2077, A Breast Expansion braindance.
Trying out some differing techniques for story telling.
You will have to forgive the break of convention, the perspective is of the woman on the right in part 1, but I have used dialogue styling that belongs to a first person protagonist, but I think it will be ok.
Obviously we are set in the Cyberpunk 2077 universe. You can probably tell precisely where if you squint.
if anyone is unfamiliar, braindance is like kind of recording someones raw sensory input and then it can be played back later. so shes being recorded and then in the very final panel is watching it back. (thats the little headset thing).
the idea being this nurse character is giving her the implants for free in exchange for using her as a braindance actor, recording the experience. then in universe you would sell it and make money from all the weirdos that want to replay it.
Visit https://linktr.ee/zhiva_overdrive for Implant & Body Modifications morphs captions/stories.
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Did a short Facebook Live video where I inked this #MollyMillions drawing on cardstock. It’s a modification of a #ink #sketch I did a few weeks back.
The video is on my Facebook Page. Check out the page here.
I’ll try to do more of these FB Live videos. I can download them later for YouTube and not have to worry about running out of space on my phone when recording.
#cyberpunk #razorgirl #streetsamurai #SallyShears #Neuromancer #SprawlTrilogy #WilliamGibson #fanart
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This #throwback goes out to @keith_puryear. He's been doing a ton of #cyberpunk art recently. I was purging my portfolio from art from school I came across this old drawing of the #razorgirl, Molly aka #mollymillions, aka #sallyshears, (not to be confused with Keith's wife @mollypuryear) from #williamgibson's #neuromancer. #streetsamurai
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Molly Millions - Perhaps the Baddest Bitch Ever
She was half out of bed when Prior came through the door, like really
through it, because it was still shut when he hit it. He came through it
backward and it just went to splinters and honeycomb chunks of cardboard.
She saw him hit the wall, and then the floor, and then he wasn't moving anymore, and someone else was there in the doorway, backlit from the other room, and all she could see of the face were these two curves of reflected red light from that fake sunset.
Pulled her legs back into bed and sank back against the wall, her hand sliding down to . . .
"Don't move, bitch." There was something real scary about that voice,
because it was too fucking cheerful , like throwing Prior through that door had
been kind of a treat. "I mean really don't move. . . ." And the woman was
across the room in three strides, very close, so close that Mona felt the cold
coming off the leather of the woman's jacket.
"Okay," Mona said, "okay . . ."
Then hands grabbed her, fast , and she was flat on her back, shoulders
pressed down hard into the foam, and something -- the shockrod -- was right in front of her face.
"Where'd you get this little thing?"
"Oh," Mona said, like it was something she might've seen once but
forgotten about, "it was in my boyfriend's jacket. I borrowed his jacket. . . ."
Mona's heart was pounding. There was something about those glasses. . .
"Did shithead know you had this little thing?"
"Who?"
"Prior," the woman said, and let go of her, turning. Then she was kicking
him, kicking Prior over and over, hard. "No," she said, stopping as abruptly as
she'd begun, "I don't think Prior knew."
Then Gerald was in the doorway, just like nothing had happened, except he
was looking ruefully at the part of the door that was still on the frame,
rubbing his thumb over an edge of splintered laminate. "Coffee, Molly?"
"Two coffees, Gerald," the woman said, examining the shockrod. "Mine's
black."
You can find “Mona Lisa Overdrive” by William Gibson here.
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