The play was originally-based Brian Aldiss's short story "Supertoys Last All Summer Long," on which a.I. is based, in 1983 (Corliss 1-3). In the Kubrick formulation, the world is a lot darker and Gigolo Joe is much more aggressive. According to Corliss in the "Joe was much more aggressive, more twisted." Here he is, in Spielberg's word, David's "scoutmaster." Spielberg did this to solve many of the problems Spielberg had with the text, Joe being one of the biggest problems. By softening things and making them more human and less dark, he provided solution to the problem (Ibid 1). The Flesh Fair and Rouge City are vintage Kubric and remained a part of the body of the work. Garish scenery completes this menagerie Spielberg identifies himself with the abandoned child (ibid 2).

It is the contention of this author that the creations are not content to be the alteregos of their creators. The creators of the androids enslave their creations to control and bury their own fears and emotions. Such fictional tales are the cathartic release of a society that is suspicious...

In essence, we rebel through the use of the very machines that are the vehicles of humanization. Vengeance against such authority is carried out by the very means employed to enslave that humanity.
In both RUR by Karl Capek and, the film AI by Steven Spielberg, the strange dichotomy between creator and created is explored in both works. For both works, technology turns out to be a path not to paradise but to hell not just for humans, but also for machines who turn out to be less than content to be the alteregos of their masters and strike out, rebel or are discontent with humanity's treatment of them. While technology and the sophistication of special effects may have caught up with Karl Capek's original 1921 debut masterpiece, the central question of thinking machines, cyborgs and artificial life forms has been a part of the human consciousness.

Works Cited

Corliss, Richard. Time 17 June 2001: 1-3. Web. 3 Nov 2010.