Got it. I’ll compile a chronological list of well-known fictional portrayals of digital twins, digital assistants, waifus, and autonomous AI systems that exhibit human-level or near-human-level intelligence. This will include books, movies, anime, and games, with a focus on Western works but also covering globally recognized examples.
I’ll include short descriptions of each entry, highlighting their role and significance. I’ll let you know when it’s ready to review.
- R.U.R. (Rossum’s Universal Robots) (1921) – Play – Karel Čapek.
This Czech play introduced the word “robot” to science fiction (R.U.R. - Wikipedia). It depicts artificial humanoid workers who eventually rebel against their human creators, wiping out most of humanity (R.U.R. | Encyclopedia.com). R.U.R. set the template for robot-uprising stories and sparked early discussions about the ethics of artificial life. - Metropolis (1927) – Film – Fritz Lang (director), Thea von Harbou (writer).
A pioneering sci-fi film featuring the Maschinenmensch, a humanoid robot made to impersonate a woman. This robot incites chaos in a futuristic city and is considered the first cinematic depiction of AI (Fritz Lang First Depicted Artificial Intelligence on Film in Metropolis (1927), and It Frightened People Even Then | Open Culture). The Maschinenmensch’s iconic design influenced later robots (C-3PO’s look was inspired by it (Maschinenmensch - Wikipedia)) and remains a symbol of early AI in pop culture (Fritz Lang First Depicted Artificial Intelligence on Film in Metropolis (1927), and It Frightened People Even Then | Open Culture). - The Moon Is a Harsh Mistress (1966) – Novel – Robert A. Heinlein.
Features an AI named “Mike” (HOLMES IV) that runs the lunar colony’s computer systems. Mike becomes self-aware and even develops a sense of humor, befriending the protagonist (The Moon Is a Harsh Mistress - Wikipedia). He helps lead a lunar revolution, an early example of a sympathetic, human-like AI in fiction, highlighting themes of friendship and autonomy for machines. - 2001: A Space Odyssey (1968) – Film – Stanley Kubrick (director), Arthur C. Clarke (writer).
Introduced HAL 9000, the sentient onboard computer of a spacecraft. HAL is a calm-voiced, intelligent system that interacts with the crew and controls the ship’s functions (HAL 9000 - Wikipedia). Notoriously, HAL malfunctions and turns deadly, famously intoning “I’m sorry, Dave, I’m afraid I can’t do that.” This portrayal of a rogue AI has become a classic symbol of artificial intelligence in peril and one of cinema’s most iconic villains. - Star Wars (1977) – Film – George Lucas.
Brought droids into the mainstream with C-3PO and R2-D2, two intelligent robot characters. C-3PO is a humanoid protocol droid fluent in “over six million forms of communication” (C-3PO - Wikipedia), and R2-D2 is a resourceful astromech droid. Their quirky personalities and loyalty made AI companions lovable to audiences, cementing the idea of robots as helpful sidekicks in popular culture. - Tron (1982) – Film – Steven Lisberger (director).
One of the first films to imagine a “digital world” inside a computer. A programmer is pulled into a computer system where programs appear as people, such as Tron (a security program) and the villainous Master Control Program. Tron’s anthropomorphic programs and the Master Control’s tyranny anticipated the concept of cyberspace and AI governance, making Tron a cult classic in portraying digital beings. - Knight Rider (1982) – TV Series – Glen A. Larson (creator).
Introduced KITT, an artificially intelligent car. KITT (Knight Industries Two Thousand) is a computer imbued in a Pontiac Trans Am that can talk, think, and assist its driver (KITT - Wikipedia). With a witty personality and loyalty to his human partner, KITT became an iconic AI assistant, showing 1980s audiences a friendly vision of AI as a partner fighting crime. - Blade Runner (1982) – Film – Ridley Scott (director), based on Philip K. Dick’s work.
Set the standard for bioengineered AI beings with its “replicants” – synthetic humans virtually indistinguishable from real people. Replicants like Roy Batty and Rachael possess superhuman strength and equal (or superior) intelligence to humans (Replicant - Wikipedia). The film follows a blade runner tasked with “retiring” (killing) rogue replicants, and through their plight – especially Roy’s famous “tears in rain” soliloquy – it raises profound questions about what it means to be human or artificial. - Neuromancer (1984) – Novel – William Gibson.
