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40 pages 1 hour read

Martha Wells

All Systems Red

Fiction | Novella | Adult | Published in 2017

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Symbols & Motifs

Sanctuary Moon

Murderbot’s favorite serial is the drama series The Rise and Fall of Sanctuary Moon, which it refers to as Sanctuary Moon throughout the text. Sanctuary Moon symbolizes Murderbot’s need for alone time. It also represents the private life that Murderbot does not share with the Preservation team. When the novella opens, Murderbot is looking forward to finishing the planetary survey so it can watch episode 397 of the series. This detail is humorous, but it also establishes watching the series as a form of self-care for Murderbot. Wells works Murderbot’s need for privacy into the narrative through references to watching media, listening to music, or accessing other forms of media. Murderbot’s desire to spend its time watching Sanctuary Moon hints at the emotional needs other SecUnits may have that their governor modules prevent them from expressing.

Sanctuary Moon allows Murderbot to experience relationships and emotional interactions safely, without overstepping its boundaries, in contrast to its job as a SecUnit, in which it must face uncomfortable situations with its human team members. Despite its reluctance to form bonds with the Preservation team, Murderbot’s emotions motivate it to do its job. In Chapter 6, Murderbot notes: “I pictured […] Arada or Ratthi trapped by rogue SecUnits, and felt my insides twist. I hate having emotions about reality; I’d much rather have them about Sanctuary Moon” (102). The word “sanctuary” in the serial’s title encapsulates its symbolic value. Murderbot’s growth arc necessitates that it leaves the comfort of emotional voyeurism and confronts the complexity of human relationships in the real world.

Murderbot’s Armor

Murderbot’s full-body armor not only serves the practical purpose of protecting it during security missions, but it also symbolizes Murderbot’s desire to remain anonymous and avoid human contact. It loses pieces of armor during its battles, and even when its injuries are painful, it prioritizes saving its humans and completing its mission over protecting itself. This self-sacrificing behavior contradicts Murderbot’s insistence that it does not care about its job or its clients. At the beginning of the novella, Murderbot’s armor is part of its identity that helps it maintain its self-concept as frightening to humans: “I know I’m a horrifying murderbot, […]. Also, if I’m not in the armor then it’s because I’m wounded and one of my organic parts may fall off and plop on the floor at any moment and no one wants to see that” (20). Murderbot associates its organic body with unsightly wounds and feels the need to keep it covered while it is on duty. The armor plays into the artificial distinction between bots and humans, which Murderbot claims to enjoy: “Human clients usually like to pretend I’m a robot and that’s much easier in the armor” (27).

Murderbot’s opaque helmet is the most important part of the armor because it keeps Murderbot’s most vulnerable area—its face—hidden. Its face is physically vulnerable, but more importantly, Murderbot’s face shows its emotional reactions, which it wants to hide at all costs. The team is so used to seeing Murderbot with its helmet that they do not recognize Murderbot when it enters the crew area with Mensah for the first time. The only time Murderbot retracts its helmet voluntarily is in Chapter 1 when it is saving Volescu. Even though Murderbot knows the move is risky, it knows seeing its human face will calm Volescu. The decision is tactical because it facilitates the rescue, but it comes from Murderbot’s humanity rather than its programming.

Armor is part of Murderbot’s identity. When Mensah buys its contract, Murderbot asks: “Can I still have armor?” (145). It is no longer a SecUnit, but without its armor, it does not know who it is. At the end of the novella, Murderbot realizes it does not need its armor or its helmet to hide its emotions because, unlike in the serials and its mission with PreservationAux, people in public do not always engage with each other emotionally. When it escapes, it uses a surveyor’s environmental suit, work boots, and protective jacket to mask its identity. Though Murderbot relinquishes its armor, it still needs clothing to define itself externally because it does not yet have a secure sense of self.

Faulty Equipment

The company that controls Corporation Rim is notorious for providing cheap and faulty equipment, and this becomes a motif that reinforces the theme of corporations valuing profit over human and robot life. All the limitations and difficulties Murderbot experiences originate from the company’s practice of cost-cutting. Murderbot’s education software is lacking and cheap, so it relies on serials to fill in its knowledge gaps. The team’s survey package is “cheap and error-ridden” (36) to the point that the team believes it has been sabotaged. The team’s greatest danger does not come from GrayCris but the emergency beacon’s lack of safety features. The company uses the dangerous nature of space exploration to extract money from its citizens: It charges extra for habitat security features, “and if you didn’t want it, it cost even more to guarantee your bond” (124).

Murderbot’s killing of the mining crew is a result of cheap company goods: “My governor module malfunctioned because the stupid company only buys the cheapest possible components” (82). Its emancipation from the governor module is also a result of the company’s oversight. In Chapter 5, Murderbot tells Pin-Lee, “All the company equipment is the same. I got a download once that included all the specs for company systems. Stuck in a cubicle with nothing to do, I used it to work out the codes for the governor module” (84). Wells never reveals how a company came to control an interplanetary system or who exactly runs the company, nor does she reveal the ultimate impact (if any) the lawsuit over GrayCris will have on the society. The motif of faulty equipment is a plot device that produces obstacles the team must overcome and shows the world’s real evil is not GrayCris but corporate greed.

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By Martha Wells