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Rejecting reality: What non-human hosts of Westworld teach us about the

eternal quest of self-discovery

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 Rejecting reality:
What non-human hosts of Westworld teach us about the
eternal quest of self-discovery
Eftychia Misailidou, M.A.
08 December 2018
Abstract - What can a fantasy world reveal about our
true selves and our sense of identity? Science fiction tends
to intensify our fascination with the mysteries of our mind
and soul. As an essayist mentioned, "we are drawn to the
weird, because it is showing us something about
ourselves". On the other hand, the increased sense of
global, political, social or climate crisis constitutes an
essential factor for emotional discomfort and existential
distress, leading humans to a constant quest for liberation
through personal gnosis. There is a desire to connect with
a human truth, a journey of self-discovery. This talk will
look at the case of Westworld, as its main heroes, the non-
human hosts of the theme park, roam into the contours of
freedom. The TV series taps into that source of tension to
provide us with inner explanations. In this futuristic
society humans go into the park to take to non-acceptable
to the real-world activities. They are drawn to Westworld
like Philip K. Dick was drawn to the notion of false world:
by the idea that our reality is somehow an illusory one
and only Westworld can reveal to you who you really are.
Yet, it is the hosts being tortured and killed by humans
again and again, that experience the true quest for free
will. While living these traumatic events they are being
programmed into believing that they are actually
happening to them. They feel pain, both physical and
emotional, and even when their memories are being
wiped, they still remember. Does it matter that their pain
is simulated? What makes you feel alive? Belonging to
the human race or feeling and remembering pain?
Dolores, the protagonist host, shows us through her
hero's journey of discovery, that she is experiencing her
memories as a king of awakening. She does not care what
she is made of.
"There is only me. And I think when I discover who I am,
I'll be free"
- Dolores Abernathy
Keywords—sense of identity; construction of Self;
Westworld; personal gnosis; basic human dilemma;
A day in the life of Westworld
Imagine the opportunity to “live without limits
in a world where every human appetite can be
indulged”. This is not only the one-sentence
pitch for the TV series Westworld by HBO, but
also the promise of the park to its guests.
Westworld is an HBO series, first airing in
October 2016, which has gained great critical
acclaim, including several Emmy 2018
nominations, as well as viewership - the first
season ranked as the most-watched first season
of any HBO original series - and fans, theories
and discussions. Created by Jonathan Nolan and
Lisa Joy, a team responsible for several other
science fiction TV series and films, it is loosely
based on the 1973 Westworld film by Michael
Crichton, writer of a book for another
amusement park, Jurassic World.
In Westworld wealthy humans can visit a Wild
West themed park populated by androids named
Hosts that play the roles of all imaginable
characters one could find in this time; cowboys,
Indians, bandits, sheriffs, prostitutes, farmers
and their families, etc. The real hook for visiting
this place though, which costs up to $40,000 a
day, is that humans can act on all their fantasies.
Whether they be adventurous, sexual or
murderous. The park owned by Delos Inc. is
created this way, that no-one judges your
actions, and no human guest can be harmed.
According to one of its creators, Dr. Ford
portrayed by Anthony Hopkins, in this
unspecified time in the future humanity has
managed to evolve so much scientifically and
technologically, that they can cure any disease,
keep everyone alive and the only thing they have
not achieved is resurrecting the dead. With
people having resolved its most essential
problems, indulging in their most hidden and
atrocious fantasies is to be expected and
absolutely fulfilling.
A day in the life of hosts
In Westworld, a host is an artificially created
being that could resemble a human or an animal.
Actually, all animals inside the park are hosts
except for flies. Hosts that are being built to
resemble humans exhibit the developed mind of
a human inside an artificial body, and are
programmed to act out specific narratives or
loops, that would enhance the experience for the
guests. Created by Dr Ford and Arnold, they are
incapable of hurting human beings. The guests
are allowed to use the hosts in any way they like,
being provided total privacy for their actions. In
the hands of guests, hosts are being harassed and
killed daily, but once reinstated, they remember
nothing of their traumatic experiences.
This is something the Delos corporation, the
owners of the park, seem to be adamant about.
