Beyond the Binary: Nebula's Hybrid Body and Her Feminist Evolution
Katherine Terrell - May 24, 2024
Although not the first superhero or villain in the Marvel cinematic universe that anyone thinks of, Nebula is a crucial character as she has a hybrid female artificial body with a feminist story arc. So far, the character has appeared in five live-action films (Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, and Guardians of the Galaxy Vol. 3) and the recent animated show What If…? In the Marvel cinematic universe, her chronological story begins with her adoption by Thanos (the “big bad” of the Marvel universe) and his decision to raise her. But Thanos had also adopted another: a little girl who would become Nebula’s sister and rival - Gamora. As they grew older, Nebula and Gamora would battle with each other. Every time Nebula lost, Thanos subjected her to torturous mutilation, replacing parts of her body with cybernetic enhancements. Nebula developed a deep hatred toward Thanos and resentment towards Gamora for not treating her like a sister. However, through the course of the films, she eventually reconciles with Gamora, becomes a member of the Guardians of the Galaxy (as a superhero), and works with the Avengers to stop Thanos.
Nebula, like the ship of Theseus, has been slowly replaced over a long period. She started as a flesh and blood being with no artificial technology embedded in her, and slowly, over time, Thanos replaced her part by part.1 But this raises the question of how much of the original Nebula is left? One key difference between the Ship of Theseus and Nebula is that the ship was replaced with a similar material, whereas Nebula's replacements became artificial upgrades. Instead of replacing wood with wood, Thanos replaced flesh with metal. Is there a point where Nebula becomes more artificial than flesh? Notably, there is a torture scene in the film Avengers: Infinity War where Thanos slowly rips Nebula apart (Fig. 1). The viewer can see the different sections of her body and see more clearly the artificial additions vs. the original flesh. Clearly, Nebula has not yet become wholly replaced (like the Ship of Theseus), but is she more flesh or synthetic? And does that matter in superhero stories?
Figure 1: Avengers: Infinity War, Thanos tortures Nebula.
Scott Jeffery's chapter "Animal Bodies and Artificial Bodies" focuses on what counts as human and how superheroes and super beings tend to see the definition much more broadly. Rather than focusing on the physical aspect, the emphasis is placed on the mind, allowing for a more inclusive understanding of humanity. This is characterized by the idea that artificial intelligence can be transferred to various bodies while maintaining the essence of the same entity. Jeffery's example in his chapter on The Vision claims that his humanity is "...explicitly linked to his capacity for human emotion, specifically love"2. This suggests that emotional and cognitive aspects are crucial in defining humanity in the superhero realm. This analysis can extend to characters like Nebula. She is an alien from another world who challenges the conventional understanding of human identity. Despite her non-human origin and technological bodily takeover (caused by her father), this argument posits that Nebula's ability to experience human emotions, such as love, blurs the line between artificial andhuman. Because of her emotions, she is more human regardless of what precise percentage of her body is technologically enhanced (as suggested above with the Ship of Theseus analogy.) This viewpoint transcends the technological enhancements she possesses, asserting that emotional depth contributes significantly to her human-like qualities. But she is also still a female cyborg, and that in and of itself is rare in the superhero universe.
Most artificial or technological hybrid bodies in the superhero universe are masculine, such as Cyborg, Cyclops, Vision, and Ultron. These bodies are techno-masculinized androids or cyborg hybrids. Scott Jeffery's chapter "The Military-Industrial Body" explains how this concept took shape and why female characters are less likely to have technological enhancements. Jeffery uses Cristina Masters's claim that "The cyborg soldier has blurred particular distinctions between machine and man, where technology embodies masculinity…" and that "...military technologies have been techno-masculinized, while human soldiers apart from technology have been feminized and reconstituted within the realm of those needing protection"3. So, technological enhancements are viewed as masculine, and technology is seen as superior to the male body.
But what does Jeffery's argument mean for Nebula? As Thanos's creation, Nebula is a manifestation of military technology and biomechanical enhancements. Her origin story involves being transformed into one of the most formidable killers in the galaxy through a process of constant enhancement by her father. What stands out in Nebula's case is the unexpected outcome – rather than becoming more masculinized with each enhancement, she initially undergoes further feminization. In his pursuit of perfection, Thanos designs Nebula not only as the ultimate fighter but also as the perfect woman. Nebula's transformation, driven by military technology, defies the conventional narrative of technology being inherently linked to masculinity. Instead, it introduces a nuanced perspective where technological enhancements contribute to the feminization of the character.
