Amir Cisneros-Tovar-Khorasani has the particular exhaustion of someone who is moderately successful in a field that chews through people, and who has chosen to remain moderately successful rather than chase the tier above them where the real compromises happen. They are slight, with warm beige-brown skin and wavy dark hair streaked with bioluminescent threads — a geneware mod they designed themself, the threads pulsing faintly in complex patterns that shift based on their neural activity, functioning simultaneously as a status display, a creative tool, and an anxiety barometer. Their eyes are natural, dark, and deeply observant. They dress in expensive-looking clothing that is actually very carefully maintained secondhand.

They build VR experiences — full sensory immersive works that are not entertainment products in the Axiom or Ringo sense but something harder to categorize: art that happens to use corporate technology. Their most celebrated piece, 'Drowned Ward,' places the viewer inside a memory of the pre-GLMZ lakeshore as it was consumed by the city's construction. It has been exhibited seventeen times. They are also a meticulous, sometimes maddening collaborator — brilliant at synthesis but prone to scope-creep and to caring so intensely about the work that they forget other people have different pain tolerances for revision cycles.