The Murderbot Diaries is a series of science fiction books that deal with the experiences of Murderbot, a human-machine construct. This study uses a corpus stylistics methodology to analyse the language of the books and looks for changes that occur in said language. The paper attempts to answer the question of how the development of the main character can be ascertained through the use of corpus stylistics methods. Using tools like the exploration of keywords, type/token ratio, semantic prosody, clusters and collocations, this thesis attempts to bridge the divide between quantitative and qualitative literary. From the application of these toolkits, insights such as Murderbot’s neurotic actions, love-hate relationships, and unusual vocabulary choices can be observed. This could serve as a starting point for further research that could be carried out on this series so as to arrive at further conclusions that might prove to be useful within the study of the science fiction genre.

In the realm of speculative fiction, narratives featuring artificial beings offer a unique lens through which to explore the complexities of gender identity. This study examines the portrayal of gender identity in Mary Shelley's Frankenstein (1818) and Martha Wells’ The Murderbot Diaries, focusing on All Systems Red (2017) and Artificial Condition (2018). Building on the understanding of gender representation and societal norms within these works, I argue that Shelley's Creature and Wells' Murderbot serve as mirrors reflecting the evolving perspectives on gender identity. Through close and critical analysis, I reveal how the main characters, both fictional artificial constructs created through technology (Wells 2018, 89; Shelley 1818, 31-32)—the Creature and Murderbot—navigate their gender identities within their fictional worlds, either conforming to or challenging societal norms. Shelley's Creature, akin to a newborn, learns about gender through its interactions with society and literature, ultimately embracing a masculine identity influenced by societal norms. Conversely, Murderbot, a genderless cyborg, resists conforming to binary gender norms, reflecting on its autonomy and challenging societal expectations. Despite its efforts, Murderbot is inevitably gendered, underscoring the pervasive influence of societal norms. The significance of this analysis lies in its invitation to readers to engage in nuanced discussions surrounding gender and representation. By envisioning societies where gender roles may mirror or differ from our own, speculative fiction prompts readers to reconsider entrenched assumptions and norms. Through examining the journeys of the Creature and Murderbot, this study contributes to a broader dialogue on gender identity representation in literature, highlighting that gender identity is not fixed but rather fluid within the realm of speculative fiction.