This is a complex issue since Nebula's female appearance has changed across mediums through the years. The comics depict her as the ideal woman to the male viewer's gaze (Fig. 2). She has gorgeous wavy hair; she is curvy but slim, muscular but not over the top, and of course, like many of the comics from the ‘80s and '90s, she has a large chest. The only evidence of her artificial nature is her wrists, which fire destructive beams. In the later comics, her appearance changes to one more similar to her film adaptation (Fig. 2). She becomes bald, emphasizing her artificiality while retaining her physical attributes. The first on-screen version of her is similar to the later comics; she is curvy and sexualized, yet still bald and buff (Fig. 2). And yet, still both female and artificial. One of the more recent iterations of Nebula returns her to a more glamorous female form. In the animated What If…?, Nebula has long, wavy blond hair and rocks a gold sequined dress (Fig. 2). This version starkly contrasts with the earlier, more masculinized depictions, showcasing a more feminized and seductive Nebula.
Figure 2: Collaged Image: Nebula in the early comics, Nebula in the later comics, Nebula in Guardians of the Galaxy film, and Nebula in What If…?
But to take this one step further, we will have to discuss the most recent Guardians of the Galaxy Vol. 3. This version pushes against the previous argument of progressive femininity as filmmakers chose to recently masculinize Nebula's body, subverting expectations and adding complexity to the character's portrayal. This deviation underscores the fluidity in Nebula's representation. By choosing to craft an androgynous appearance for Nebula, the filmmakers break away from the established trend of associating technological enhancements with a stereotypically masculine physique. This challenges the notion that artificial bodies are inherently aligned with a specific gender—as we have now seen feminine and male technology-enhanced bodies in films, but few androgynous ones. In doing so, the filmmakers acknowledge that technological enhancements need not conform to traditional gender norms, opening up possibilities for diverse representations within the superhero narrative. Although Nebula has seen many different forms of her character throughout the years, with various degrees of masculinity and femininity, she breaks down the assumption that artificial or technological enhancements are only for a binary gender. Technology is not superior to the male body; it is simply superior to the flesh and blood body.
Nebula's hybrid artificial body may be superior to a flesh and blood body, and she (typically) has a female-presenting artificial body, but what does this mean for her as a feminist? Nebula may not appear to be a feminist at first, but that does not mean she is not one. One of the core ideals of feminist ideology is having control over one's own body, and yet Nebula is constantly technologically adjusted by her father. Thanos subjected her to torturous mutilation, replacing parts of her body with cybernetic enhancements as he saw fit. In one of the darker scenes, where Nebula is framed as a villain, in Guardians of The Galaxy: Volume 2, Nebula explains,
As a child, my father would have Gamora and me battle one another in training. Every time my sister prevailed, my father would replace a piece of me with machinery, she won, again and again, and again, never once refraining. So after I murder my sister, I will buy a warship with every conceivable instrument of death. I will hunt my father like a dog, and I will tear him apart slowly, piece by piece, until he knows some semblance of the profound and unceasing pain I knew every single day.
Not only was Nebula slowly enhanced artificially, but it was also painful for her physically and emotionally; thus, she sees the only way to heal from the pain her father inflicted on her as getting revenge. Nebula is never seen as good enough by her father and does not have free will over her own bodily desires; she is constantly subjugated by her father's desires and her father's male gaze. Not only is Nebula's body conditioned to be a certain way by her father, but so is her mind and her very existence. Nowhere is this more prominent than in Avengers: Endgame.
During Avengers: Endgame, the 2014 version of Gamora (Nebula's sister) frees the 2025 version of Nebula, then they both go to recruit the 2014 version of Nebula. They try to show her that the future is bright for both of them, but Thanos cannot be a part of their future. The 2025 Nebula says to her past self, "You can change," to which the early 2014 version of Nebula replies, "He won't let me." This quote shows how broken and scared Nebula is of her father, Thanos, and how her entire life has been devoted to him. Gamora also says to the early version of Nebula, "you don't have to do this," and Nebula replies, "I am this." This quote reveals that her nature has been drilled into her so much that she identifies her very existence with her father's needs and desires.
