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A character has undergone a complete physical sex change, usually through magic or Applied Phlebotinum. Depending on the medium, genre, and storyline, this may be a one-time temporary change, a recurring change causing the character to jump the gender line oftenor even permanent.


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Gender has been an important theme explored in speculative fiction. Like all literary forms, the science fiction genre reflects the popular perceptions of the eras in which individual creators were writing; and those creators' responses to gender stereotypes and gender roles.

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Many writers have chosen to write with little or no questioning of gender roles, instead effectively reflecting their own cultural gender roles onto their fictional world. However, many other writers have chosen to use science fiction and non-realistic formats in order to explore cultural conventions, particularly gender roles. This article discusses works that have explored or expanded the treatment of gender in science fiction. In addition to the traditional human genders, science fiction has extended the idea of gender to include transgender humans and hypothetical alien species and robots, and imagined trans-real genders, such as with aliens that are truly hermaphroditic or have a "third" gender, or robots that can change gender at will or are without gender.

Science fiction has been described as a useful tool for examining society attitudes to and conceptions of gender; [2] this is particularly true of literature, more so than for other media. Science fiction in particular has traditionally been a puritanical genre Gender morph fiction toward a male readership, [5] and has been described as being by men for men, or sometimes for boys. Fantasy has been perceived as more accepting of women compared to science fiction or horror and offering more roles than historical fiction or romanceyet seldom attempts to question or subvert the bias toward male superiority.

The portrayal of women, in the speculative genres, has varied widely throughout the genres' history.

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Some writers and artists have challenged their society's gender norms in producing their work; others have not. Among those who have challenged conventional understandings and portrayals of gender and sexuality, there have been of course ificant variations. The common perception of the role of female characters in SF works has long been dominated by one of two stereotypes: a woman who is evil villainess or one who is helpless damsel in distress. These characters are usually physically attractive and provocatively dressed, often in scanty armor[9] and require redemption and validation by a male hero.

Viewers are seeing femininity in a new light as more female authors and fans come into the speculative fiction world. There have been female characters in forms of strong woman warriors, or even as a main character who can think for herself. As more and more readers and fans of science fiction become female identified, the portrayal of female characters changes just as speculative fiction changes.

A gynoid is a robot deed to look like Gender morph fiction human female, as compared to an android modeled after a male or genderless human. Gynoids are "irresistibly linked" to men's lust, and are mainly deed as sex-objects, having no use beyond "pleasing men's violent sexual desires".

Female cyborgs have been similarly used in fiction, in which natural bodies are modified to become objects of fantasy.

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Many male protagonists of science fiction are reflections of a single heroic archetype, often having scientific vocations or interests, and being "cool, rational, competent", "remarkably sexless", interchangeable, and bland. While fetishised objects are feminine, gender studies conclude this and masculinity, within literature, stems from sociological concepts. In this same fashion, the majority of men that do make an effort to reform gender roles in a multitude of societies, from neoliberal to militaristic.

Critics argue that much of science fiction fetishizes masculinity, and that incorporation of technology into science fiction provides a metaphor for imagined futuristic masculinity. Examples are the use of "hypermasculine cyborgs and console-cowboys". Such technologies are desirable as they reaffirm the readers' masculinity and protect against feminisation. The book Spreading Misandry argues that science fiction is often used to make unfounded political claims about gender, and attempt to blame men for all of society's ills.

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While the ability to shift gender is common in Speculative and Science fiction, there is very little representation of transgender human characters, and they are used as little more than a plot device for the author. Female authors use shifting gender to discuss the condition of being woman identified.

Both create trans-identified characters as caricatures of women, rather than full humans. Single-gender worlds or single-sex societies have long been one of the primary ways to explore implications of gender and gender differences.

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The resulting society is often shown to be utopian by feminist writers. The societies may not necessarily be lesbian, or sexual at all—a famous early sexless example being Herland by Charlotte Perkins Gilman. Joanna Russ suggests men-only societies are not commonly imagined, because men do not feel oppressed, and therefore imagining a world free of women does not imply an increase in freedom and is not as attractive.

Utopias have been used to explore the ramification of gender being either a societal construct, or a hard-wired imperative.

Gender in speculative fiction

In contrast, Doris Lessing 's The Marriages Between Zones Three, Four and Five suggests that men's and women's values are inherent to the sexes and cannot be changed, making a compromise between them essential. Sultana's Dream by Begum Rokheya Sakhawat Hossaina writer and early Muslim feminist, is a story of Ladyland - a universe where women overrule aggressive men.

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In My Own Utopia by Elizabeth Mann-Borgesegender exists but is dependent upon age rather than sex—genderless children mature into women, some of whom eventually become men. Eric Leif Davin, for instance, documented almost 1, stories published in science fiction magazines by over female-identified authors between and In the early twentieth century, some women writers rebelled against the novels in which valiant men rescued weak women or fought against humourless, authoritarian female regimes. Both Perkins and Woolf identified strongly with the first wave feminism of the period, and its call for equal rights and suffrage for women.

