#i wanted to be more abstract with the elements

[somdachuvadenoite]

Been thinking bout @myaami s fic ever since i finished it. This is a illustration I did for chapter 2. I do want to make one for each chapter and it was supposed to be black and white butttttt it’s fine, maybe the others I’ll keep b&w.

Go read it!!!! https://archiveofourown.org/works/21816376/chapters/52062352

Myaami, if you’re reading this just know that your writting is so fucking goooood, can’t wait for your next longfic project ❤️‍🔥

[starfishupatree]

[belfrygargoyles]

I feel like if I had a stronger foundation in woodblock and printmaking as like a physical medium this piece would be a lot less tedious and challenging for me

[orcelito]

i performed Hair Reconstruction Surgery

it's imperfect, but will work for Icon Purposes

[pochapal]

watched glass onion the other day and i can't stop thinking about it and i also can't decide if i actually liked it or not even after watching it twice which is very frustrating

[newdanganronpaversionthree]

im genuinely only interested in drv3 and dr:ae im a fake fan

[sugar-grigri]

Denji no longer has access to his heart

The golden rule in Chainsaw Man is to focus on the title, since it's the key to reading the story.

Rain, Brothel, Removal seem to be three absurdly unrelated elements, and Fujimoto likes to put it that way, because the challenge for the reader is to find a way of reading that links them together.

This chapter is funny as well as disturbing, deeply sad, and in itself this collection of sensations just makes you uncomfortable, since the tone is always reversed, and the protagonist himself refuses to allow his situation to be a comic spring.

Fujimoto confirms an interpretation that is fundamental to understanding Denji: his character thinks only in terms of short-term objectives, incapable of projecting himself, just as he responds only to the satisfaction of needs without being able to verbalize and think about his unhappiness in a more abstract way.

Denji, for example, isn't thinking about whether sex is actually a solution to his problems, no, it's more concrete than that: he's thinking about whether he's masturbated recently.

Another piece of evidence is the rain. I've always thought that when it rains in Fujimoto's works, it's proof that no lies are being told.

Whether in Look Back with a silent victory, the school moment with Reze and Denji.

But that's not what we're interested in here, because there's no doubt that Denji is sincere, or at least the rain only shows us that he's sincerely desperate.

There's a subtlety....

Denji complains that he only thinks with his dick, but there's another, more philosophical and certainly less funny idea behind this: Denji only thinks through his body.

The rain, the amputation, the brothel - they're all proof that Denji only thinks with his senses.

Denji thought the brothel was the solution to his distress, it's when it started raining that he collapsed, as if the change in weather had evoked his own emotional change. Yoru's solution is amputation, another physical sensation and solution.

Amputation is a solution all the more symbolic because it's antithetical to what Denji is: a demon man capable of regeneration.

To amputate is in itself not to regenerate, and not to regenerate is in itself to be more human.

What distinguishes us from animals (although science relativizes this) is the way we think about our own emotions, something Denji is incapable of doing, or at least has great difficulty in doing.

This doesn't mean he can't verbalize it at all, but when he evokes, he evokes a sensation, a dish (a shitty hamburger, a steak, a ton of sex).

Even when he wants to be loved, Denji formulates it in the form of wanting his heart, almost organically.

No one wants Denji's heart because it's gone

And it makes sense, because Pochita has reassembled his entire body, except for Denji's heart, which has literally been left in that garbage can.

That's why, when Pochita lets Denji access his feelings, the place is symbolized by a garbage can.

When Denji asks Pochita to wake up to find Nayuta, Pochita asks him where his legs are, because Denji's only function is to be a body.

And now everything makes sense again

When Denji spoke his dream to Pochita, being Chainsaw Man, I think there was a certain feeling in every reader: what exactly does it change?

What if it changes nothing? It's normal for Denji not to be able to project himself in the long term, as he should symbolically listen to his heart.

Denji's inability to have a dream, a goal for the future, is symbolized by him and Pochita as children.

It doesn't mean that Pochita is an antagonist (although that could be cool), but that Denji and Pochita are prisoners of their own situations.

Denji doesn't have access to his heart, but Pochita is contractually bound to what Denji wants.

This is also why, when Denji reproaches himself, it's his child self who's addressing him, because the only way to reproach himself, to feel guilty, is symbolized by his old self, the Denji that Pochita may have known. Just as Denji doesn't have access to his heart, Pochita has difficulty gaining access to the person Denji has become, all of which only leads to stagnation.

