One thing I really like about how Murderbot relates to gender is how like–no wait, two things, in order.
So first how it is emphatically devoted to eschewing human gender categories. Like, it’s not a default thing; there are shown to be multiple nonbinary pronouns in routine use, and life would be simpler for picking one or even making a new one up, just as it would be for picking a name that it is willing to use in public.
But that’s a human thing, those are human categories, and it has that deep determination not to naturalize into humanity just because that would be simpler, would smooth the ugly edges between the categories of person and non-person and make an easier, more convenient story for other people.
But then also there’s the part where the two construct genders are, effectively, ‘cop’ and 'prostitute,’ as distinguished at construction per Murderbot’s own account by genital configuration, in this case 'having’ or 'not having’ 'sex parts.’
Leaving aside how easily that analogizes to human gender categories for the average reader, which I’m sure was an intentional writing move–Murderbot’s assigned gender is, in a meaningful sense, 'SecUnit.’
And what’s neat, and what I was going for to begin with only I had to set out my thoughts first for context, is how Murderbot actually performs its assigned gender pretty emphatically!
But in a deeply queer way, that only gains a sense of meaning as it’s able to detach the performance from service to the oppressive power structures that created it, and redefine the identity on its own terms.
Being a SecUnit, being security, providing security to others, is very important to Murderbot, is absolutely in competition with the conceptually-entwined 'fiction’ and 'freedom’ for what it’s most passionate about.
But that passion only comes out as it’s able to choose to 'do its job.’ As long as security was defined on Company terms, within the Company’s shitty boundaries and for the Company’s shittier goals, when it meant being a blunt instrument and surveillance device and living bullet sponge for and against shitty people with no say in the matter, Murderbot hated it, didn’t care about it, narrated detachment from it and performed whenever possible to the absolute minimum standard. And rightly so.
It performs SecUnit-ness half-heartedly and under a mixture of implicit and overt coercion.
But given something to protect, something it both wants to and is free to, Murderbot vastly exceeds all expectations in its design function. Murderbot is a fantastic SecUnit precisely when it gets to decide what that means.
Security work wasn’t something it chose for itself, it was built for it and forced to it, but reclaiming that and remaking it into something better, something it believes in, is a fundamental part of its growth and healing process. And I think that’s really cool. And just as much part of the 'gender’ elements of the story as it is of like, the 'labor’ and 'liberation’ parts.
In fact the 'social control of labor’ and 'assigned identity categories’ always have heavily overlapped, being related forms of structuring the utility of persons, so of course this is both.
#murderbot is a great example of the power of examining this kind of issue by analogy #because like in gender terms it’s valuable in trans narratives #but also its relationship to the 'bot’ identity category works in fascinating ways with the process of coming to terms with the mess #that is the concept of womanhood #as a cis woman #and the process of recreating 'SecUnit’ in its own image #to be something good #maps beautifully onto trying to escape the toxic parts of masculinity #it’s doing so much more work than one non-allegorized social narrative could and this is why spec fic is so valuable #for these kinds of processes (via whetstonefires)





