question bout Wisteria cos i utterly ADORE her design, is there a practical use for those extra appendages/bladed wires she has?
YES!! Oh my god thank you SO much for asking!!
I kind of am going to dump a lot of information about it below, but here's a quick diagram / explanation!
Essentially, they're used for another means of defense, think searing-hot built-in knives, or when inactive can be used to jack into terminals and the like to hack! Each tendril "end" has a connector concealed in it, and this ultimately allows her hands to be free at all times!
Okay here's the dump:
Wisteria is first & foremost a netrunner, above all. She rarely uses guns or blades besides her cybernetics, so everything on her body HAS to be practical & either for extreme defense (I.E mantis blades) or for hacking. She is equipped with a Cyberdeck and can quickhack enemies, but even the best netrunners can run low on ram or get caught in an unsavory situation. This is the alternate solution, because as much as she ADORES her mantis blades, they really require her to be focused on no more than two (and barely) enemies at once.
The colored part of the blade, when activated, are burning hot when lit; without the digital "blades" not on, they feel like cold steel and cut like knives. Given a blade has been activated recently, they do need a small period to cool down before retreating to their inactive state or using that specific blade to hack a terminal.
To give fairness/limit the reach of these tendrils, they cannot imaginably reach more than her wingspan would be if she were to have a proper set of wings or much rather, the full height of Wisteria themselves (5'4" without heels). Not only that, but the tendril "body" themselves are NOT much better than, for example, the body of a whip. In rare circumstances, yes, you could use them to choke or detain someone, but there would need to be additional support of both arms to pull/tighten to that extent. Think more of a cat's tail rather than a powerful muscle!
Finally, this also poses a very challenging (and fun) design for me personally! Not only does it not make sense to have clothing that rests on her forearms, she almost always needs to have an opened-backed top or dress that accommodates her additional ligaments.
I originally had the idea to allow the tendrils to support her body weight (which would give her extra mobility) but realized it's reaching outside the "grounded in reality" limit I try and give myself. Although a cool concept, this being connected to her spine and the prior mention of it's similarity to a cat's tail, unfortunately feels like a reach. Although it did produce a fun concept sketch!
AGAIN!! Thank you so much for asking, it really made my day and I hope you enjoy this brain dump!! You're AWESOME!!
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steve “cant get out of bed till middle of the day, barely leaves his house or is never home, isolating himself from everyone, never takes time for himself anymore, depressed and is slowly losing more and more of himself every single day” harrington post 1986’
robin “i know you loved her, and it must’ve killed that she wouldn’t take you back, but nancy is happy steve and she still loves you. she’s not the only one out there for you, and you’ve gotta get over it. we miss you” buckley post 1986’, trying to help her best friend
steve “…this isn’t about nancy” harrington.
robin “wha-?… oh. oh steve.” buckley.
he still wears the vest.
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There’s something horrifyingly beautiful about Tess’s final moments. In the midst of the most dire chaos, as she waits for her death to come rushing past so she can blow it sky high and give cordyceps a big fuck you one last time, one of the infected stops. It looks at her, really looks. Her own mortality is personified in this infected. It’s death that’s looking at her, and it sees her. She looks her own death in the eye, and the suspense is so high as it approaches. But then, it doesn’t bite her throat out like we all expect it to.
It kisses her. What’s more, it kisses her gently. And I think it was a brilliant choice on the writers part, because it reminded me that the infected aren’t supposed to be evil. Sure, they’re scary as hell, but really, they’re just trying to survive. They’re connected to one another, they can feel each other from miles away. They seek out and want to be close to their own kind, just like the human survivors do. And when they do find each other, they kiss hello.
And after so long apart from a loved one, someone you know and trust with every instinct in your body, wouldn’t you want to kiss them too?
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just musing about how niko was one of edwin's biggest unconditional supporters and gentle guides in his self-discovery of his sexuality, and i think it's so interesting that we still never saw edwin confide in her overtly about his feelings for/attraction to charles, though he easily could have at any time.
before the cat king ever shapeshifts into monty or charles to tempt edwin to realization, niko's there to tell edwin that it's okay for two boys to like each other, to let him know it's okay if he noticed monty when they first met, or if he enjoyed the idea of monty liking him; and she plainly tells him that he's completely allowed to want explicit things with another boy.
they talk about edwin's feelings and desires multiple times - he admits to her he's never kissed anyone, and even that the idea of kissing has become appealing to him. she asks him, does he want to kiss monty? does he want to kiss the cat king? but she never asks him directly, does he want to kiss charles? charles is the elephant in the room of that conversation, so to speak; the only other boy they know, the one she knows edwin is actually closer with than anyone else.
but she doesn't ask edwin about charles.
i think it's actually one way niko shows her love and care for edwin, her perceptive understanding of his boundaries, and her respect for his comfort, that she never pushes him to open up to her about this most vulnerable and newly-developing aspect of his truth—that his feelings are for charles—who is already the most important person in his life, and thus so much more life-alteringly consequential to him. even though she hasn't known edwin a long time she seems to grasp that he needs both the push and the personal space to come to his deepest realizations, even as she opens the door for him to come to them.
(i did consider for a split-second that maybe she never realizes it's charles that edwin's in love with, but i vetoed that thought immediately because... edwin just seems too deeply unsubtle for that to ring true. monty can see he's been passed over for charles. the cat king knows it immediately and asks about their 'special friendship,' and not just because he can literally read edwin's desires. crystal is going through amnesia and an identity crisis, and she still clocks that edwin and charles are like a married couple. so it only makes sense that niko can see it as well.)
plus, niko's got excellent reading comprehension, by her own admission; and she and edwin bond over both being great, astute detectives—getting to the bottom of a case is a love they share. and so i just think it's neat that between niko and edwin, the conversation about charles seems to remain deliberately unspoken even when it could easily become overt.
instead she speaks to edwin about charles in metaphors. she starts their conversation about physical intimacy and romance specifically with drawing edwin's attention to the red and blue starfish. "isn't it romantic? they're in love." they proceed to talk about monty, and about the cat king, but i doubt either she or edwin could fail to notice the color symbolism there. and when edwin tries to get scientific about it, she reminds him, "luckily, love requires no logic." and finally she gives him the red sea glass, for courage. courage to help him come to terms with what—and whom—he really wants, whoever it could be.
and in the end... edwin tells niko, "i did actually tell the boy i like that i like him." this is directly after niko tells edwin she's sorry monty turned out to be an evil spy crow and she and edwin commiserate about how things with monty didn't work out for him. and obviously, it was never the cat king edwin really liked. so, just like that, through process of elimination, edwin can only be talking about charles. and even then, they never say his name. they never have to.
i just think there's something awfully soft about how edwin's feelings for charles are first so deeply ingrained and natural to him as to be something he had to be woken to rather than something that happened to him suddenly. then once he was awake to what he felt and wanted, there's something i find lovely about the deep bond niko has with him, that she understands and honors his need to speak around his feelings for charles while holding space for him to still share them with her in his way. something about how charles is so deeply loved that it is easily understood, that he is there in the conversation without his name ever needing to be spoken.
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