Denji as a child is also the symbol of a scumbag, the remnant of a lost heart, always dressed in poor, dirty clothes, a past that Denji seeks to escape, but a past that is the only time Pochita has been able to get to know Denji.

I know it's a pretty crazy line, but it's precisely because Denji is Chainsaw Man - a being both fused and disconnected - that he thinks with his dick lol

Saving Chainsaw Man by killing Chainsaw Man has never been a truer statement

Chainsaw Man is Denji's prison but also his only hope

A cage

[tgcg]

this is my element (+ album)

asking me to pick my fave album is like asking an orphan matron to pick her favorite baby boy

thats some weird and cruel circumstances to put upon me i feel like it changes every damn week like a rota

i mean what if my beats misbehave and i gotta put 'em in time out i cant play permanent on that theyre too cute

but yknow what i can show you one thing thats been on my mind lately

===

so when i was a kid we had this skateboard vid by "element skateboards" on DVD

they were this skateboard kit slash apparel company that was all about progressivism and shit and they did these much lauded comp tapes of dudes riding around on their boards and doing the dopest of macho tricks on the shit

flipping it turnways

putting the rock in the house like a big man

we had some of their merch actually

===

so anyways the one we had back then was This Is My Element

released 2007

mostly clips from cali i think and i mean the camerawork is fucking insane on some of those shots

this is gonna sound lame as fuck but i prob spent so many cumulative hours just peelin through the footage and ogling the shit outta it

that framing was tight

===

so you may be asking yourself or me

dave you genuine dicksucker i asked about your fav album not your favorite sordid ass display of smooth dudes hardcore riding and grinding them boards in public dude you have a problem

ok well that wasnt a question first of all so jot that down

but anyways to THAT i say

listen to the music

the whole thing has an original soundtrack of ambient beats

got some abstract hip hop jams, got some more indie stuff, lots of acoustic sampling

HELLA underground

and basically every track minus one is done by sampler beast david p. madson AKA "odd nosdam"

dude is my hero seriously

he is the master of the beat machine i shit you not hes always been kinda my idol on this stuff

aside from bro obviously

===

obviously.

===

anyways he had an E-mu SP-1200 which is a really oldschool sampler invented by dave rossum in the late 80s

revolutionary to the hip hop scene

nosdam had this mega distinct sound to his music that i always wanted to replicate on my own beats

still do

i dont know for sure if he used it on T.I.M.E. but he uses some of the same samples from "vol. 9" which was exclusively SP-1200 so im gonna get a lil j’accuzi on that

it couldve been a boss dr sampler SP-202 though idk

he had one of those

===

so aside from beating the shit out of the pause/resume button to flip my whole cranium at the cinematography or whatever i would also kinda play it on loop to listen to the soundtrack and space out at 2am

the lonely broner seemed to free his mind at night

ok shit broner is good but i didnt mean it like that

that was goofy lets just keep movin

it was the only way i had to listen to it back then but i mean the video is 50 mins long so its basically just an odd nosdam album with accompanying ambient skater sounds and random expletives and whatever

random car sequence

yknow what i dont think people respect enough?

the dude who catches all the "mad stunts yo" on camera

i swear to god at least half the time hes ALSO on a board and that shit is bananas to me

bros gotta be on some whole other level of zen to skate good AND catch all them glamor shots of his fellow skater

thats like an express ticket to the ER imo

the ambulance is already on the scene watching you like an eager crow watches a half dead dog

===

ok gonna go ahead and lay it out flat

not great on a board myself

kinda dogshit at it actually

so maybe im not exactly an arbitrator of skateboard heinousness

but i always kinda liked watching THEM do it i mean who doesnt?

whats an even crazier layer to stack on the "dave" cake is

and dirk told me this because unfortunately it kinda happened post-2009

he would do all these collabs with one of my childhood favorite underground rappers david cohn aka serengeti

surrounded by daves left and right dude even before all the time travel horseshit

thats like

serendipitous as fuck i think!

===

if sburb was just a revolving door of artists called dave that i could bump fists with

instead of other mes in various states of aliveness tending toward extremely dead

i wouldve probably given it something higher than 2 stars on my TGN review

===

so yeah you ask me my favorite album its T.I.M.E. by odd nosdam i guess

bump that shit on a walk your mind will go places unknown to man

[starlightomatic]

I understand the argument people are making about the ways that grief is politicized, and compassion racialized. As in, I do understand what people are saying when they point out the media humanizes Israeli death and normalizes Palestinian death. And I see how Palestinian death is normalized, and depersonalized. And abstracted. I see images of individual Israeli victims, smiling, posted by family; I see images of rubble in Gaza. Mass destruction, in its way, depersonalizes the victims.

