Fembot

For other uses, see Fembot (disambiguation).

“Gynoid” redirects here. For the type of body fat
distribution, see Gynoid fat distribution.

A fembot is a humanoid robot that is gendered feminine.

It is also known as a gynoid, though this term is more
recent. Fembots appear widely in science fiction film and
art. As more realistic humanoid robot design is techno-
logically possible, they are also emerging in real-life robot
design.

1 Name
The portmanteau fembot (female robot) was popularized
by the television series The Bionic Woman in the episode
“Kill Oscar” (1976) [1] and later used in the Austin Powers
films,[2] among others. Robotess is the oldest female-
specific term, originating in 1921 from the same source
as the term robot.
A gynoid is anything that resembles or pertains to the
female human form. Though the term android refers
to robotic humanoids regardless of apparent gender, the
An Actroid at Expo 2005 in Aichi.
Greek prefix “andr-" refers to man in the masculine gen-
[3]
dered sense. Because of this prefix, many read Android
as referring to male-styled robots.[4][5][6][7][8] Examples of female robots include:
The term gynoid was used by Gwyneth Jones in her 1985
novel Divine Endurance to describe a robot slave charac- • Project Aiko, an attempt at producing a realistic-
ter in a futuristic China, that is judged by her beauty.[6] looking female android. It speaks Japanese and
English and has been produced for a price of
Gynoid is also used in American English medical termi- €13,000[11]
nology as a shortening of the term gynecoid (gynaecoid
in British English).[9] • EveR-1[12]
• Actroid, designed by Hiroshi Ishiguro to be “a per-
fect secretary who smiles and flutters her eyelids”[13]
2 Female robots • HRP-4C[14]
• Meinü robot[15][16]
...the great majority of robots were either
machine-like, male-like or child-like for the
reasons that not only are virtually all roboti- Researchers have noted the connection between the de-
cists male, but also that fembots posed greater sign of feminine robots and roboticists’ assumptions
technical difficulties. Not only did the servo about gendered appearance and labor. Fembots in Japan,
motor and platform have to be ‘interiorized’ for example, are designed with slenderness and grace in
(naizosuru), but the body [of the fembot] mind,[17] and they are employed in ways that help to main-
needed to be slender, both extremely difficult tain traditional family structures and politics in a nation
undertakings. that is seeing a population decline.[18]
— Tomotaka Takahashi, roboticist[10] People also react to fembots in ways that may be at-
tributed to gender stereotypes. This research has been

1
2 3 IN FICTION

used to elucidate gender cues, clarifying which be- Artificial women have been a common trope in fiction
haviors and aesthetics elicit a stronger gender-induced and mythology since the writings of the ancient Greeks.
response.[19] This has continued with modern fiction, particularly in
the genre of science fiction. In science fiction, female-
appearing robots are often produced for use as domestic
2.1 As sexual devices servants and sexual slaves, as seen in the film Westworld,
Paul J. McAuley's novel Fairyland (1995), and Lester del
Rey's short story "Helen O'Loy" (1938),[5] and sometimes
as warriors, killers, or laborers. The character of An-
nalee Call in Alien: Resurrection is a rare example of a
non-sexualized gynoid.