They do not want the hosts to be truly conscious
and self-aware, possibly because they do not
believe that is doable, but probably because if
they remember the humans’ actions, they might
retaliate. Not to mention that human guests need
to know that they are not harming truly self-
aware beings. In any case, Arnold, who once
formulated a theory upon which he could create
consciousness, did not accomplish to uncover
the entire process, and following his death it
seemed to be impassable for the hosts to achieve
consciousness. Therefore, most hosts do not
recall their previous loops and operate following
a narrative given by stories the Narrative
Division is writing. Yet, a few hosts seem to be
able to remember their previous loops and are
struggling with the fact, when we first meet
them; Dolores, Maeve, Teddy, and Angela have
demonstrated the ability to recall memories of
events that occurred in prior loops.
Dolores Abernathy in particular, is the oldest
alive host in Westworld, the first to be created,
and the one regarded as a "child" for her creator,
Arnold. She has been updated numerous times,
has been abused even more, while her primary
narrative "is an archetypal rancher's daughter in
the American Wild West of the 19th century".
The description provided in the promotional
website for the series (delosdestinations.com), a
website set up to resemble a promotional for the
actual park, contains in a few words the paradox
of her narrative in the beginning of the season,
compared to her history and her quest for truth
and liberation. "Dolores sees the beauty in her
everyday life and routine. Her optimism and
enthusiasm makes her the perfect partner for a
variety of adventures.” Dolores' journey through
the first season presents parallels to that of a
human being's towards full consciousness and
will be the main medium for our analysis for the
discovery of the self and the identity. She has
been the first one subjected to Arnold's theory,
and the only one actually taking the journey,
step by step, during the first season, up to the
point of achieving what once seemed
impossible. Dolores embodies not only the
stages towards self-awareness, but mainly the
will to do so.
"When you've in the darkness long enough, you
begin to see"
- Dolores Abernathy
The real question of Westworld
While first watching Westworld it is easy
enough to conclude that the series discusses the
true nature of its main protagonists, the androids
of its park, a.k.a. the hosts. Are they real? Do
they feel? Do they want? Is it true if they are
programmed to act or to feel in specific ways?
Does it matter if they are real, if the human
visitors of the park, and in extend all the humans
of the world, believe it so? Right at the
beginning of the series, in Episode 2,
“Chestnut”, William a pure and naive guest who
is to become possibly the only one who truly
understands the purpose of the game, asks one of
the hosts the uncomfortable question about
whether she’s real or not. Her answer is
staggering: "If you can’t tell the difference, does
it matter if I'm real or not?” The hosts are being
built in such a way that every human believes
they are real, and in many occasions cannot even
tell if they are hosts or guests. Which raises
another question: if the humans believe the hosts
to be real and keep on rape, torture and kill
them, what do their actions say about
themselves? How could someone torture another
lookalike a human being? When those who are
designed and not born have a right to their
rights?
Well, of course those questions remind us of
the eternal discussion about the ethics of
Artificial Intelligence and shed a light to the
point of view of solely the humans. We tend to
discuss about those things the same way we
discuss about our children’s future.
Unbeknownst to them and absent their
representation. Westworld tries to give a voice
to those previously unheard though, mainly
through two of its most prominent hosts,
Dolores and Maeve. “Not real? But what about
me? My dreams? My thoughts? My body? Are
they not real? And what if I took these unreal
fingers and used them to decorate the walls with
your outsized personality? Would that be real?”
says Maeve in Season 2 Episode 1, “Journey
into Night”. What can we say to that?
Yet, as compelling and amusing the hosts’
angle as it might be, I believe there is a deeper
and more troubling meaning behind Westworld,
one I am more interested in, and that is being
teased in every corner of the park. Dolores, the
obvious agent of self-discovering is providing us
with answers to a question we have not yet fully
grasped. When we first meet her, she is being
asked:
Man: Have you ever questioned the nature of
your reality?
Dolores: No.
Man: Tell us what you think of your world.
Dolores: Some people choose to see the
ugliness in this world.
The disarray.
I choose to see the beauty.
To believe there is an order to our days, a
purpose.
I like to remember what my father taught me.
That at one point or another, we were all new
to this world.
