Arok the robot first hit the national news in June 1975 when it married Linda Hoffman, the president of the Allan Kemp Fan Club, at the annual convention of fan club presidents in Chicago.
I’ve long ago concluded that the modern world is one long real-time game of MadLibs. Even so, if that sentence doesn’t make you sit bolt upright in front of your screen then my whole career as a chronicler of robot history is a failure.
In the 1980s, science fiction, the red-headed stepchild of literature, the field that had been declared dead in 1960, the genre that Kurt Vonnegut decried because serious critics kept mistaking it for a urinal, became the hot new thing.
As we now know, a rising tide may lift all boats, but the few superyachts get raised to previously unimaginable heights. The corporate buyout of old-line publishing houses created the blockbuster mentality, wherein the few Big Names could be paid supermoney in the assurance that their being proclaimed bestsellers made them so and therefore return huger profits. Robert A. Heinlein got paid $500,000 for The Number of the Beast. Isaac Asimov made a million for his new Foundation books. And Arthur C. Clarke needed all his formidable scuba skills to avoid being drowned under the tsunami of money that arrived just by allowing others to borrow the magic of his name.
Don Wiggins was one of the charmed young men who became college legends back in the days when just being a college student came with a halo of prestige. A native of nearby Jacksonville, he entered the University of Florida in the late 1940s and in 1951 was named to UF’s Hall of Fame. He graduated in 1952 with an Electrical Engineering degree and was immediately hired as an Assistant in Research before rapidly rising to the professorial ranks. His nerdiness was not in question, but he probably never got teased by the jocks at the football-crazed school. At least not twice. He was also faculty instructor to the Judo Club.
All of that paled to his true claim to fame. He was “father” to Otto Mattix, the school’s robot mascot, here with minor personages like the college’s dean and president.
![1937-10-17 San Francisco Examiner [American Weekly 3] A Whole World of Metal Men, The Last Robot](https://www.blackgate.com/wp-content/uploads/2019/06/1937-10-17-San-Francisco-Examiner-American-Weekly-3-A-Whole-World-of-Metal-Men-The-Last-Robot.jpg)
“Creaking painfully, its joints rusty, the last robot to survive the civilization which man is making to replace the dwindling crop of babies, would crawl along to a heap of scrap-iron, the cemetery for defunct robots.
“Rain, ceaseless torrents of rain, would bring the germs of the only disease which could possibly affect a mechanical man: Rust.”
Back in 1870, the Buffalo Commercial Advertiser newspaper bannered on its front page the arrival in New York of a troupe of French champion strongmen, including Monsieur D’Atelie: the “Man of Steel.” The article described him as:
33 years of age, and rather slightly built. He has a prepossessing, benevolant expression of countenance. His specialty is lifting objects with his teeth, including a live horse by means of a band round its body. D’Atalie weighs 150 pounds.
D’Atalie is the first person I’ve found to bear the sobriquet “man of steel,” although its metaphorical uses go much farther back. He certainly wouldn’t be the last. A certain Russian communist adopted the name Stalin in 1912, which can be translated as “man of steel,” and who was fairly well known by the 1930s.
Another “man of steel” made his first appearance in 1938, on the cover of Action Comics #1. Assiduous readers of Action Comics #6, later in 1938, could have caught a newspaper headline from the Daily Star (the Daily Planet wouldn’t get mentioned until 1940) describing this mystery figure as a “man of steel”. Superman and “Man of Steel” have been inextricably interlinked for 81 years.
In the 1920s, the Westinghouse Electric and Manufacturing Company became the world’s leading builder of robots, purely by accident. Nobody at Westinghouse ever intended to build a robot, nobody thought that doing so would be anything other than a waste of their time. Then one of their employees, Roy Wensley, came up with a nifty gadget. He figured out that by sending sound tones down a telephone wire, they could activate machinery at the other end, having it either turn on or off or send back another set of tones conveying information about the system.
The control equipment fit into two boxes, one smaller than the other. Stacked, they looked a bit like a human head and torso. Prodded by the public relations staff, Wensley dressed the box front with a cardboard figurine, including a cartoon face, and movable arms and legs. Presto! Televox the Westinghouse Robot splashed all over the media in 1927, the first robot to become a household name since Percy, star of the comic strip of the same name, rocketed to fame in 1911.
I try to stay away from expounding on the popular cultural artifacts from other countries. Going back in time and explaining why American pop culture looks the way it does often ranges from difficult to impossible. Even the English, a culture separated from ours by a common language, has a past that is a semiotic mystery most of the time.
Take comic books. Americans invented them (depending on what you consider Italy’s Il Giornalino to be) and the English followed closely behind. The Dandy started in December 1937 and The Beano on July 30, 1938, meaning it will reach its 4000th issue this summer. (It’s been issued weekly except during WWII.) Both were part of the gigantic D. C. Thomson & Co. empire. By then Thompson already had a lock on the boys’ story paper market, those being the British equivalent of the boy’s story weeklies that proliferated in the U.S. during the late 19th century. (Those are now famed for introducing early robots like the Steam Man and the Electric Man, along with many other science-fictional inventions.) The story weeklies usually carried a complete short novel or a serialization of a longer one. The story papers also carried serializations, but those were short segments that appeared alongside complete short stories.