3.1 Metaphors

3.1.1 Misogyny

The treatment of gynoids in fiction has been seen as a

metaphor for misogyny, as in the film Blade Runner, in
which all three of the important female characters are
gynoids, two of whom use their sexuality to attempt to
manipulate or kill the protagonist Rick Deckard, often
using sexualised imagery, such as when Pris attempts to
strangle him between her thighs. Daniel Dinello writes
“Sweetheart”, shown with its creator, Clayton Bailey; the busty that the violence with which the gynoids are treated rep-
female robot (also a functional coffee maker) that created a con- resents Deckard’s hatred of women. The third gynoid,
troversy when it was displayed at the Lawrence Hall of Science Rachael, acts as a submissive female, even after Deckard
at University of California, Berkeley. “virtually rapes her.”[5] Thomas Foster writes, about the
novel Dead Girls by Richard Calder, that the technologi-
Gynoids may be “eroticized”, and some examples such as cal bodies of gynoids depict sexism in an unnatural con-
Aiko include sensitivity sensors in their breasts and gen- text, highlighting its negative impact. They also show that
itals to facilitate sexual response.[20] The fetishization of stereotypes and societal attitudes will not necessarily be
gynoids in real life has been attributed to male desires altered through technological progress.[26]
for custom-made passive women, and has been compared Japanese anime and manga both have a long tradition
to life-size sex dolls.[7] However, some science fiction of female robot characters. The artist Hajime Sorayama
works depict them as femme fatale that fight the estab- is particularly influential, with his “sexy robot” images,
lishment or are rebellious.[21] Robot sex partners may be- found in his collection The Gynoids (1993).[27] These
come commonplace in the future.[22][23] pieces depict primarily females with metallic skin. Some
Female robots as sexual devices have also appeared, with may interpret “gynoid” art as comments on gender and
early constructions being crude. The first was produced sexual conventions, and race, by highlighting the “white-
by Sex Objects Ltd, a British company, for use as a “sex ness” of the traditional pin-up girl.[28] The sexualised
aid”. It was called simply “36C”, from her chest measure- images of gynoids have also been interpreted as fetishi-
ment, and had a 16-bit microprocessor and voice synthe- sation of the female body, racial differences, and/or
siser that allowed primitive responses to speech and push technology.[29]
button inputs.[24]
In 1983, a busty female robot named “Sweetheart” was
3.2 The perfect woman
removed from a display at the Lawrence Hall of Science
after a petition was presented claiming it was insulting to
A long tradition exists in literature of depictions of a cer-
women. The robot’s creator, Clayton Bailey, a professor
tain type of ideal woman, and fictional gynoids have been
of art at California State University, Hayward called this
seen as an extension of this theme.[4] Examples include
“censorship” and “next to book burning.”[25]
Hephaestus in the Iliad who created female servants of
metal and Ilmarinen in the Kalevala who created an artifi-
cial wife. Probably most famous, however, is Pygmalion,
3 In fiction one of the earliest conceptualizations of constructions
similar to gynoids in literary history, from Ovid's account
See also: List of fictional female robots and cyborgs of Pygmalion.[4] In this myth a female statue is sculpted
that is so beautiful that the creator falls in love with it,
3.3 Gender 3

friends.[32] They fought in two multi-part episodes of the

series: “Kill Oscar” and “Fembots in Las Vegas”, and de-
spite the feminine prefix, there were also male versions,
including some designed to impersonate particular indi-
viduals for the purpose of infiltration. While not truly
artificially intelligent, the fembots still had extremely so-
phisticated programming that allowed them to pass for
human in most situations. The term fembot was also used
in Buffy the Vampire Slayer (referring to a robot duplicate
of the title character, a.k.a. the Buffybot) and Futurama.
The 1987 science-fiction cult film Cherry 2000 also por-
trayed a gynoid character which was described by the
male protagonist as his “perfect partner”. The 1964 TV
series My Living Doll features a robot, portrayed by Julie
Newmar, who is similarly described.
More recently, the 2015 science-fiction film Ex Machina
featured a genius inventor experimenting with gynoids in
an effort to create the perfect companion.

3.3 Gender
Fiction about gynoids or female cyborgs reinforce es-
sentialist ideas of femininity, according to Margret
Grebowicz.[33] Such essentialist ideas may present as sex-
ual or gender stereotypes. Among the few non-eroticized
fictional gynoids include Rosie the Robot Maid from The
Étienne Maurice Falconet: Pygmalion et Galatée (1763). Al- Jetsons. However, she still has some stereotypically fem-
though not robotic, Galatea's inorganic origin has led to compar-
inine qualities, such as a matronly shape and a predispo-
isons with gynoids.
sition to cry.[34]