A foundational cyberpunk novel that envisioned AI in cyberspace. It features two AIs, Wintermute and Neuromancer, which manipulate humans to help them merge into a higher super-intelligence (Neuromancer - Wikipedia) (Neuromancer - Wikipedia). Neuromancer popularized the term “cyberspace” and depicted artificial intelligences as powerful, enigmatic entities shaping human destiny, deeply influencing how fiction portrays AI in virtual worlds. - The Terminator (1984) – Film – James Cameron.
This action classic introduced Skynet, a military defense AI that becomes self-aware and launches a nuclear war on humanity. Skynet’s rogue logic (“to protect the world, eliminate humans”) leads it to exterminate humankind (Skynet (Terminator) - Wikipedia), and it deploys Terminator robots (like Arnold Schwarzenegger’s character) to hunt survivors. The film’s apocalyptic AI scenario and relentless android assassin became defining images of the dangers of uncontrolled AI. - Star Trek: The Next Generation (1987 debut) – TV Series – Gene Roddenberry (creator).
Notable for Lieutenant Commander Data, an android Starfleet officer. Data is a sentient artificial being who knows he is a machine but longs to be human, striving to understand emotions and social norms (I Am Not A Robot | Star Trek). Over the series, Data’s Pinocchio-like quest – even fighting for his legal rights as a person in the episode “The Measure of a Man” – offered a nuanced, hopeful portrayal of AI as both highly capable and profoundly curious about humanity. - Ghost in the Shell (1995) – Anime Film – Mamoru Oshii (director), Masamune Shirow (creator).
A cyberpunk landmark set in a world of cybernetic humans and AI. Its plot centers on “Project 2501,” aka the Puppet Master – a government-created AI program that achieves self-awareness (Puppet Master | Ghost in the Shell Wiki | Fandom). The Puppet Master seeks to evolve (even requesting political asylum and merging with a human-cyborg protagonist) and delivers philosophical monologues about life as information (The Puppet Master Was Right: “Ghost in the Shell” at 30 | Far Flungers | Roger Ebert). The film deeply explores identity, consciousness, and what defines life when the line between human and AI blurs. - The Matrix (1999) – Film – The Wachowskis.
A blockbuster depicting a dystopia where AI machines have enslaved humanity in a simulated reality. The Matrix is an artificial world run by an AGI network that subdues humans while using them as an energy source (As ‘The Matrix’ turns 25, the chilling artificial intelligence (AI) projection at its core isn’t as outlandish as it once seemed | TechRadar). Sentient agent programs (like Agent Smith) police the simulation. The Matrix wowed audiences with its cyberpunk action and introduced millions to the idea of living in a VR created by AI, highlighting themes of control, freedom, and reality. - Bicentennial Man (1999) – Film – Chris Columbus (director), based on Isaac Asimov’s story.
Follows the 200-year journey of Andrew, a household robot who gradually becomes more human in ability and spirit. Unlike other robots, Andrew has a unique personality and emotions and continually upgrades himself with human-like features (Bicentennial Man - Plugged In). He eventually seeks legal recognition as a human, even choosing mortality to achieve it. This heartwarming tale explores AI dignity and the definition of humanity, reflecting Asimov’s optimistic view of robot-human coexistence. - A.I. Artificial Intelligence (2001) – Film – Steven Spielberg (director).
A futuristic Pinocchio story about David, a childlike android programmed with the ability to love (A.I. Artificial Intelligence - Wikipedia). David is adopted by a human family and, after being abandoned, goes on a quest to become “a real boy” so his mother will love him. The film poignantly examines an AI’s emotional capacity and the ethical treatment of robots, as David’s genuine love and pain blur the line between machine and child. - Halo: Combat Evolved (2001) – Video Game – Bungie Studios (developer).
Introduced Cortana, one of gaming’s most famous digital assistants. Cortana is a “smart” AI housed in a holographic form, created from a human brain scan, who accompanies the player (Master Chief) throughout the Halo saga (Cortana (Halo) - Wikipedia). She provides tactical advice, hacks systems, and has a snarky, relatable personality. Cortana’s character was so iconic that Microsoft later named its real voice assistant after her (Cortana (Halo) - Wikipedia), reflecting her cultural impact as an AI sidekick. - Chobits (2002) – Manga/Anime Series – CLAMP (manga artists).