Thompson started Adventure in 1921 and added The Rover, The Wizard, The Skipper, and, in 1933, The Hotspur. (The internet tells me that the name comes from the noble warrior Sir Henry Percy, known as Sir Harry Hotspur, who is immortalized by an appearance in Shakespeare’s Henry IV. Exactly the sort of everybody-gets-it reference that trips me up when encountering other cultures.) These “Big Five” dominated the market and lasted for generations, eventually mostly being merged into one another as the market for story papers faded at the end of the 20th century.
Marshall McLuhan may have proclaimed the the medium is the message but robots transcended any one medium by the 1970s. Audiences found robots everywhere: in movies, on television, in comic books and strips, in cartoons, in toys, in print science fiction and increasingly in mainstream thrillers.
Martin Caidin created a sensation with his 1972 bestseller, Cyborg. Stalwart astronaut/test pilot Steve Austin emerges from a plane wreck with half his body damaged. Incredibly expensive – six million dollars worth! – mechanical parts with capabilities beyond those of flesh are grafted to replace his missing arm, eye, and legs, making him a bionic superman. (The term bionic was, in the poetic words of Philippe Goujon, “invented by Major Jack E. Steele of the aerospace medical division of the U. S. Air Force on an August evening in 1958” as a portmanteau of biology and electronics.) Less than a year after the book’s release, a made-for-television movie hit the airwaves. Two more movies begat The Six Million Dollar Man tv series which begat The Bionic Woman. Such are empires launched.
Robots almost always had been comic sidekicks or deadly menaces in popular media, rarely lead characters. The Six Million Dollar Man was the first to successfully plug that enormous hole on television, dodging the identification problem by making a human mechanical. (My Living Doll from 1964 starred an actual robot but got canceled partway though its first season.) With a formula for success in hand, other television creators took a crack at the magical potential audience draw of bionics. Such a cracked mind belonged to Norman Maurer, who lead audiences down a psychedelic rabbit hole toward the most mind-blowing mash-up of genres in popular culture’s dubious history.
Long before Karel Čapek introduced the word “robot” to the general vocabulary in his 1920 play R.U.R., people had a pretty good idea of what an “automaton” or a “mechanical man” did. They learned it from popular media. Short stories, newspaper articles, vaudeville acts, comic strips, and more toyed with the idea of humanoid mechanical servants.
Or non-humanoid one. It took a very long time for the concept of “robot” to coalesce around the human form. Not until after World War II did a robot automatically conjure an image of a mechanical human, and that was largely because a word was needed to separate robots from the computer brains that increasingly took the robot’s place in media.
Before WWII, in fact, robot was frequently applied to any automatic machine which functioned with constant human supervision. Before R.U.R. mechanical man or automaton did much the same.
When a completely automated hotel was proposed, in Paris in 1913, the natural way to explain its operation was to use on these terms.
[T]o get the highest efficiency at the lowest cost … can be effected … by the “mechanical man” in the hotel – the “man” who is prompt in action, above all, and is absolutely dependable, deft, noiseless and invisible.
The history of comic strips sometimes seems like a roll call of male names. The Katzenjammer Kids, Little Nemo, Tarzan, Moon Mullins, Li’l Abner, Barnaby, Terry and the Pirates, Flash Gordon, Buck Rogers, Joe Palooka, Barney Google, Mutt and Jeff, Dick Tracy, Harold Teen, and the name of names, Rube Goldberg’s Boob McNutt. Even Blondie heads a strip that’s 99.9% about Dagwood.
Probably the most famous female comic strip heroine is Little Orphan Annie. Digging into archives brings up a roster of mostly forgotten others: Ella Cinders, Etta Kett, Winnie Winkler, Invisible Scarlet O’Neil, Little Annie Rooney, Dixie Dugan, Betty, Nancy, and Dimples, a roster that will bring few images to mind.
Only a handful of comic strips ever ran a major series starring robots, and those were mostly in the male-oriented science fiction strips. Two rare exceptions occurred in Invisible Scarlet O’Neil and Ella Cinders, but both robots were drawn and referred to as males. (How do you sex a robot? The top set of swimmerets on a female’s tail are soft, translucent, and crossed at the tips. A male’s swimmerets are bony, opaque, and point up toward his body. Sorry. That’s how you sex a lobster. You sex robots by the length of their hair and the size of their breasts, just like humans. Check below if you don’t believe me.) Finding a strip with a female star going up against a female robot is the rarity of rarities.
Today’s unique find is Rosie the Robot in Tillie the Toiler. (Not the far more famous Jetson’s Rosie. Rosie is to girl robots what Robbie is to boy robots: hideously overused.)