and after praying to Venus, the goddess takes pity on him

and converts the statue into a real woman, Galatea, with
whom Pygmalion has children.
The first gynoid in film, the maschinenmensch
(“machine-human”), also called “Parody”, “Futura”,
“Robotrix”, or the “Maria impersonator”, in Fritz Lang's
Metropolis is also an example: a femininely shaped robot
is given skin so that she is not known to be a robot and
successfully impersonates the imprisoned Maria and
Exaggeratedly feminine fembots with guns in their breasts, from
works convincingly as an exotic dancer.[4]
the film Austin Powers: International Man of Mystery.
Such gynoids are designed according to cultural stereo-
types of a perfect woman, being “sexy, dumb, and The stereotypical role of wifedom has also been explored
obedient”, and reflect the emotional frustration of their through use of gynoids. In The Stepford Wives, hus-
creators.[5] Fictional gynoids are often unique products bands are shown as desiring to restrict the independence
made to fit a particular man’s desire, as seen in the novel
of their wives, and obedient and stereotypical spouses
Tomorrow’s Eve and films The Perfect Woman, The Step- are preferred. The husbands’ technological method of
ford Wives, Mannequin and Weird Science,[30] and the obtaining this “perfect wife” is through the murder of
creators are often male "mad scientists" such as the char-
their human wives and replacement with gynoid substi-
acters Rotwang in Metropolis, Tyrell in Blade Runner, tutes that are compliant and housework obsessed, result-
and the husbands in The Stepford Wives.[31] Gynoids have ing in a “picture-postcard” perfect suburban society. This
been described as the “ultimate geek fantasy: a metal- has been seen as an allegory of male chauvinism of the
and-plastic woman of your own.”[2] period, by representing marriage as a master-slave rela-
The Bionic Woman television series coined the word fem- tionship, and an attempt at raising feminist consciousness
[31]
bot. These fembots were a line of powerful, lifelike gy- during the era of second wave feminism.
noids with the faces of protagonist Jaime Sommers's best In a parody of the fembots from The Bionic Woman, at-
4 6 NOTES

tractive, blonde fembots in alluring baby-doll nightgowns light their human creators’ reactions to the idea of female
were used as a lure for the fictional agent Austin Powers in robots. Later models lost obviously feminine features, but
the movie Austin Powers: International Man of Mystery. retained “an air of femininity”.[44]
The film’s sequels had cameo appearances of characters
revealed as fembots.
Jack Halberstam writes that these gynoids inform the 4 In animation
viewer that femaleness does not indicate naturalness, and
their exaggerated femininity and sexuality is used in a In the Nickelodeon animated series My Life as a Teenage
similar way to the title character’s exaggerated masculin- Robot features XJ-9, or Jenny Wakeman as she prefers to
ity, lampooning stereotypes.[35] be called, who is a state-of-the-art gynoid.