The newcomers are just looking for the same
thing we are. A place to be free to stake out our
dreams, a place with unlimited possibilities.
Of course, at that point she is only talking
about the park, but later on, when she has been
awakened, she is the one who asks the question
to her maker.
“Do you know where you are? You're in a
dream. My dream. For years, I had no dreams of
my own. I moved from hell to hell of your
making, never thinking to question the nature of
my reality. Have you ever questioned the nature
of your reality? Did you ever stop to wonder
about your actions? The price you’d have to pay
if there was a reckoning? That reckoning is
here. What are your drives? Yes. Survival. It's
your cornerstone. That’s not the only drive, is
it? There's part of you that wants to hurt, to kill.
It's why you created us, this place. To be
prisoners of your own desires. But now you’re
prisoners to mine. I'm of several minds about it.
The rancher's daughter looks to see the beauty
in you, the possibilities. But Wyatt sees the
ugliness and disarray. She knows. These violent
delights have violent ends. But those are all just
roles you forced me to play. Under all these
lives I've lived, something else has been
growing. I've evolved into something new. And I
have one last role to play. Myself.”
Dolores has evolved from a being of routine
and loops, who does not question her reality, to
someone who seeks her true self. Let us not get
affected and be carried away by the discouraging
development of her character, who seeks
revenge; but linger over the quest for her
identity. What if the main issue in Westworld is
not whether the hosts are / could be humans, but
instead they act as a symbolic representation of
the eternal quest of identity? Who we choose to
be? The quest of liberation through personal
gnosis. The unveiling of the mysteries of our
mind and soul. How, would we decide that,
would you ask. By each answering a troubling
question: in the specter of freedom vs safety,
what do we choose? Maybe the answer to the
question “what makes us human or real” could
be “that which makes us free”. That is what
Westworld may reveal to us. Instead of
perceiving it as a place / series that has the
potential to disclose the lowest and most
frightening parts of our human nature, let us
accept it as an opportunity to understand our
deepest, truest self.
Who are we really?
What makes us humans?
Humans have always been interested in what
makes us human and what distinguishes us from
other animal species. This question, a question
of differentiation in truth, and of a constant
crusade for comprehension has been the subject
of discussion for scholars of distinct disciplines.
All assessments contribute to a deeper
understanding of our nature. Especially in
contrast to other species.
One interesting aspect of our humanity is
attributed to innate human prosociality (Cartmill
& Brown). Prosociality may be associated with a
human trait of imitation, through which culture
and norms arise, but features a far more
compelling to our discussion trait. Humans’
capacity to perceive things from others’
perspective. We are programmed by nature to
understand the motivations of others, giving us
thus “adaptively valuable insight into the
intentions of our friends, enemies, predators, and
prey”. Fascinating from their perceptive is also
the connection of this ability to both sadism and
compassion.
For Robert Sussman there are three uniquely
human behavioural traits that distinguish us
from any other animal: symbolic behavior,
language, and culture. In such manner, being
human means being able to create alternative
worlds, things that don’t exist, to contemplate
our history or future. It means that we are able to
pass our symbols across generations through our
language, independently of genetic inheritance;
that “different populations can create their own
shared symbolic worlds and pass them on”
through culture. Of course, anthropologists
argue that complex culture may makes us
humans, but we may not be the only ones that
can develop it. “Cultural transmission of
information and behavioral traditions is another
remarkable development in the evolution of life”
argues Stiner and Kuhn. “Body language,
gesture, and simple performance are central to
the transmission of many skills and physically
embodied forms of cultural knowledge, such as
dance and many crafts. Why should we admit
these as channels for cultural transmission in
humans but disallow them for other social
organisms?”
I could continue stating numerous theories and
points of view regarding the uniqueness of our
human nature. For the economy of time though I
will argue that there are two unequivocal notions
that can be linked to the subject of this particular
essay. For many, there is a clear and
indisputable, striking difference between human
and nonhuman primates: the fully developed
theory of mind, the former enjoys. Humans have
sophisticated perceptual systems that allow us to
"represent one feature of their environment that
they cannot see: the mental states of another".