And.

I do not think those who point out these dynamics understand how it comes off when you are reading it and you are Jewish. They look at this only from the big picture; how does media manipulate? Who do we humanize and mourn? Whose deaths do we expect, or worse, accept? How do race, power, and empire, play in? And end up saying what are actually very, very callous things about Jewish and Israeli death and pain.

There's an element here, also -- and I think I've heard this outright -- of "I cannot, and in fact refuse to, feel any sympathy for Israeli death and pain when the world does not show sympathy for Palestinian death and pain." As though it is the fault of the Israeli dead that this is the case -- because they are Israeli (or migrant workers who live in Israel, or Bedouins who live in Israel) -- and Israel is in many ways a tool of US imperialism -- and both Israel and the US have vested interest in the dehumanization of Palestinians. Your response, then, is to dehumanize everyone.

I know you are already fashioning the criticisms the I am a hand-wringing liberal begging you to consider "both sides" with no understanding of power dynamics, or imperialism, or settler colonialism. I could repeat the aphorism that moral consistency is not moral equivalence but that is not, actually, the point I want to make here.

When Jews in your life, and on your dash and social media feeds, publically mourn Israeli and Jewish death, it is not a ploy of the "Western media." When we express fear and alienation when people defend or deny violence against Israelis and Jews, it is not a PR stunt. It is not a demand that you care more about certain lives because they are "white." Jews in mourning are, right now, tools of empire and colonialism. We are not, ourselves, empire and colonialism. That you cannot separate us from the US military-industrial complex and the US media says more about you than it does about us.

And: I do not think you understand why we are mourning. Why millions of us are in grief, pain, and fear. Why so many of us have not gotten a full night of sleep since before October 7th. It is not only because many of us have lost friends and family members, or friends of friends. It is not only because a few days ago our news feeds were covered in picture after picture of missing people posted by their loved ones with a phone number to call if anyone knows anything, but now our news feeds are covered in picture after picture of people confirmed dead.

It's because this is beyond the individual. When one member of the Jewish people dies, it affects the whole. We have lost over 1300 people, a number that includes mostly Jews as well as the Thai migrant workers, Nepalese students, and Bedouins who live alongside us. This is the largest number of Jews killed at once since the Holocaust. We are not a large people; we number about 16 million. Every Israeli knows someone who died or was kidnapped, and many American Jews do as well. It affects us all. When 11 Jews were killed in Pittsburgh, the entire Jewish world shook and was shaken; sleepless nights and fear and horror. And now 1300. More than were killed in the Kielce progrom, a brutal massacre of Jews in Poland who had just returned from the death camps. More than were killed in the Farhud, a massacre of Jews in Iraq in 1941 on Shavuot, one of our holiest days (as in this attack, which happened the morning of Simchat Torah).

Ancestral trauma lives in our bones and memories. The knowledge of attackers entering house after house, going bed to bed killing residents from the youngest to the oldest, sparing not even the most defenseless, who could not have posed any threat to an armed fighter... it ignites our deepest fears. Makes them a reality. Jews have spent the past seven decades trying to convince ourselves we are safe in our beds; that no armed men will burst in. When hundreds lost their lives in just this way... it rocks the basic core foundations of Jewish felt safety. Anywhere in the world.

You are already formulating arguments that Hamas, no matter what they have done, is not Nazi Germany, and I know this. You are telling me that Palestinians have less power, are the ones being brutalized, colonized, killed by a military regime. I know this as well. You are ready to lecture me about the right to armed resistance, taunt me that rocking Jewish safety was exactly the point, or perhaps announce that none of this really happened at all, because a slide you saw on instagram told you it didn't. More than anything, you want me not to center myself in this; you want to imagine that it had nothing to do with Jewishness, that it's only a coincidence that Jews are the ones colonizing Palestine.

I am asking you to stop. To pause. To think for a moment that what you are framing as either a ploy of the Western media or the excuses of colonizers is something else. That people in deep collective grief and fear and trauma actually have a right to feel that grief. Trust, I know and see the ways that grief is being instrumentalized, how it is used to justify horrors in Gaza. I know. But it can only be instrumentalized because it exists.

Consider, for just a moment, that there is another narrative here beyond that of Western Imperialism, or resistance to colonization, or even of Zionism itself. And when you see Jews in pain as at worst an enemy and at best objects to feel nothing towards, you yourself participate in ugly dehumanization.