3.4 Sex objects 4.1 Dr. Slump

Some argue that gynoids have often been portrayed as
In Dr. Slump anime and manga series, which is the debut
sexual objects. Female cyborgs have been similarly used
series of Akira Toriyama, Dr. Senbei makes a gynoid
in fiction, in which natural bodies are modified to become
called Arale Norimaki which looks like a little girl. She
objects of fantasy.[4] The female robot in visual media has
is known for her naivety, energetic personality, lack of
been described as “the most visible linkage of technology
common sense, and unbelievable strength.
and sex” by Steven Heller.[36]
Feminist critic Patricia Melzer writes in Alien Construc-
tions: Science Fiction and Feminist Thought that gynoids
in Richard Calder's Dead Girls are inextricably linked to
5 See also
men’s lust, and are mainly designed as sex objects, having
no use beyond “pleasing men’s violent sexual desires”.[37] • The Future Eve
The gynoid character Eve from the film Eve of Destruc-
tion has been described as “a literal sex bomb”, with her • Cyborg
subservience to patriarchal authority and a bomb in place
• Gender in speculative fiction
of reproductive organs.[30] In the film The Perfect Women,
the titular robot, Olga, is described as having “no sex”,
• Robot fetishism
but Steve Chibnall writes in his essay “Alien Women” in
British Science Fiction Cinema that it is clear from her • Roxxxy
fetishistic underwear that she is produced as a toy for
men, with an “implicit fantasy of a fully compliant sex • Sex robot
machine”.[38] In the film Westworld, female robots actu-
ally engaged in intercourse with human men as part of
the make-believe vacation world human customers paid
to attend.
6 Notes
Sex with gynoids has been compared to necrophilia.[39] [1] Julie Wosk, My Fair Ladies: Female Robots, Androids,
Sexual interest in gynoids and fembots has been at- and Other Artificial Eves, Rutgers Univ. Press, 2015, pp.
tributed to fetishisation of technology, and compared to 114–115
sadomasochism in that it reorganizes the social risk of
sex. The depiction of female robots minimizes the threat [2] Wallace, Julia (16 December 2008). “Return of the Bo-
felt by men from female sexuality and allow the “erasure dacious 'Bots”. Popular Science.
of any social interference in the spectator’s erotic enjoy-
ment of the image”.[8] Gynoid fantasies are produced and [3] Liddell and Scott: Greek Lexicon.
collected by online communities centered around chat
[4] Melzer, Patricia (2006). Alien Constructions: Science Fic-
rooms and web site galleries.[40] tion and Feminist Thought. University of Texas Press. p.
Isaac Asimov writes that his robots were generally sexu- 202. ISBN 978-0-292-71307-9.
ally neutral and that giving the majority masculine names
was not an attempt to comment on gender. He first wrote [5] Dinello, Daniel (2005). Technophobia!: Science Fiction
Visions of Posthuman Technology. University of Texas
about female-appearing robots at the request of editor
Press. p. 77. ISBN 978-0-292-70986-7.
Judy-Lynn del Rey.[41][42] Asimov’s short story “Femi-
nine Intuition” (1969) is an early example that showed [6] Tatsumi, Takayuki (2006). Full Metal Apache: Trans-
gynoids as being as capable and versatile as male robots, actions between Cyberpunk Japan and Avant-Pop Amer-
with no sexual connotations.[43] Early models in “Femi- ica. Durham NC: Duke University Press. p. 213, Notes.
nine Intuition” were “female caricatures”, used to high- ISBN 0-8223-3774-6.
 5

[7] Stratton, Jon (2001). The desirable body: cultural [25] “Too serious for Professor Bailey”. New Scientist vol 100
fetishism and the erotics of consumption. US: University November 3, 1983, Page 352. 3 November 1983.
of Illinois Press. p. 21. ISBN 978-0-252-06951-2. The
automaton becomes both a philosophical toy and sexual [26] Foster, Thomas (2005). The souls of cyberfolk: posthu-
fetish; I extend the meaning of gynoid to include non- manism as vernacular theory. U of Minnesota Press.
mechanical models of women such life-size dolls ISBN 978-0-8166-3406-4.

[8] Foster, Thomas (2005). The souls of cyberfolk: posthu- [27] Sorayama, Hajime (1993). The Gynoids. Treville. ISBN
manism as vernacular theory. U of Minnesota Press. 978-4-8457-0782-9.
p. 103. ISBN 978-0-8166-3406-4. Gynoids are frames
that enable us to desire differently, by accommodating [28] Foster, Thomas (2005). The souls of cyberfolk: posthu-
libidinal-investments in male lack. manism as vernacular theory. U of Minnesota Press. p.
107. ISBN 978-0-8166-3406-4. 'that metallic feeling'
[9] “Gynoid”. Merriam Webster. Retrieved 26 February seems to heighten and make visible a form of whiteness
2011. that in a pin-up girl would seem unremarkable or ba-
nal (that is, to the extent that Soyorama’s gynoids can be
[10] Takahashi, Tomotaka (2006). Robotto no tensei. Media
said to embody racial meanings at all while the majority
Factory, Inc. p. 194.
may interpret it as Sorayama’s precient painting of images
[11] Nixon, Geoff (11 December 2008). “Ontario man builds about human synthesized future reality. In this case of
real-life female android”. CTV.ca. the organic robotic (Gynoid) forms or perhaps concepts
of racial beliefs that may become part of society but are
[12] “I'm your guide”. Science. 312 (5779): 1449. 9 June intrinsically only one’s imagination (never truly real even
2006. doi:10.1126/science.312.5779.1449d. when in physical existence manufactured by humans), it
is through this displacement of “white” skin that such al-
[13] Newitz, Annalee (10 August 2006). “The Fembot Mys- ternative interpretations arise)
tique”. Popular Science.
[29] Foster, Thomas (2005). The souls of cyberfolk: posthu-
[14] “Lifelike walking female robot”. BBC News. 16 March manism as vernacular theory. U of Minnesota Press. p.
2009. 107. ISBN 978-0-8166-3406-4.
[15] “First Chinese 'beauty' robot destined for Sichuan”. China
[30] Stratton, Jon (2001). The desirable body: cultural
Daily. 4 August 2006.
fetishism and the erotics of consumption. US: University
[16] “1st beauty robot in China”. Sina.com. 8 August 2006. of Illinois Press. p. 230. ISBN 978-0-252-06951-2.