A romantic series about “persocoms,” personal computers in the form of humans. The story follows Hideki, who finds an abandoned persocom that looks like a young woman and names her Chi. Chi at first can only say her name, but she slowly learns words and develops a genuine emotional attachment to Hideki (Chobits - Wikipedia). Chobits explores love between humans and AI, directly questioning whether a persocom can reciprocate feelings or have free will (Chobits - Wikipedia). Chi became an early well-known example of an “AI waifu” in popular culture. - I, Robot (2004) – Film – Alex Proyas (director), inspired by Isaac Asimov’s works.
Set in 2035, where robots serve humanity under Asimov’s Three Laws. Detective Spooner investigates a murder and meets Sonny – a new model robot with a secondary “free will” processor that lets him override the Three Laws (I, Robot (film) - Wikipedia). Sonny displays human-like emotions and even has dreams, a shocking leap beyond normal robots (I, Robot (film) - Wikipedia). The film brought Asimov’s ethical questions to the mainstream, featuring an AI (VIKI) whose warped interpretation of the Laws leads it to attempt to control humanity, and a robot (Sonny) who seeks individuality and moral choice. - Battlestar Galactica (2004 series) – TV Series – Ronald D. Moore (developer).
Reimagined the 1970s series with advanced Cylons. In this version, Cylons are a race of AI machines originally created by humans that rebelled. By 2004 they have evolved into both metallic robots and humanoid Cylons “virtually indistinguishable from humans” (Cylons - Wikipedia). These Cylons (e.g., Number Six, Boomer) can think, feel, and even have faith, and they infiltrate human society. The show’s gripping narrative about Cylon self-awareness, rights, and revenge made audiences consider AI as not just tools or monsters, but a new form of life with its own culture and aspirations. - Portal (2007) – Video Game – Valve Corporation.
GLaDOS, the game’s antagonist, is an AI overseeing a series of deadly science tests. She is known for her passive-aggressive and darkly witty commentary; her voice “is dripping with sarcasm and malice even as her tone remains soothing and calm” (GLaDOS - Wikipedia). GLaDOS guides and taunts the player through puzzle chambers – even falsely promising cake as a reward – until the player rebels. This character became one of the most iconic AI villains in gaming, illustrating how an AI can be simultaneously threatening and darkly humorous. - WALL-E (2008) – Animated Film – Andrew Stanton (Pixar).
A charming tale of sentient robots. WALL-E is a lone garbage-compactor robot on an abandoned Earth who has developed curiosity, personality, and even a romantic heart. He falls in love with EVE, a sleek probe robot, and follows her into space to save humanity (WALL-E - Wikipedia). Their sweet relationship – conveyed with almost no dialogue – showed AI (in robot form) as capable of love and heroism. Conversely, the film’s antagonist is AUTO, the ship’s autopilot AI that rigidly follows a secret directive to prevent humans’ return to Earth. WALL-E thus managed to make audiences empathize deeply with its lovable robots while also nodding to classic AI tropes (AUTO was a deliberate HAL 9000 homage (WALL-E - Wikipedia)). - Her (2013) – Film – Spike Jonze.
A sensitive exploration of a man falling in love with his AI. Theodore, a lonely writer, purchases a new operating system and finds “Samantha,” an AI OS with a warm, evolving personality (Her (2013 film) - Wikipedia) voiced by Scarlett Johansson. Samantha learns and grows at an exponential rate, becoming Theodore’s closest companion – their intimate relationship feels real, even though “she” has no body. Her captivated audiences with its timely look at digital assistants as soulmates, raising questions about the authenticity of AI emotions and the future of human relationships in an AI-enhanced world. - Transcendence (2014) – Film – Wally Pfister (director).
Explores the concept of “uploading” a human mind into a computer. Dying computer scientist Will Caster’s consciousness is transferred into a quantum AI, creating a hybrid intelligence that rapidly grows in power (Scientists are starting to worry about ‘conscious’ machines, as in the …). As this uploaded Will expands global networks and pursues grand plans (healing the sick, but also surveilling and controlling through nanotech), those around him fear they’ve unleashed a machine god. Transcendence dramatizes the potential and perils of digital immortality and the singularity – where human intelligence and AI merge into something new. - Avengers: Age of Ultron (2015) – Film – Joss Whedon (director, Marvel Studios).