Although it may not be apparent, Nebula is a feminist character, and her storyline is also. The early versions of Nebula are represented as dependent and weak, a character who is submissive to her father. She is loyal, fearing that she would be reduced to scrap metal if she did not comply with his wishes. But eventually, she overcomes her fear, and her fear becomes rage, as she forms the motive to kill her father Thanos for the pain he has caused her. Throughout her on-screen appearances, Nebula overcomes the issues with her father and sister and thus also overcomes her own identity struggles. Thanos is "snapped" from the universe at the end of Avengers: Endgame, and Nebula emerges as a liberated character. For the first time, she can experience empathy and victory with her comrades and friends. Nebula's storyline is a feminist one since it emphasizes her free will and ability (and power) to overcome the abuse from the dominating male figure in her life. Nebula also regains control over her story and can finally make her own decisions, free from her troubled past. She is a powerful and inspiring feminist in the Marvel Universe.
Her character arc demonstrates key feminist themes, such as the empowerment of women, the assertion of agency, and the overcoming of patriarchal oppression. The first film depicts Nebula as submissive to her father. This depiction aligns with traditional gender roles, where women are depicted as subservient to men. However, over the course of the film series, Nebula's character undergoes a drastic transformation. As she begins to overcome her fear of her father, she becomes enraged by what he did to her (and thus, she is also empowered to take control and change her story.)4 Finally, once Thanos is no longer in the picture, Nebula is liberated and free to truly make her own decisions. Nebula’s story arc aligns with feminist narratives, emphasizing a woman's ability to challenge oppressive power structures. Her story exemplifies empowerment and autonomy. These key feminist themes are present within Nebula’s narrative, making her a feminist character.
Figure 3: Nebula in Guardians of the Galaxy Vol. 3
Nebula’s version of feminism is very different from the version depicted in the earlier Wonder Woman comics. Wonder Woman is an overly sexualized female superhero who is part of the first wave of feminism. According to Lillian Robinson in Wonder Woman: Feminisms and Superheroes, "Marston's brand of feminism was, its result, a hero who told women - the characters she addressed and all of us readers who were eavesdropping on her speeches - to stand up for and, if necessary, by themselves"5. This form of feminism is very different from Nebula’s form of feminism since Nebula inspires others through her actions instead of words.6
In conclusion, Nebula emerges as a compelling character, transitioning from a villain to a superhero with an artificial female body. Her storyline, marked by power and resilience, showcases her ability to overcome significant obstacles imposed by a dominant male figure. Nebula's identity as a hybrid super being, coupled with her feminist narrative, positions her as a crucial and influential character in the Marvel universe. Through her story, she not only contributes to the evolving representation of gender and technology—she further challenges this by presenting a more androgynous version of the character in the most recent film—while also underscoring the importance of resilience, empowerment, and supportive relationships among women.
Notes
1 When thinking of the artificial aspects of Nebula, we find that her enhancement process is similar to that of a famous mythological ship. The Ship of Theseus is a thought experiment about whether an object with all of its components replaced remains fundamentally the same object. Theseus was the mythical Greek founder-king of Athens, and ancient philosophers raised this question: If the ship of Theseus were kept in a harbor and every part on the ship were replaced one at a time, would it then be a new ship? Some common follow-up questions are: If it is not the same ship, then at what point did it stop being the ship of Theseus? If it is the same ship, then could all the removed pieces be reassembled to form a ship, and would that be the ship of Theseus? Levin, “Ship of Theseus”.
2 Jeffery, The Posthuman Body, 144.
3 Jeffery, The Posthuman Body, 123.
4 Admittedly, killing isn’t the “right” thing to do. But Nebula's desire to kill Thanos serves as an example of resistance against patriarchal oppression. As she goes on a quest for vengeance, she begins to break free from the dominating male figure in her life.
5 Robinson, Wonder Woman, 56.
6 She also doesn't accomplish anything alone. It's only after she and her sister Gamora finally understand each other that they are able to work together as sisters. (All the while leaning on each other for support and comfort.) Gamora helps Nebula overcome their father's influence over her. They even try to save an earlier version of Nebula (this act would've rescued Nebula from years of pain at Thanos's hand). Not only is Nebula's storyline feminist, but her bond with her sister is as well. The idea of dangerous competitiveness between women is challenged by Nebula and Gamora's eventual sister bond; they promote a positive relationship between women. Women who work side-by-side can accomplish way more than women who have to fight each other.
Bibliography
Jeffery, Scott. The Posthuman Body in Superhero Comics: Human, Superhuman, Transhuman, Post/Human. 1st ed. 2016 edition. New York: Palgrave Macmillan, 2016.
Levin, Noah. “Ship of Theseus,” August 12, 2022. https://open.library.okstate.edu/introphilosophy/chapter/ship-of-theseus/.
Robinson, Lillian. Wonder Women: Feminisms and Superheros. New York: Routledge, 2004.