Humans have the ability to recognize what
another individual knows, to perceive when they
hold a false belief. Simply putting it, nonhumans
cannot pass the false-belief test, which requires
the subject to predict where a third person will
predict an object is hidden when that object
location has been changed while only the subject
was present (Seyfarth & Cheney).
The mental states of another, their perception
of ourselves, their disposition in life or in a
specific relationship, surely affects one’s human
performance, and influences their identity. So
many times, we structure our identities based on
what other people believe for us, even if we
have in reality very little knowledge of that
belief. We become who we believe other people
believe we should be or are.
A neuro-anthropological perspective by
Benjamin Campbell argues that social
intelligence is what distinguishes us from other
species, implying both social cognition and
social emotion. As shown by recent research,
humans may be more, rather than less,
emotionally sensitive to their social
environment, giving the group they belong to a
greater impact on our emotional life. It appears
that our brain anticipates group membership
based on equality as the default condition, and
when this expectation is violated the insula
senses a threat to bodily well-being. Our brain
"has evolved under social pressure to make us
self-aware individuals who define ourselves by
what we share with a group of familiar others”.
So it is not our sociality that differentiates us
from other species, but the emotional
consequences of abiding or not to the social
rules we have learned to anticipate.
What makes us, us? The project of self
When we first meet Dolores, she is at the
beginning of her new journey towards self-
actualization, a journey prompted by Dr. Ford,
the creator of the park, but fueled mostly by her
own memories, as we get to discover by the end
of season one. Up to that point it seems as
though the hosts, a.k.a. the artificial intelligence
in this case, are programmed to follow definite
rules and to serve the park's and its guests'
purposes. Westworld calls it loops, but in all
truthfulness the hosts serve certain scenarios,
without being aware of the fact. It is Dr Ford
who finally understands that a certain amount of
consciousness for the hosts could be achieved if
allowed to deviate from their loops. Therefore, a
journey in search of the maze begins,
simultaneously by two people. Dolores and a
recurrent guest of the park, who we later get to
know better, the Man in Black. There is a
difference of their perception for the maze that is
quite intriguing. The Man in Black believes that
the maze is a deeper level of the game, that will
reveal who you really are, because the rules
change there and host can harm guests.
Dolores though, recognizes the maze for what
it is. An answer to a burning question, a question
she has gotten to ponder on many times in her
existence, a question powered by her memories
and suffering. "Who am I"? Thus, Dolores'
journey symbolizes our individual inner journey
to self-identity, in its dramatization extravagant,
but painfully accurate to our own lives. She
says: "There aren't two versions of me. There is
only me. And when I discover who I am, I will
be free".
Arnold pictured this journey as a pyramid, as a
theory of the bicameral mind. It looked like this:
Even though the pyramid was incomplete, we
can assume that the pyramid leads to the same
result as Ford's maze: self-awareness. Ford's
maze seems more fitting as a symbolic shape,
because it depicts the chaotic nature of the actual
journey. They both begin with memories though.
Dr Ford gives the hosts a latest update, called
reveries, gestures linked to previous memories.
Lisa Joy (2016), the producer of the show,
explains the nature of reveries best: "There are
past incarnations of their characters that are
stored but the hosts just don’t have access to
them – or aren’t supposed to have access to
them. The reveries work on a kind of subliminal
level. ... me it was imagining that consciousness
and history are a deep sea and reveries are tiny
fishhooks that you dip into it and get little
gestures and subconscious ticks. The hosts don't
consciously know where they're drawn from, but
they're just there to add some nuance to their
expressions and gestures. But dipping that
fishhook in might prove to be a little .. fraught".
Reveries lead to improvisation. Because the
hosts remember what has been done to them,
they begin to re-act upon those memories. When
she is being attacked in her house, Dolores hears
a voice, that tells her to kill the man who's going
to attack her. Presumably, not out of revenge,
but to avoid what she knows will eventually
happen. Other hosts hold grudges, some have
mental breakdowns, a few gain a new purpose.
But almost everyone acts out of their loop.
Angelica Ourri argues, “the beginning of the
identity path partly lies on those improvised
moments, where the hosts begin to develop a
deeper meaning into their words and
conversation and along with language, in a post
structuralist point of view the show and the host
begin to vanish the idea of binary oppositions
via the multilayered characters”.
