I don’t think it’s a coincidence that the corporations in the book are themselves pretty fluid in their identity. If you re-read Head On with this is mind, there are all kinds of other subtleties.
It was around that moment-suddenly having to rethink my mental image of Chris-that I realized there were a lot of things I hadn’t picked up on about the protagonist…
For instance, the reader doesn’t find out that Chris’ Dad is black until about two-thirds of the way through the book. As in Head On, Scalzi doesn’t make Chris’ gender-ambiguity a big deal, but he does throw in a few Easter eggs. What came across as possibly “kink-shaming” was a way to tweak the reader into thinking about gender and sex. I’m guessing that’s part of why Scalzi spent so much time talking about the sexual possibilities and gender-fluidity of threeps.
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