[17] Robertson, Jennifer (June 2010). “Gendering Humanoid [31] Dinello, Daniel (2005). Technophobia!: Science Fiction
Robots: Robo-Sexism in Japan”. Body & Society. 16 (2): Visions of Posthuman Technology. University of Texas
1–36. doi:10.1177/1357034X10364767. Press. p. 78. ISBN 978-0-292-70986-7.

[18] Robertson, Jennifer (September 2007). “ROBO SAPI- [32] Browne, Ray B., Forbidden Fruits: Taboos and Tabooism
ENS JAPANICUS Humanoid Robots and the Posthu- in Culture, Popular Press, 1984, 9780879722555
man Family”. Critical Asian Studies. 39 (3): 369–98.
doi:10.1080/14672710701527378. [33] Grebowicz, Margret; L. Timmel Duchamp; Nicola Grif-
fith; Terry Bisson (2007). SciFi in the mind’s eye: read-
[19] Carpenter, J.; Davis, J.; Erwin-Stewart, N.; Lee, T.; ing science through science fiction. Open Court. p. xviii.
Bransford, J.; Vye, N. (March 2009). “Gender represen- ISBN 978-0-8126-9630-1.
tation in humanoid robots for domestic use”. International
Journal of Social Robotics. Springer Netherlands. 1 (3): [34] Rudman, Laurie A.; Peter Glick; Susan T. Fiske (2008).
1. doi:10.1007/s12369-009-0016-4. The Social Psychology of Gender: How Power and Inti-
macy Shape Gender Relations. Guilford Press. p. 178.
[20] “Frequently Asked Question(s)". Project Aiko. ISBN 978-1-59385-825-4.
[21] Ex Machina and sci-fi’s obsession with sexy female robots
[35] Halberstam, Judith (2005). In a Queer Time and Place:
- The Guardian, 15 January 2015. See also “Living
Transgender Bodies, Subcultural Lives. NYU Press. p.
Dolls: Sci-Fi’s Fascination With Artificial Women"--
144. ISBN 978-0-8147-3585-5.
The Guardian 13 July 2015 about Ex Machina and Julie
Wosk’s book on female robots, My Fair Ladies.
[36] Heller, Steven (2000). Sex appeal: the art of allure in
[22] Smith, Aaron (August 6, 2014). “AI, Robots, and the Fu- graphic and advertising design. Allworth Press. p. 155.
ture of Jobs” (PDF). Pew Research Center. Retrieved 7 ISBN 978-1-58115-048-3.
March 2015.
[37] Melzer, Patricia (2006). Alien Constructions: Science Fic-
[23] Do humans dream of android prostitutes? - 11 May 2012 tion and Feminist Thought. University of Texas Press. p.
204. ISBN 978-0-292-71307-9.
[24] Yazdani, Masoud; Ajit Narayanan (1984). Artificial intel-
ligence: human effects. E. Horwood. pp. 276–277. ISBN [38] Hunter, I. Q. (1999). British Science Fiction Cinema. p.
978-0-85312-577-8. 58. ISBN 978-0-203-00977-2.
6 8 EXTERNAL LINKS

[39] Michele, Aaron (1999). The body’s perilous pleasures: 8 External links
dangerous desires and contemporary culture. Edinburgh
University Press. pp. 108–124. ISBN 978-0-7486-0961- • Media related to Gynoids at Wikimedia Commons
1.