[david-talks-sw]

"The Acolyte" wasn't 'woke' propaganda.

I had my issues with the show (you can check out my other posts to see what they were) but there's this notion that The Acolyte was created to spread The Message™ of "woke propaganda"... and I think there's a bit of a mix-up going on, there.

Because that's simplifying things a lot.

When you're a minority, you're not "being woke" when you're just being yourself! Conversely, you're not "writing to be woke" when you're a minority drawing inspiration from your personal experiences to tell a story.

I talked before about how George Lucas implemented elements of his personal life in his own films. In his own words:

"There's no way to write without writing from yourself. Y'know, the stuff gets made out of things that you care about… whether you've actually lived them or not. There are emotional issues that you deal with, and I think that's always a major factor with any writer. I don’t think— it's hard to write without having some kind of emotional connection to the material. I've never seen any reason not to. It’s easy to write that way. It's hard to write in the abstract. So when I write a scene, I write a scene that moves me or I care about, or is something that is personal to me." - George Lucas, Q&A with Lynne Hale, 1994 (StarWars.com)

Any piece of writing worth some salt needs to come from a personal place to some degree because that's where the heart of the story, the truth, lies. That's what an audience will relate to.

Example: The six original Star Wars films are purely George Lucas. As in, everything in those films, from the characters, to the cinematography, to the editing style, etc are all a reflection of who George is as a person and what he stands for:

anti-Vietnam / "fight the corporate & imperial machine"

60s-70s white kid from Modesto, California

single father of three

who defines himself as Methodist-Buddhist,

has an anthropology major and

a passion for Kurosawa,

cinema vérité,

cinema history in general

art and visuals and

car racing.

You see all that in those films.

Same thing with The Acolyte.

Leslye Headland drew from her personal experiences.

Among other things, Leslye is gay. So that's what she uses as inspiration to, for instance, craft Qimir's character motivation.

"I was on the treadmill being like, “What is [Qimir] gonna say?!” And my wife, who is a huge part of my creative process, finally she said, “What do you wanna say? Stop thinking of it like you have to somehow tap into a different guy.” [...] I was like, “I wanna say that people don't want me to exist as a gay woman, as a woman in this particular space, working in this wild sandbox.” There was a whole crew of people who believed in me, but deep down, I felt like, “I am unaccepted for who I am because of what I believe in and wanting to wield my power the way I'd like without having to answer to the legion of people that just exist out there.”" - Leslye Headland, Collider, 2024

She took this specific life experience of hers, and then made it more universal, so that a bigger audience could relate to it.

"By the way, I think everybody feels this way. I think that's why it resonates when you're honest about yourself, and you get personal about it. When [Qimir] says, “I want freedom,” that's what I want. I just want freedom. I want to be able to just be out there and be myself and be the type of artist I want to be without having to answer to anybody." - Leslye Headland, Collider, 2024

Same goes with Osha and Sol's relationship, or how she defines the Jedi Order. It derives from her own relationship with her father and how she felt being raised straight, in a Christian household.

If you have the time, listen to this audio clip where she describes that.

In the context of the whole interview, her voice goes down a few octaves and starts to crack a bit. This is a vulnerable moment, when she's talking about it... and it's this experience that she turned into fuel for her writing of Sol and Osha's father/daughter bond.

"There's this thing that's called benign sexism, and part of it is this paternal protectionism — it seems like this good thing, but like you said, there's this, “I have to protect you from everything. I have to make sure you're okay. I have to tell you what track to get on, and then once you're on that track, I need to support you.” Ultimately, what happens is — again, this is a father-daughter relationship — as women evolve in their lives and develop their own personalities separate from their fathers, at some point, they have to reject that protectionism. [...] She cannot stay a little girl or an adolescent or young adult. She has to, at some point, say, “I reject what you have told me I need to do to make you proud, to follow in your footsteps.” She has to do that." - Leslye Headland, Collider, 2024

Now... if we're talking consistency with the themes in Lucas' Star Wars, then yeah, The Acolyte misses the mark.

The Jedi Order isn't the patriarchy or the Catholic Church. They're more like Buddhist monks, George has stated so multiple times.

The Jedi teachings aren't narratively meant to be the same traits found in toxic masculinity or benign sexism.

When a Jedi tells you to be mindful of your emotions, it's not meant in the "boys don't cry" sense.

When they talk about letting go of attachments, it's not meant in a stoic "don't get emotionally involved" sense.

Anakin too, the whole point is that he's wrong, the narrative frames his fall to the Dark Side as his own fault, it's not meant to be perceived as a failure in upbringing.

