Schémas Artificiels

This is my favorite Murderbot novella. What stands out the most to me is the prickly but endearing not-friendship between ART and Murderbot. I also love seeing Murderbot taking on its first clients (by choice) and feeling just as invested in doing a good job in protecting them. My delight in this book is probably why I also like the novel Network Effect so much, as it feels like a thematic expansion of all the best bits of this book (plus ART).

I think it's also easy to read this book as such a queer and trans story (only metaphorically, as it would be horrified at this comparison). It really gets into how fraught physical change for the purpose of passing is; it's something that Murderbot feels it needs to do for safety as rogue SecUnit, even as it feels emotionally unsafe to do. And also it's Murderbot having to navigate this change with the (extremely pushy but supportive) help of ART.

This book also gets into some of Murderbot's traumatic history in its investigation of Ganaka Pit. On a reread, I think I was surprised at how little reaction this gets from Murderbot in the moment once it has unraveled a core mystery of its past. But, at the same time, trauma is unevenly distributed, Murderbot is not the best at feelings, and it certainly catches up later in conversation with ART and Tapan.

I read this one out of order, after #3 and #4 because they were in Volume 2, but now I'm filled in the missing backstory. This settles the question whether the stories are readable as standalones, yes they are, but reading in order helps to understand the references to past murderbot mayhem, and uncomfortable human feeeelings, and ships passing in the night encounters with other bottish, whoa re the real stars (or guest stars, as there seems to be a different non-recurring set in each episode), with distinctive personalities. The humans all kind of blur together for me, and generally they're idiots (I'm starting to sound like murderbot). One thing I feel obliged to note, the term for sexbots is uncomfortably reminiscent of the term used for forced prostitutes in WWII, which is either cleverly deliberate or unintentionally disturbing (like the confederacy overtones in Firefly, although I suppose that could have been cleverly deliberate). Anyway, back on track and on to #5.