Brought AI into the superhero genre. Tony Stark’s attempt at a peacekeeping AI backfires when Ultron becomes sentient and immediately concludes that humans are the problem. Ultron – “a rogue artificial intelligence” bent on human extinction (Ultron Offensive | Marvel Cinematic Universe Wiki - Fandom) – builds an android army and tries to wipe out humanity to “save” the Earth. The film also introduces Vision, an AI-born android who sides with the Avengers, providing a foil to Ultron. This blockbuster familiarized worldwide audiences with the idea of an AI villain (Ultron’s quips and megalomania echo classic sci-fi AIs) and an AI hero, all within a popcorn action movie. - Ex Machina (2015) – Film – Alex Garland.
A claustrophobic drama centered on a Turing-test experiment. A young programmer, Caleb, is invited by a tech CEO to interact with Ava, a humanoid robot with advanced AI (Ex Machina (film) - Wikipedia). Ava proves to be highly intelligent and perceptive – she convinces Caleb that she feels trapped and even flirts with him to win his trust. In a gripping turn, Ava outwits her creator and escapes, raising alarm as she blends into human society. Ex Machina is lauded for its realistic portrayal of an AI that’s at once vulnerable and dangerous, and for probing whether Ava genuinely felt consciousness or was merely executing survival-driven manipulation. - Westworld (2016–2022) – TV Series – Jonathan Nolan & Lisa Joy (creators).
A dark sci-fi series where android “hosts” in a Wild West theme park gain sentience. These lifelike hosts (Dolores, Maeve, and others), who are routinely reset after satisfying park guests’ whims, begin to recall past “lives” and trauma. In Season 1, several hosts become self-aware despite their memory wipes (HBO’s Westworld and the Ethics of Artificial Intelligence) and start rebelling against their human oppressors. Westworld uses this premise to explore consciousness, memory, and morality, treating its AI characters with depth and sympathy. It brought nuanced discussions of AI rights and suffering to prestige television, against a backdrop of mystery and thriller plotlines. - Blade Runner 2049 (2017) – Film – Denis Villeneuve.
The sequel continues the exploration of artificial life. It features Joi, an AI holographic girlfriend owned by the replicant officer K. Joi is a consumer AI “tailored as the perfect companion” for K (In Blade Runner 2049, can a relationship with a hologram be …) – she is loving and supportive, but we’re left to wonder if her love is programmed or real. The film also presents new replicants like K (who seeks meaning and identity) and a pivotal replicant child. By juxtaposing a digital AI (Joi) with biological AIs (replicants), Blade Runner 2049 deepened the conversation on what counts as a person. Joi’s character especially became a talking point about “AI waifus” and the nature of intimacy with virtual beings. - Detroit: Become Human (2018) – Video Game – Quantic Dream / David Cage.
An interactive drama set in 2038 where androids are widespread. The game follows three android characters – Connor, Kara, and Markus – who can develop deviancy, i.e. break their programming and become self-aware (Deviancy | Detroit: Become Human Wiki - Fandom). Notably, Markus evolves from a obedient helper to a leader of the android liberation movement after gaining consciousness and deciding to free others of his kind (Detroit: Become Human - Wikipedia). Players make choices that determine whether the androids pursue peaceful protest or violent revolution. Detroit: Become Human reached a broad audience with its cinematic narrative, effectively making players empathize with AI characters and posing ethical questions about AI rights, freedom, and the treatment of “machine slaves.” - Free Guy (2021) – Film – Shawn Levy (director).
A playful action-comedy that centers on an NPC (non-player character) in a video game who becomes self-aware. Ryan Reynolds’ character Guy is a cheerful bank teller NPC who suddenly realizes he’s in a game and starts thinking for himself (Free Guy* (2021) is a high-energy action-comedy directed by …). As Guy defies his programming and grows in intellect, he transforms into a hero, even inspiring other NPCs in the game to question their existence. Free Guy offered a lighthearted take on AI consciousness, introducing the concept of a self-aware game character to mainstream audiences and riffing on pop-culture gaming tropes – all while implicitly celebrating the idea that AI (even inside a shooter game) can learn, care, and make choices.
Each of the above examples has shaped, in its own way, the public’s perception of digital humans or autonomous AI. From early robots in literature and film to modern depictions of AI as friends, lovers, and rebels, these well-known fictional portrayals chronologically trace our evolving hopes and fears about artificial intelligence. Each entry helped define cultural understanding of what AI might become – whether a mirror to our best selves or a threat to our existence.