But she's not the only one who does it. Filoni does it too, a majority of fans have this take on the Jedi.

And because of her experiences, I can see why her takeaway would be that. Same goes for Filoni, they're products of their generation, upbringing and experiences.

My point is:

Leslye Headland is writing from a personal place, when she's writing The Acolyte. It's partially informed by her politics because - like she quotes, "personal is political" - but when it comes to the writing of the show, it's personal first and foremost.

What this was, was a Star Wars fan (arguably the nerdiest one we've had so far, in terms of creators) putting all of herself in the creation of a show that perfectly reflects who she is and what she stands for, resulting in:

a story about growing past your father's paternal control and accepting that our guides aren't infallible,

where her wife holds a role and gets to wield a lightsaber,

a show about taking corrupt religious institutions to task

about the Sith and the Dark Side

and questioning the unquestionable

and exploring whether the good are really so good and if the bad are really so bad.

This was a project written from the heart, and regardless of whether the resulting art found its mark, I think it's important to note that it wasn't written to spread a propaganda message in some "pro-woke holy war" or whatever the hell the YouTubers are peddling.

[darkficsyouneveraskedfor]

All In 5

No tag lists. Do not send asks or DMs about updates. Review my pinned post for guidelines, masterlist, etc.

Warnings: this fic will include dark content such as noncon/dubcon, age gap, power imbalance, low self esteem, and possible untagged elements. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: you meet a mysterious man on a night out with your sister. (petite!reader)

based on the winning option for this poll

Characters: casino owner!Bucky Barnes

Note: Happy weekend.

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me.

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Please do not just put ‘more’. I will block you.

I love you all immensely. Take care. 💖

The car comes to a stop. It takes you a minute to notice as you reel yourself back to reality. You blink through the tinted window as Merv turns the music down; a song about glory days or something. 

“Here we are,” he announces and cranes to look back at you, “have fun, miss.” 

“Have fun...” you whisper to yourself in confusion, “what? Where do I go?” 

He laughs, not mockingly, and he points through the window, “well, you’ll want to go into that restaurant and give them Mr. Barnes’ name. They’ll sort you out, I’m sure.” 

“Oh,” your brows draw together. A restaurant. What? 

You undo your seatbelt hesitantly and peer out through the glass again. This is strange. You’ve only had a few interviews and most of them were in cramped backrooms or closets. You pull the handle and let yourself out, thanking Merv before you step up on the curb. 

You shut the car door and hook your bag over your shoulder. You stare up at the restaurant’s marquee. It’s a bistro of some sort. Upscale by your measure, thought you have little experience beyond chain joints and fast food. The white facade with its tall windows is intimidating as you approach the entrance. 

As you step inside, you’re all but assured that you don’t belong. A woman greets you with a pearly smile, her hair in a wispy bun, as she sports a flowery white dress. You look back and forth as she cradles a tablet in one arm. 

“Do you have a reservation?” She asks. 

You look down at yourself. That’s a generous assumption. You don’t know how she’s not telling you to leave. 

“Erm, I... I think I’m looking for someone,” you say, “Mr. Barnes?” 

“Barnes, yes, party for two,” she taps the screen, “he’s waiting. Won’t you follow me?” 

She spins on her heels and strolls away. She’s tall and gorgeous, just like the woman at the casino. You peer around and find no less finery and beauty among the staff and diners. The table are all white and polished and the walls are hung with abstract paintings of heaping fruit and bright cocktails. You’ve never seen brunch done so extravagantly. 

You nearly trip as you look ahead just before you reach the stairs. The hostess climbs ahead of you. You envy her modelesque figure. How is she stuck here? She’s breathtaking. She could be in magazines. 

More importantly, where are you going? 

Several flights and you emerge into the open air. You've never been on a rooftop. You’ve seen things like these in movies. There’s a bar center to the space and tables beneath umbrellas set all about. There is only one diner despite the sunshine. It is strangely desolate for such a warm scene. 

You’re led to the only occupied table. Mr. Barnes stands as you near. He wears a pair of teal slacks and a patterned shirt with an open collar. Casual but just as refined as before. It hardly seems like job interview. 

“Doll,” he greets you with a kiss on the cheek to your surprise. You don’t comment on it, it might just be his way. “You made it.” 

“I...” you check your watch, “it was before noon when I got to the casino.” 

“That’s on me,” he insists as he pulls out the chair for you, “I got restless. Changed my mind. Please.” 