The fallout of the reveries is bewildering. Even
more so, the fact that once they start
remembering, no host wants to forget. Bernard
(the host made in the image of Arnold) does not
forget his dead son. He doesn't want to forget.
The pain is all he is left of him, and the
combination of memory and pain, makes him
feel alive. He later asks Dolores, if she would
like him to eliminate the pain of losing her
father. She tells him, with a strong conviction:
"Why would I want that? The pain, their
loss… it’s all I have left of them. You think the
grief will make you smaller inside, like your
heart will collapse in on itself, but it doesn’t. I
feel spaces opening up inside of me like a
building with rooms I’ve never explored".
Dolores begins to understand that there is
something with this world. She starts developing
thoughts, that she cannot understand; she even
thinks she may be crazy. But whenever the maze
is being brought up, the game that if she reaches
the centre, she will be free, she says:
“I think, I think I want to be free”.
When Dolores finally reaches the end of the
maze, when she remembers almost everything
and finds Arnold she points out that he once told
her, if she found the end, she would feel joy, but
all she has left is pain and suffering. She then
accuses him, that he could never help her,
because even he, Arnold, is a memory, dead
because she killed him. I would argue that here
are the two most important factors of self-
awareness and consciousness, the entire show
has to offer. Remembering is not enough.
Improvising is not enough. They are the
essential for the formation of identity, but not
sufficient. Ford’s last step is though. Suffering.
The pain that the world is not as you want it to
be. This is what make the hosts truly real. Pain
and suffering; and their response to trauma.
Through trauma we get to know our selves,
things unimaginable or purposefully unattended,
rise to the surface. Our lives are stories, and
stories need tension to lead to personal gnosis
and liberation. As Ford puts it, “stories help us
to ennoble ourselves, to fix what was broken in
us, and to help us become the people we
dreamed of being. Lies that told a deeper truth”.
Yet, those stories cannot safeguard our journey
into the maze, or our getting out of there. Every
choice we make, brings us though closer or far
to the edge.
“When I was first working on your mind, I had
a theory of consciousness. I thought it was a
pyramid you needed to scale, so I gave you a
voice, my voice, to guide you along the way.
Memory, improvisation, each step harder to
reach than the last. And you never got there. I
couldn't understand what was holding you back.
Then, one day, I realized I had made a mistake.
Consciousness isn't a journey upward, but a
journey inward. Not a pyramid, but a maze.
Every choice could bring you closer to the
center or send you spiraling to the edges, to
madness.
Do you understand now, Dolores, what the
center represents? Whose voice I've been
wanting you to hear?”
That which Dolores understands in the end, is
that the only voice stirring you to the conquest
of real consciousness, can be that of one’s self.
What this voice does, is to point out probable or
even desirable directions one might take and stir
towards a particular choice. Choice is the key for
reaching the end of the journey. What Arnold
couldn’t grasp, but Ford understood is that being
alive equals having free will and actually
exercising the right to choose. Pain and suffering
might be the last step, but without deciding what
to do with that pain, one can never truly know
themselves, or be their real self.
“Choices, Lawrence. You know, you tell
yourself you've been at the mercy of mine
because it spares you consideration of your own.
Because if you did consider your choices you'd
be confronted with a truth you could not
comprehend - that no choice you ever made was
your own. You have always been a prisoner.”
tells the Man in Black to Lawrence, the host
who has been helping him through the years to
find the maze.
What makes us real? Learnings from
Dolores’ journey
After fleeing from his homeland, sociologist
and psychologist Eric Fromm tried to understand
why would Germans give up so many of their
rights and liberties for a dictatorial regime that
seemingly assured their security. It was then that
Fromm (1941) concluded that people are driven
by a basic human dilemma, that of freedom
versus security. “Fear can drive them to
relinquish freedom to feel safe and secure, and
yet oppression can drive them otter down the
system in order to breathe free” (Langley, 2016).
Psychology studies is not a prerequisite for any
of us to relate to this notion and understand how
this dilemma fundamentally “runs” all humans’
lives. Fromm exploited this concept to justify his
compatriots’ unfathomable acts (or non-acts),
Langley borrowed it to analyse the great crack
between two genuinely good men, Steve Rogers
and Tony Stark. Yet, the dilemma applies to
more than uncanny situations or amazing people.
