we don't talk about it enough but duck and billy's relationship in amnesty is truly a tragic one.
imagine: you rescue a mindless drone. you save his life, you give him autonomy, you give him language. you teach him trust. you protect him at your own expense. you name him billy. he knows three words in your language, and one is your name. you promise to keep him safe, and he betrays his programming to help you in return. he defies everything he was designed to do in order to aid you.
you save him from being a drone, but in doing so, you kill him. he was never supposed to be here this long. you gave him freedom at the cost of rapid decay, and now he's dying. and if he could just go back to his home planet, he would live, but he doesn't want to. because you're here. duck newton, his first friend, his savior, his guardian. you showed him that there is a better way to live - with free will, with pizza and playstations.
he's damned if he stays and damned if he goes. but you can't watch him suffer. that's not who you are. you're duck newton, local beefcake, defender of the disadvantaged. so you wait until he's engrossed in his video game - in humanity, in freedom of choice - and you strike him down out of mercy.
billy reverts to his original form: a four-armed being of light, once a drone, now a friend. he's beginning to disintegrate, but he has unfinished business here. he never finished his video game. and you give him one last gift of mercy: you lie to him. don't worry, you tell him - that character you're worried about? she's fine in the end. no, i know it seems bleak now, but she turns out okay.
you can't give him anything else, so you give him hope. it's the same thing he gave to you, all those months ago when you saved him.
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TROP S2 SPOILERS
Nobody better say anything bad about my girl Earian she is being manipulated through her grief by the men in power around her and it's making it hard for her to discern right from wrong. I'm not saying that her actions are justified, I'm just saying that she misses her brother and dearly needs her dad, but at the moment she is all alone and that can mess a person up
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“That’s a bold choice, Dalek Supreme, coming to a wedding planet dressed in white! Unless you’re here to get hitched… should I be flattered?”
“We are here to exterminate you.”
“Oh, that’s probably for the best. Not sure River would be up for a marriage à trois… not with a Dalek, at any rate.”
—Eleventh Doctor Chronicles: Victory of the Doctor
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i think the other thing that makes this ep not quite "work" is it isn't... i don't know, it must be aware of this, but it feels like it isn't aware of The Metaphor the alien plot is doing / saying about our main characters, and it doesn't take a second to truly show that to them.
It is showing the chuldur stealing people's identities and doing some good ol' ~disaster tourism~, it tells us what they are doing is wrong, we're expected to be shocked and appalled by what they've done to ruby.
but then there's not really a beat about how the doctor and co do the same thing every day (going to other times and taking the piss out of other ppl's histories / lives, then going off). and in the end even the contemporary human ruby "befriends" turns out to be a chuldur as well. so there's not a single regular human character developed in this.
then there's the whole proposal scene where the doctor and rogue "act" as well during that whole thing, which don't get me wrong was fun as hell, was a thrill to see them play w/ their prejudices, and as I said in my post the dialogue was very meaty for their particular characters.... but on the area of *theme* for this *episode*.... they're just doing the same thing as the chuldur. it feels like no one cares about all the people that are being murdered around them (nor the writers, who don't develop them), just their own fun.
and like the thing with doctor who episodes is, it's not enough to have a high body count, for it to be shocking.... you have to actually give those characters you kill a bit of depth/humanity/relatability, for the death to actually mean anything. ex: in end of the world, bc they show us the blue plumber and rose connecting for 1 little scene, we do actually care about her being murdered by the mini-war of the worlds robots, and care about what cassandra is doing. like the episode says "isn't the chuldur horrific? they are taking actual human beings as set dressing for their fun / entertainment!!" but then... the writing does the same thing by not giving death any kind of gravity / weight.
basically it feels like this B plot of the aliens wasn't properly aligned with the A plot of the rogue and doctor romancing. it works on its own (mostly, tho I still feel there's an element of depth missing in rogue)... but not with all the other aspects. which sucks bc the episode had all the ingredients to truly Bring It Home.
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There's this kind of hybrid artstyle in comics lately that I wanna learn how to do (i just wanna stare at them coz its too pretty). Would it be an insult to call it hybrid? Hybrid in a way that its more anime-ish/cartoon-ish...but still very much in comic artstyle. It's very stylized too, and it's more softer and expressive on the face, and I love it.
I don't know if its a real thing, or I'm just seeing things in my fave artists in comics
Jorge Jimenez (Super Son Vol. 1)
Simone di Meo (Robin 2021 #16)
Belen Ortega (Batman 2016)
Yasmine Putri (Robin 80th Anniversary)
For chibi, theres
Dustin Nguyen (Lil Gotham 2021)
Juni Ba (Boy Wonder 2024)
Other notable artists that I like: (1) Patrick Gleason for giving us RSOB & for drawing kids who look like kids; (2) Joelle Jones for lineart; (3) Christopher Mittens for inking and panelling; (4) Otto Schmidt for character dynamic & fight scenes; (5) Gabriel Picolo for nostalgic DCAM feels
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