He gestures to the seat and you accept stiffly, moving your bag into your lap as he tucks the chair in under you. He resumes his seat and looks up at the woman patiently standing to the side, “Melody,” he says, “she’ll have a vodka cran, give me my usual. Thanks.” 

“Yes, Mr. Barnes,” she replies eagerly. 

“Oh, and the lunch menu,” he returns. 

She clacks off in her heels as you squirm and clutch your purse. You peer around the rooftop and finally at Bucky. You give a sheepish smile. 

“This is a nice place.” 

“Sure is,” he sits back carelessly. There is no tension in him but your wound tight as a spring. 

“Never been anywhere like this...” your eyes drift over and you stare at the city skyline. 

“Made sure we weren’t near the edge, doll,” he assures, “I remember you’re not a fan.” He rests a hand on the table, rubbing his index and thumb. “And I wanted to have this time alone so my pal did me a favour and cleared the roof.” 

“Oh, wow.” 

“He owns this place,” he shrugs. “Never got into the restaurant business. It’s fickle.” 

You nod, not knowing what to say. He knows about these things. Obviously, a lot. You’ve never even worked a full-time week of work. 

“How’s your sister?” He asks, “I assume you got home safe.” 

“Yes, er, thank you, again, for doing all that,” you bite your lip and his blue eyes catch the gesture as his eyebrow tweaks. “I’m really sorry she did that.” 

“Doll, you’re real sweet apologising for her,” he inclines his head slightly, “but you gotta worry about yourself, don’t ya? That’s why you’re here.” 

The hostess, Melody, reappears and sets down two glasses. Yours is bright red with a lime on the rim and his is dark, no ice. She lays down a menu in front of each of you and straightens her posture. 

“I have to get back to the door but Hailee will be up to help you shortly. Our specials today are a goat cheese and beet salad or a brown sugar salmon with seasonal veggies.” 

“Thanks,” Bucky says as he taps the menu. 

Melody leaves you again and you bend your neck to read the menu. You look for a price beneath the dishes and find none. That can’t be good. 

“I’m not very hungry,” you sit up straight. 

“Doll, don’t worry about it. It’s on me,” he circles his hand around his glass, “why don’t you try your drink? Make sure it’s up to snuff.” He sits forward and lifts his own, “cheers.” 

Your hand slips up the condensating glass before you get a grasp on it. You raise it and clink it against his. You bring it to your lips slowly as he does the same, mirroring you as he watches you intently. You gulp and set down the glass as your cheeks strain. 

“You don’t like it?” He wonders. 

“No, I... well, I don’t drink much,” you take the cloth napkin and dab your lips. 

“Ah, if that’s too tart, you can have a look at the cocktails. Some of them are so sweet, you wouldn’t know the difference.” 

“I’m okay,” you assure him, “so...” you swallow and force out your breath, “about the job--” 

“Damn, doll, I’m so all over the place lately, I didn’t even tell you how good you look.” 

“I...” your eyes widen but you quickly wipe away your shock, “that’s nice. I mean, thank you.” Your voice shakes as you struggle to comprehend the compliment. What do you say? “You too.” 

He smirks, “yeah, you think so?” 

“What?” Your voice cracks. 

“You think I look good?” He combs his fingers through his long hair. Oh god. 

“Yes,” you answer cautiously, “I like your shirt.” 

“You’re adorable,” he snickers and shakes his head, leaning forward once more, bending his arms against the table. 

“Uh...” you peek down at the table and back to him. You can’t even blame the sun that you’re about to melt. The umbrella blocks out the bright beacon though a glare comes over the edge. “Bucky, sir, Mr. Barnes,” you shuffle through his titles, “the job. What would that be?” 

His brows rise and he brings a hand up to drag over his mouth and beard, his fingers brushing along the trim of his jaw. 

“The job,” he repeats as he narrows his eyes, “ah,” he lowers his head and presses a fingertip to the menu, “let’s order before we get into all that.” 

You look over the menu again then raise your chin, “I appreciate it, but it’s too much, Bucky. I wouldn’t want to... waste your money.” 

“It’s my money,” he looks at you, “so I’ll decide how I waste it.” 

“Oh,” your cheeks set alight, “I’m sorry.” 

“Don’t be,” he tilts his head again, “you’re just that type of girl. You don’t know what it is to be treated so allow me to show you.” 

You’re confused. This is the oddest encounter you’ve ever had. You almost feel like it’s a joke. You’re this poor helpless girl and he’s flaunting how rich and powerful he is. Is there even a job? 

“I’d feel worse if you didn’t eat, so doll, don’t step on my toes.” 

