes weeks—with no human contact at all. And then others would tell
me that so-and-so next door had committed suicide, not because of terminal
illness but because of terminal loneliness.
Mark
my words. When cyber-Tinkerbells start appearing in stores, people will come
in droves to snatch them up like there’s no tomorrow. And many will also be
snatching up the life-sized equivalents—even if they cost as much as a
Lamborghini.
References
Anon.
(2013). Debunked: Japan's "Special Relationship with Robots", Home Japan
http://www.homejapan.com/robot_myth
Chobits (2002). Japanese
TV series, directed by Morio Asaka, 26 episodes
https://www.youtube.com/watch?v=ingYFsjgaZ4
Cyborg She (2008). Japanese
drama, directed and written by Kwak Jae-yong
https://www.youtube.com/watch?v=lO7OEAzZ4aU
Furlong,
A. (2008). The Japanese hikikomori phenomenon: acute social withdrawal among
young people, The Sociological Review,
56, 309-325
http://onlinelibrary.wiley.com/doi/10.1111/j.1467-954X.2008.00790.x/full
Harden,
B. (2008). Demographic crisis, robotic cure? Washington Post, January 7
http://www.washingtonpost.com/wp-dyn/content/article/2008/01/06/AR2008010602023.html
Mims,
C. (2010). Why Japanese Love Robots (And Americans Fear Them), MIT Technology Review, October 12
http://www.technologyreview.com/view/421187/why-japanese-love-robots-and-americans-fear-them/
Q10 (2010). Japanese
TV series, directed by Kariyama Shunsuke and Sakuma Noriyoshi, 9 episodes
https://www.youtube.com/watch?v=tE_NEjPjdSI
Valverde,
S.H. (2012). The modern sex doll-owner: a
descriptive analysis, master's thesis, Department of Psychology, California
State Polytechnic University.
http://digitalcommons.calpoly.edu/theses/849/