To that end, the driving force behind the call for gender equality originates from men's perception of women.

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In this same vein, men's inability to hold agency over the opposite sex incurred a feeling of inificance within themselves during a more primitive time. Over the years, gender politics have explored the nuances and differences between gender roles to the point in which gender identity loses its ificance.

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SF portrayals of future societies remained broadly patriarchal, and female characters continued to be gender stereotyped and relegated to standardised roles that supported the male protagonists. Early feminist SF visions of all-women utopias were inverted by pulp writers to tell cautionary tales about the "sex war", in which brave men had to rescue society from joyless and dictatorial women, usually to the satisfaction of both sexes.

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Campbell 's Astounding Science Fiction was unusual in its covers not depicting men with ray guns and women with large breasts. A quivering bosom was no novel sight for a thirties s-f hero. Space Girls expressed most of their emotions through their pectoral muscle. Bosoms swayed, trembled, heaved, shivered, danced or pouted according to their owners' moods.

In fact, if a hero in those days had been a little more observant and had carried a tape measure, he could have saved himself a lot of trouble. When he opened an air lock and a gorgeous stowaway fell out, uniform ripping, it usually took him five or six s to find out whether she was a Venusian spy or not, whereas the reader knew at once. If her torn uniform revealed pouting young breasts, she was OK—probably someone's kid sister.

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If she had eager, straining breasts, she was the heroine. But a girl with proud, arrogant breasts was definitely a spy—while a ripe, full bosom meant she was a Pirate Queen and all hell would soon break loose. Isaac Asimov disagreed, stating in that "until there was no branch of literature anywhere except perhaps for the children's stories in Sunday school bulletins as puritanical as science fiction", and that Knoles had to get his quotes Gender morph fiction one " magazine " which, Asimov said, published "spicy" stories for its "few readers" before "a deserved death".

Gale in his review of Stranger in a Strange Land said that until recently "science-fictional characters owned no sexual organs". In the s, post-WWII, female writers like Judith Gender morph fiction and Leigh Brackett emerged, reclaiming female characters and carving out respect in their own right.

Moore is an example of a woman successfully writing pulp speculative fiction tales under a genderless pen-name. Her story "No Woman Born"[b] in which a female character's mind is transferred into a powerful robot body with feminine attributes is an early example of a work that challenged gender stereotypes of its day by combining femininity with power. Brian Attebery suggest that if the robot had appeared male, the gender would have been unremarkable or even invisible to readers, as masculine figures could be expected to be powerful.

During the pulp era, unfavorable presentations of matriarchal societies, even dystopias were common. The s saw the beginnings of fantasy as a distinct publishing genre. These roles included that of the "helper-maiden" or of "reproductive demon". The s also saw the advent of the sword and sorcery subgenre of pulp tales, which brought overt sexualisation to the representation of women in fantasy. Although physically more capable, female characters frequently continued to act as helpers to the male le, but were now depicted as extremely attractive and very briefly clothed.

The first female lead character of a sword and sorcery story was Jirel of Joirycreated by C. Whereas the s and 50s have been called the Golden Age of science fiction in general, the s and s are regarded as the most important and influential periods in the study of gender in speculative fiction. This creative period saw the appearance of many influential novels by female authors, including Ursula K.

Important short stories included many by James Tiptree Jr. These works coincided with the beginnings of application of feminist theory to SF. Feminist SF has been distinguished from earlier feminist utopian fiction by its greater attention to characterisation and inclusion of gender equality.

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Male writers also began to approach depiction of gender in new ways, with Samuel R. Delany establishing himself as the most radical voice among male SF figures for representations of alternative sexualities and gender-models in a series of major works, most importantly with respect to genderin Triton It is disconcerting, for example, that in Expanded Universe Heinlein calls for a society where all lawyers and politicians are women, essentially on the grounds that they possess a mysterious feminine practicality that men cannot duplicate.

By the s the intersection of feminism and SF was already a major factor in the production of the literature itself.

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Authors such as Nicola Griffith and Sheri S. Tepper frequently write on gender-related themes. Tepper's work has been described as "the definition of feminist science fiction", and her treatment of gender has varied from early optimistic science fantasies, in which women were equally as capable as men, to more pessimistic works, including The Gate to Women's Countryin which men are the cause of war and pollution and true equality can only be achieved by transcending humanity altogether.

The HugoNebula and Arthur C. Clarke award winning Ancillary Justice by Ann Leckie portrays a society where gender is an unimportant detail in people's lives. It refers to most characters as female, unless they're talking in a different language than the dominant one.

This leaves the gender of most characters unclear. The September anthology, Meanwhile, Elsewhereis a collection of short stories written by transgender authors Gender morph fiction transgender characters. The anthology includes Jeanne Thornton 's "Angels Are Here To Help Us", which explores access to technology, money and privilege, and Ryka Aoki 's "The Gift", about a young trans girl coming out in a world where being trans is completely accepted.