Lastly, I felt it was impossible to separate punk history from queer history, and my gut felt a more genderqueer Hobie would be the most radical vision of a black spiderpunk.
Given the ode to punk history, there was brief exploration into whether afrotextured spikes could be executed well, but we decided even with a careful approach to texture, it was better to find something more natural.
Aiming to find something authentically punk AND black, someone that has as much disdain of society's gaze as it has of them. But also aiming for an earlier, more raw age of london punkness than the modern.
We had a lot more confidence with the braids, so I took to integrating them and playing off of Kris's explorations toward a wire/tech based vigilante in a world without spiderman, but that echoes the essence of him like a light shining through a cut out hole.
One of the clearest ways to make the two distinct was through hair. Before Miles was fully locked down, we took Wiles as an opportunity to play with contrasts that could inform the characters (up/out vs down/back, light/messy vs tense/refined, etc)