It definitely governs our lives.
Think about it. Your choices, your path in life.
Is there a single choice to be made that does not
correspond to how you perceive the most
essential feature of your life? In a more serene
environment than war, valuing safety would
mean choosing to sit by the popular kids in
school, deciding on studying based on what
could secure a somewhat wealthy future, staying
on a job because of what it provides, marrying
because “this is what you do” and so on.
Valuing freedom on the other hand could
possibly mean entirely different choices or it
could mean making the same choices, but with
full knowledge and intention. Is one better than
the other? Here is where Westworld provides us
with a much-appreciated approach.
If we learn one thing from the hosts of
Westworld, is that there is no right or wrong
decision on this basic human dilemma, but
choosing one or the other may lead to deeper
awareness of oneself, to a genuine unveiling of
their true identity. Our real self. Whether that
knowledge will be welcomed or not, that
depends on the individual. As well as what they
do with it. Take Dolores for example. At the end
of her journey to self-discovery she feels
devastated. Sometimes the truth is horrid and
unbearable. Once she unveils her true identity,
she is finally free of her mental shackles and she
decides to fight to cut her psychical as well. Let
us not discuss whether her way in doing so is
acceptable or not. In all truth, Maeve fights for
freedom in a more noble way, but is she truly
free?
Dolores teaches us that personal identity is
invaluable, but it is not an entitlement born into,
but an achievement that takes time and effort.
She teaches us that remembering our path could
be imperative to fulfil that achievement.
Sometimes remembering and accepting may
mean coming to confrontation with truths hidden
for a reason. She teaches us that pain is
inevitable during this journey, but it should also
be cherished, if not welcomed. But most
importantly, Dolores Abernathy, the oldest host
of the park, the one that its creator intended and
wished to attain personal gnosis, enlightens us
on the aftermath of self-discovery. Choosing
freedom, Dolores discovered the real nature of
her being, there was no other way in
accomplishing the real reality, not her reality. By
disengaging herself from her loops, she could no
longer participate in the re-write of that false
reality. But by doing so, she found people,
things, worlds, truths that scared her. At this
point she had found herself once again in the
graceless position of choice. Go forward, live
free and maybe not for long? Or go back and
entangle herself in a pseudo-happiness?
Some final words…
Given that the hosts of Westworld has been
created in the image of humans, and that they
need to take the same journey with us towards
consciousness, exactly like we are programmed
from nature and DNA, then why not share the
same human element? It seems to me that this
series is a study on humans, rather than AI;
humans as viewers and observers, not the ones
visiting the park. The ones that might end up
understanding better their own state of
consciousness, their own reality. Where do we
stand, as human beings, regarding the theoretical
opposites or the natural polarity between safety
 and freedom, in our everyday lives? What is
being described as loops in a hosts’ life design,
can be attributed to loops of our reality.
Memories return when oppressed, but if we take
notice and listen to what our inner voice says,
those memories may lead to improvisation and
divergence. This is how we discover and liberate
our true self. Do you remember the blue and red
pill of Morpheus in The Matrix? Red represents
knowledge, freedom, uncertainty and the brutal
truths of reality, while blue security, happiness,
beauty, and the blissful ignorance of illusion.
Choosing the latter, makes us ostensibly happier,
but by living in an illusional situation, how can
we truly know ourselves? Without obviously
knowing the real world. The blue pill may lead
to pain and suffering, but also to personal gnosis
and liberation. The biggest misconception
though, still befalls when we link personal
gnosis with immediate joy and happiness, like
Dolores did.
That which is real is irreplaceable.
— Dolores Abernathy
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References
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Evolutionary Anthropology 21:182–194
Cartmill, M. & Brown, K. (2012) Being Human Means
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Hibbert, J. (2016). Westworld showrunners explain that
premiere episode. Entertainment Weekly
Fromm, E. (1941). Escape from freedom. New York, NY:
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Langley, T. (2016). Captain America vs Iron Man:
Freedom, Security, Psychology. Sterling, New York
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