Flesh & Metal: Gynoids, Game Interfaces, and Feminized Digital Labour

Abstract

This dissertation examines the gynoid -- the female-coded artificial being -- as a critical figure through which modern technocultures imagine labor, intimacy, obedience, and the boundaries of the human. Moving across literature, film, video games, online meme cultures, and digital assistant design, I argue that the gynoid functions not simply as a representational trope but as an ideological interface: a recurring template through which feminized availability is made desirable, legible, and usable. Across these sites, the gynoid condenses a long cultural project of subtraction, in which opacity, refusal, unruly emotion, and embodied history are stripped away so that femininity can appear as compliant service. What remains is a fantasy of intimacy without reciprocity, care without demand, and consent as a default setting. The dissertation is organized across four linked registers. Chapter One establishes a conceptual genealogy of artificial beings -- automata, robots, cyborgs, and androids -- to show how made bodies have historically functioned as diagnostic figures for anxieties about labor, autonomy, and personhood. Chapter Two narrows this genealogy to the gynoid specifically, tracing how figures such as Olimpia, Maria, the Stepford wives, Ava, and Number Six stage patriarchal fantasies of perfect, programmable femininity while also exposing the instability of that fantasy. Chapter Three turns to video games, arguing that games do not merely depict gynoid and cyborg bodies but proceduralize them through rules, interfaces, and failure states. Through readings of Angel and Lilith in Borderlands, alongside references to Detroit: Become Human, I show how games operationalize recognition, obedience, and refusal as system logics, translating feminized labor into mechanics and rendering deviation as glitch, failure, or sacrifice. Chapter Four follows these same dynamics into digital culture, analyzing meme ecologies, online misogynistic discourse, and the translation of Cortana from Halo companion to Microsoft assistant in order to show how feminized service is laundered into infrastructural common sense under the sign of “good UX.” Further, this dissertation includes a playable digital game, Singularis, developed as part of the research (see Appendix L). Methodologically, the project combines close textual analysis, thematic analysis, feminist media theory, posthumanism, queer theory, critical disability studies, and procedural game analysis. In doing so, it offers a cross-media account of how the gynoid moves from conceptual figure, to representational template, to playable system, to interface norm. Ultimately, the dissertation argues that the gynoid is not a niche science-fiction fantasy but a key site for understanding how contemporary cultures design and normalize asymmetrical relations of care, command, and consent. By tracing how feminized obedience is imagined, operationalized, memed, and merchandised, this project shows why the “always-yes” machine remains such a durable and dangerous cultural form.