You chew your cheek and look down again. That’s it. You’ll have the cucumber sandwich. That’s not too much. It can’t be. 

The waitress arrives, a different woman but just as stunning. She introduces herself as Hailee. Bucky prompts you to order first before he gives his own. As she leaves, you rock slightly in your chair, stilling yourself before you can look weird. 

“So... I could clean or... I could learn something--” 

“Let me stop your there, doll,” he puts a large hand up, his palm rough and lined. “It’s my turn to apologise. I... haven’t been honest with you.” 

Your heart drops and you can’t help the glimmer in your vision. No. You’re going to have to go home and tell your mother you failed again. That you wasted her time and gas. You close your eyes and frown. 

“Doll, doll,” he says and you hear his chair scrape. You open your eyes as he pulls his chair around to sit closer to you, “hey, let me finish here.” 

You look him in the eye. Big mistake. You could drown in the blueness. He smirks and rubs your arm. 

“I’m not... it’s not a job I have to offer you,” he says deliberately, his other hand fluttering on your knee, “I would call it an arrangement. Mutually beneficial.” 

You stare at him. You’re entire being is on fire. You don’t understand what he’s saying, more so, you can barely think with him touching you. 

“But... I need a job,” you sniffle. 

He scoffs, not unkindly, “you’ll have money. I know you got a family, your sister, maybe your parents? Economy’s tough, I know it.” 

“Money? For what?” 

He squeezes your knee and sits up, draping his arm over the back of your chair as he leans even closer, “for your company. For yourself.” 

“What?” Your voice piques sharply. “I don’t...” 

“Look, let’s take it slow here, alright? Today is the taster. We spend some time together, see how we vibe, and go from there. Now I know you went to a whole lot of trouble to get so nice and pretty for me today,” he coaxes, “and I’m not gonna waste your time so you won’t go home empty handed. One thousand.” 

“Thousand?” You breathe. 

“Just for lunch,” he says, “I’d pay a lot more so I’m open to bartering.” 

“That’s... a lot...” you mutter. 

“Nothing’s too much for a girl like you,” his fingers dance along your shoulder. 

“I... I...” you heave each word. 

“Now don’t you freak out,” he’s on the edge of laughing, “doll, I mean it. Just lunch. You and me. Nothing...” he pulls away from you and puts his hands up, “untoward.” 

He stands and moves his chair back across from you. He sits and pushes his shoulders wide, “I mean it. Let’s get to know each other. I want to know all about you, doll.” 

“Me?” You gulp. 

“You,” he points over the table, “you must like music. You went to that concert, didn’t ya?” 

You nod and curl your shoulders. 

“What kinda music you like?” 

“Oh, I... old stuff, I guess. Destiny’s Child?” You give a sheepish cringe. 

“Old school,” he remarks, “I like it. Spice girls too?” 

“Yeah,” you clamp your lips together. 

“I’m not teasing ya. I can’t lie and say I never turned the radio up when I heard them,” he chuckles, “no judgment. That goes for you too, alright? When you find out how much I like ABBA, you can’t giggle.” 

Your cheeks dimple as you try not to smile. It’s hard to imagine him listening to Dancing Queen. You push your shoulders higher and look away. 

“Don’t laugh,” he chides. 

“I didn’t,” you turn back to him. 

“Yeah, you’re too nice, that’s why,” he purrs, “you gotta tell me your fave ABBA song.” 

You shrug and he squints cynically, “everyone has one. Come on. Fernando?” You shake your head at his guess. “Waterloo?” Again, no. “Mamma Mia?” Nope. “Take a Chance on Me?” No. “Alright, I surrender, tell me.” 

“Gimme, Gimme, Gimme,” you eke out. 

“Hm, not what I would guess but interesting,” he muses as his eyes wander from your face and back up, “but I at least knew you had taste.” 

He winks and you let out a giggle. Whether your nervous or something else, you can’t untangle all your emotions from one another. Yet you do feel a little better, a little lighter. It’s an unexpected situation but not as bad as you foresaw. 

[frogcroaks]

How I deal with shapes

@spadefish @kobothesmall So for shapes, the way I work with them is from studying how things break down individually, instead of following a broader ruleset for character design that you see a lot in tutorial posts (the triangle, square, circle theorem basically).

The way shapes work in humans is different from other animals (which also differ from each other), which is different from objects. The same shape can be used for different goals depending on what you're drawing. So there's no one size fits all, and especially in styles that have a bit more of realism going on, those shapes will behave differently than extremely cartoony styles.