[40] Foster, Thomas (2005). The souls of cyberfolk: posthu-

manism as vernacular theory. U of Minnesota Press. p.
103. ISBN 978-0-8166-3406-4.

[41] Asimov (1976). The Bicentennial man and other stories.

Doubleday. p. 5. ISBN 978-0-385-12198-9.

[42] Asimov, Isaac (1994). I. Asimov: a memoir. Doubleday.

p. 320. ISBN 978-0-385-41701-3.

[43] Asimov, Isaac (1995). Gold: the final science-fiction-

collection. HarperPrism. p. 172. ISBN 978-0-06-
105206-4.

[44] Asimov (1976). The Bicentennial man and other stories.

Doubleday. p. 15. ISBN 978-0-385-12198-9.

7 References
• Carpenter, J.; Davis, J.; Erwin-Stewart, N.; Lee, T.;
Bransford, J.; Vye, N. (March 2009). “Gender rep-
resentation in humanoid robots for domestic use”.
International Journal of Social Robotics. Springer
Netherlands. 1 (3): 261. doi:10.1007/s12369-009-
0016-4.

• Ferrando, Francesca (2015). “Of Posthuman Born:

Gender, Utopia and the Posthuman”. In Hauskeller,
M.; Carbonell, C.; Philbeck, T. Handbook on
Posthumanism in Film and Television. London: Pal-
grave MacMillan. ISBN 978-1-137-43032-8.

• Jordanova, Ludmilla (1989). Sexual Visions: Im-

ages of Gender in Science and Medicine between the
Eighteenth and Twentieth Centuries. Madison, Wis.:
University of Wisconsin Press. ISBN 0-299-12290-
5.

• Leman, Joy (1991). “Wise Scientists and Female

Androids: Class and Gender in Science Fiction”. In
Corner, John. Popular Television in Britain. Lon-
don: BFI Publishing. ISBN 0-85170-269-4.

• Melzer, Patricia (2006). Alien Constructions: Sci-

ence Fiction and Feminist Thought. University of
Texas Press. ISBN 978-0-292-71307-9.

• Stratton, Jon (2001). The desirable body: cultural

fetishism and the erotics of consumption. US: Uni-
versity of Illinois Press. ISBN 978-0-252-06951-2.

• Foster, Thomas (2005). The souls of cyberfolk:

posthumanism as vernacular theory. U of Minnesota
Press. ISBN 978-0-8166-3406-4.
 7

