Four arms, two for each side. Four harsh, jagged metal claws for feet with one protruding to the back and three to the front. The toe towards the back was much wider - almost three times - coming out at a high angle and spiking the floor for extreme balance, modulating with two small hydraulics that set the angle downwards. Its legs were composed of both metal and a thermoplastic in a dull gray, a frame of iridium, two spokes towards the knee joint, surrounded by the thermoplastic. It was heat regulated, as it diffused the excess heat from processes and movement, also storing lubricant for the enclosed joints. The plastics were divided by supporting struts of iridium, as well as small bolts for maintenance and adjustment. Inside the knee - a bearing connecting upper and lower portions of the leg - sat a circular cylinder that rotated with each movement, made for easy replacement. A large plate of metal composed the kneecap, resting below a thigh composed mainly of elastomer, with a femur of iridium beneath. Both legs connected with joint bearings to the hips, which was suspended somewhere beneath the machines abdomen, allowing gyration. The torso of the machine was sealed, air-tight and pumped full of argon to prevent degradation of internal components, modeled rather robustly with a lean abdomen in a tight, less pliable plastic which lead up to touch the edge of the more pliable thermoplastic of its chest. The center-line of the machine jutted forwards, giving a peaked appearance forwards, a rounded triangle almost. Several panels lined the chest, seamless and most likely commanded by the machine, no doubt. The arms attached to the torso in similar fashion to the legs, using joint bearings for maximum mobility and freedom of motion, holding the limb tight enough without being too tight to make replacement a pain. Similar to the legs as well, the upper arm was simplistic and consisted of one bone enveloped in plastic, while the forearm was more advanced in appearance, frame of iridium sticking out, paneling, rotating cylinder joints, and even a similar cap over each elbow.

Hydraulic beams on the underside of the forearm indicated that the limb was capable of extension, possibly giving the machine another half arms length. The head was unique, the newest and most effective design in the Nexus project. A thick neck with two hydraulic rods both front and back. The neck material was the same black as the abdomen, meaning it was the more rigid variant of plastic. The majority of the head was solid iridium, brushed to give a dull gray colour slightly brighter than the thermoplastic. In the front, it was made into plates, four which separated themselves and acted as eyebrows or a way to display emotion. The plates were on either side of a large blue lens that beamed calmly outwards, dimming and brightening that related directly to the width of the aperture and the level of zoom. The head gently roiled backwards, two square indents on the left and right side of a center ridge which ran back about three quarters of the head before making a rounded spike. On either edge of this spike - a bit further back and tighter against it than the aforementioned indents - were two long spikes that rotated and twitched, sensors disguised to look like ears almost. Two panels on the side popped out, controlled by little electric motors that articulated the plate. Not only did this house the delicate microphone setup, it also served to display emotion further. Its voice was a smooth baritone, designed as such to conceal the robotic warbling of its voice. If one listened close enough, they could actually hear the wavering double-tone effect the speakers beneath its chin created. A design flaw, if it had anything to say about it.