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This is Luci. She is a solar light that I invented. Humanity thrives on light. Yet, so many people live in darkness. Ultron isn't a robotic slave driven into a rage by his servitude, like Rossum's robots, or an avenging angel like Gort, who seeks to deter humans from their own evil nature.
Nope, Ultron is just a thoroughly unredeemable mess of metal, who just hates people because, well, that's what it does. He gets that from his human creator, the scientific whiz Dr.
Henry Pym, who initially gave Ultron a pathetically weird body -- basically, a torso on tank treads with spindly arms -- and endowed it with a copy of his own twisted brain patterns as operating software.
As a result, Ultron quickly developed an intense hatred for both Pym and the human species in general, and after overpowering his creator and taking over his lab, the machine rebuilt himself into a broad-chested behemoth.
Pretty soon, he's tangling with the Avengers, and creating a series of new and even more powerful bodies for himself.
In the process, Ultron expands his mission, aiming not just to wipe out humanity, but all organic life as well. But even exterminating robots get lonely.
At one point, Ultron tried to create a mate for himself called Alkhema aka "War Toy". But first romances usually end badly, and this one was no exception; after quarreling with Ultron about how quickly all life on Earth should be wiped out, Alkhema not only stomped off in a hissy fit, but actually helped the Avengers foil one of her ex's fiendish plots.
That'll serve him right [source: Marvel ]. These nasty machines appeared in a cycle of classic episodes of BBC's sci-fi drama "Dr.
Who" in the late s, entitled "The Robots of Death. The "miner" is run by a small human crew, with the assistance of a robot workforce equipped with strange, Greek statue-like metallic faces and red eyes.
Who portrayed by Tom Baker discovers that the crew is a bit freaked out, because they're being picked off, one by one, by an unseen killer.
The latter turns out to be the evil human scientist Taren Capel, who as a child who was raised by robots, in a curious reworking of the "Tarzan of the Apes" narrative.
Even though he has a meat body -- undoubtedly, to his chagrin -- Capel is a robot supremacist, and he busily reprograms all of the mining ship's robots, the Vocs, to kill the remaining members of the human crew.
Unfortunately for Capel, Dr. Who tricks him into inhaling helium, which alters his voice, which causes the killer robots not to recognize him as their co-conspirator, so that they kill him.
In the end, Dr. Who himself narrowly avoids being choked out by a Voc who apparently has been practicing a robotic jujitsu, and escapes to continue his adventures [source: BBC ].
With his steely eyes, broad shoulders and then-exotic bald pate that gleamed menacingly from under the brim of a black Stetson, actor Yul Brynner was a scary-looking hombre, one who looked as if he'd put a bullet through your heart as soon as look at you.
And he used that ambiance to good effect, playing gunslingers in movies such as director John Sturges epic "The Magnificent Seven. So it was doubly chilling when Brynner portrayed a robotic version of his customary black-clad six gun-toting killer in "Westworld," a sci-fi thriller written and directed by Michael Crichton.
But for a pair of Chicago businessmen portrayed by Richard Benjamin and James Brolin, who indulge their fantasies at Westworld, the problem is that the androids develop a glitch in their software -- "central mechanism psychosis" -- and start killing people instead of entertaining them.
The first sign that something is amiss: Brolin's character has a mock showdown with Brynner's character, the fake cowtown's sheriff, who shoots and kills him for real.
Brynner than stalks the terrified Benjamin, who's forced to contend with the same sort of "it's fun until technology runs amok" meme that Crichton utilized repeatedly in his career, most notably in his best-selling novel " Jurassic Park.
Probably the biggest -- and strangest -- killer robot in science fiction appears in "The City," a short story from Ray Bradbury's anthology "The Illustrated Man.
When the crew's leader tells his men to draw their guns as they probe the seemingly empty metropolis, one responds: "The city's dead, why worry?
The city itself is a giant synthetic organism, which is quietly observing their movements, weighing and measuring them, and even noting their human aroma.
When the crew isn't looking, the city springs a trapdoor and abducts the captain, who is promptly vivisected to verify that he is an Earthling.
As it turns out, the city is a trap, left behind by Taollan's original inhabitants. Twenty thousand years before, a previous team of human explorers enslaved and eventually killed off the extraterrestrial species with infectious disease.
Before they died out, the Taollanians built the robot city so that it would keep running, until humans someday wandered back to the planet.
The robot city captures the rest of the astronauts, kills them, and replaces their insides with robotic parts and wiring.
Then the city sends the astronauts back to Earth in their spaceship -- which is infected with a virus that will wipe out humanity.
The story ends with these chilling words: "Slowly, pleasurably, the city enjoyed the luxury of dying" [source: Bradbury ]. If you've had enough scary robots by now, it's time for one who makes malevolence funny.
Bender, a member of the cast of the animated TV comedy series "Futurama," is more of a menace to propriety than a genuine threat to humankind.
A sort of twisted doppelganger of the loyal, anxiously obsequious mechanical servant C-3P0 from the "Star Wars" film series, Bender -- originally built in a Mexican factory as a metal-bending device -- is a lazy slacker who consumes copious amounts of alcohol as fuel and contemptuously derides his human masters as "meatbags" [sources: Muljadi , Futurama ].
He shoplifts. He thrives on the things that harm humans. He actually gets energy from smoking cigars and drinking beer.
Bender also gets us around censor problems -- he can't be a bad role model for kids, because he is just a robot" [source: Kelly ].
Bender does occasionally spout the stock robotic rhetoric about human annihilation, but it's really more wishful thinking than actual intent, since he's too apathetic and cynical to develop the sort of idealistic outrage that drove his literary ancestors in "Rossum's Universal Robots R.