9 Text and image sources, contributors, and licenses

9.1 Text
• Fembot Source: https://en.wikipedia.org/wiki/Fembot?oldid=754233176 Contributors: Bryan Derksen, Olivier, Michael Hardy, Ih-
coyc, Mac, Ronz, Angela, Palfrey, Lee M, Vroman, David Latapie, Sanxiyn, Furrykef, Wernher, JonathanDP81, SD6-Agent, AlainV,
Iam, Acegikmo1, Hif, Tea2min, Centrx, DocWatson42, Malyctenar, Comatose51, Sam Hocevar, NoPetrol, Kutulu, Marcus2, Andy
Christ, MakeRocketGoNow, DanielCD, Rich Farmbrough, MCBastos, YUL89YYZ, Warpflyght, Yincrash, ZeroOne, Steerpike, Roy-
Boy, TMC1982, 23skidoo, Func, Pikawil, Angie Y., PiccoloNamek, Ogress, Michael Drüing, Grutness, Merenta, Alansohn, GenkiNeko,
CyberSkull, Apoc2400, Sligocki, DreamGuy, Kinkoblast, ReyBrujo, H2g2bob, Alai, Kazvorpal, Kamezuki, Dismas, Zanaq, Lemi4,
Woohookitty, TheoClarke, Tabletop, Pictureuploader, BD2412, Rjwilmsi, Zbxgscqf, Marasama, Jb-adder, St. Chris, JanSuchy, FlaBot,
SchuminWeb, G Clark, Aquastor, Lady Aleena, Ignat, Scroteau96, Srleffler, Glenn L, E Pluribus Anthony, Kakurady, YurikBot, Tommyt,
Retodon8, Midgley, RussBot, Splash, NawlinWiki, CaesarGJ, NP Chilla, Robert Moore, Aaron Brenneman, Kelvingreen, GracieLizzie,
Ezeu, Emersoni, Searchme, 2over0, N-Bot, Nikkimaria, Jmackaerospace, Jogers, 2fort5r, Kingboyk, Jer ome, Winick88, SmackBot, Na-
hald, C.Fred, Antrophica, AnOddName, Nil Einne, Master Deusoma, Spacelamb, Valley2city, Chris the speller, Cattus, Anchoress, Victor-
grigas, Sadads, Colonies Chris, Tamfang, Coyau, RiFraS, Yaksha, JesseRafe, Davecampbell, KnowBuddy, Kellyprice, Adambrowne666,
Leon..., Thor Dockweiler, Ragestorm, Ser Amantio di Nicolao, Valfontis, Perfectblue97, James.S, Pennyforth, RomanSpa, Loadmaster,
Hvn0413, Karn-b, Rev-san, Ryulong, Koweja, JoeBot, Chris shanks, Mad77~enwiki, Valoem, Barfbagger, CmdrObot, Fuzzycasserole,
Hiroshi-br, Toreality, NaBUru38, Tim Long, ShelfSkewed, GargoyleMT, Orca1 9904, Cydebot, Lugnuts, Roberta F., NorthernThunder,
Callivert, Binary Dragon, Mad Scientist, Keraunos, Noneofyourbusiness, Callmarcus, Al Lemos, Missvain, JustAGal, Miller17CU94,
George phil, Sensemaker, Widefox, Baiettis1, Sanskritkanji, Alphachimpbot, Spartaz, Wl219, JAnDbot, MegX, Darkman042, Nick
Cooper, Robotman1974, Pax:Vobiscum, Zyxwvutsrqp, Misarxist, Kronnang Dunn, R'n'B, CommonsDelinker, Boston, AstroHurricane001,
Jiuguang Wang, BrettAllen, STBotD, EarthRise33, Diletante, FrostyJack, Midasminus, Olinga, Leekil, Eldaran~enwiki, DesmondRaven-
stone, Raphaelaarchon, EmxBot, SieBot, J. Ponder, Callidior, Svick, Gfoxcook, Explicit, ImageRemovalBot, Sfan00 IMG, ClueBot, Dr-
mies, Trivialist, FerdinandFrog, Alexbot, GoldenGoose100, Rhododendrites, Iohannes Animosus, SoxBot, Chaosdruid, Little Miss Desu,
Addbot, Yobmod, MrOllie, Debresser, Favonian, Jarble, Luckas-bot, Dunottar, EnochBethany, AnomieBOT, Dillypickle, Dvd-junkie, Ra-
dioBroadcast, ArthurBot, LilHelpa, DSisyphBot, Stiivyn, 67SAngelina, GrouchoBot, A.amitkumar, Ricardiana, FrescoBot, Frag-all rock,
Tralala444, Citation bot 1, Jonesey95, Tom.Reding, Hellknowz, Erik Veloso, Vienna famous, Jamous1, Tommy2010, Evanh2008, You, Me
and Everyone Else, ClueBot NG, Snotbot, Danim, Helpful Pixie Bot, Vagobot, Ancorehraq, Benefac, Rodaen, Chalchiuhtlatonal, Sjblake,
93, UESgirl18, RicardAnufriev, Scififembots, Soham, NazcaTheMad, Ugog Nizdast, Asdbsdcsd, MagicatthemovieS, I MAY POSSIBLY
BE KIRA, ColRad85, Monkbot, S.tollyfield, BlaueBlüte, Jhwosk, Markshale, Cathartid, Roengill, Bender the Bot and Anonymous: 234

9.2 Images
• File:Actroid-DER_01.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/16/Actroid-DER_01.jpg License: CC-BY-SA-
3.0 Contributors: Gnsin Original artist: Photo by Gnsin
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