Process wise, a lot of it ends up happening in my head than in the canvas, because I spent years dealing with this shape philosophy of "just bang your head for each thing you're drawing", which I understand is very tedious to some people, but I love studying individual things vs following tutorials because it teaches me 1. how that thing works in a context 2. gives me a new book to my visual library which I can pull from, which is often what happens! That, and a lot of it is just staring at references too. Still, I'll try to draw something up for this.

There are 2 ways to approach shape design. You either start with the shapes and then apply a concept to it, or you start with a concept and apply shapes to it. The former is much harder to do without practice (and also comes more in concept art which is rough, unfinished and meant to be done and redone dozens of times by design). So, I tend to do the latter: I start with a concept of what I want. This can be as simple as "I just want a character that's fat/standing" or more abstract like "I want a character that feels like a river/I want this to feel like an outburst".

Let's start with a concrete concept: I want a design that looks like a pacman frog, and just a standing pose that isn't too stiff.

I grab some pacman frog references, and sometimes if the pose is complex, I'll find references for that too. Pacman frogs are pretty pudgy, and their legs aren't that long compared to most frogs, even when unfolded, and their faces have a nice triangle-ish forehead with a nice shape for the mouth.

The result is that i use large shapes for most of the body. Curves contrast with sharper lines, giving the sense of something geometric but still organic. The line of action here helps me pose these shapes in a way that gives some movement to something as simple as standing (and you'll gain a lot of mileage from learning how to rotate shapes! this is how you're able to position them in different ways and create more dynamic poses).

For something more abstract, like a crouched pose meant to be angry, I take some references when i can and start doing something like this:

Note that these shapes seem weird because I'll have a naked fullbody wip below any clothed characters to have some anatomical guidance, but for actual final shapes and silhouette, what matters is the final elements, and that includes clothes! so i try to build shapes that emphasize this droopy, closed off feeling. This sketch isn't even that good really, there's plenty of errors, but I hope it gives an idea of whats going on.

I hope this weird rambly nonsense helped LOL

[writers-potion]

Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[musamora]

— 𝖆𝖑𝖑 𝖙𝖍𝖊 𝖜𝖆𝖞 𝖍𝖔𝖒𝖊 𝖎'𝖑𝖑 𝖇𝖊 𝖜𝖆𝖗𝖒! ⋆⁺₊

featured: osamu dazai, chuuya nakahara, fyodor dostoevsky, nikolai gogol, sigma

content warning(s): fem!reader, domestic moments, mentions of marriage, kisses and cuddling, these men are whipped, fluff, references to christmas traditions

author's note: i hope you're all enjoying (or at least relaxing) during the holidays! sit back, grab a cup of steaming coffee or hot chocolate, and enjoy some sweet moments with our bungou boys ٩(^ᗜ^ )و ´-

summary: what gifts do our bungou husbands gift you during the holidays?

would you like to see more? join the taglist or comment under this post!

𝗢𝗦𝗔𝗠𝗨 𝗗𝗔𝗭𝗔𝗜 ⋆⁺₊ ⸺⸺⸺

Your eyes flutter open as sprinkles of sunlight peeking through the blinds serve as your only alarm, traces of chocolatey hair prickling your skin as he nuzzles into your neck. Your fingers twirl the coils of his knotted tresses, smoothing them into shining waves before pressing kisses against his ear. And that's when you see it.

A basket perched on your nightstand, tied neatly with a bow, and piled high with various cosmetics and accessories. As you sort through each item, feeling nostalgia pinging with every gift, you realize there's a reason you recognize them. 

Each is a small element from a moment in your relationship—the nail polish you wore on your first date, the lipstick you chose for your first kiss. He notes the quirks of others subconsciously, though he chooses to ignore them unless it benefits him. But not with you.

He cherishes every ephemeral habit—the crease of your forehead as candles burn on, the haze of your eyes as raindrops pour down, the indention of your lips as movies summit closed. You're always too preoccupied to notice, but he gawks at you without shame, admiring the purity of your features. He is known for being abstract, but you are his complete opposite. So completely unabashed in sharing your opinions and sentiments, even through your own expressions. And in a way, you're far braver than he believes himself to be, so he knows he must remind you of that.

𝗖𝗛𝗨𝗨𝗬𝗔 𝗡𝗔𝗞𝗔𝗛𝗔𝗥𝗔 ⋆⁺₊ ⸺⸺⸺

Your sleep is interrupted by a yelp. For a moment, you wanted to keep your eyes closed, still sluggish with sleep, but a sequence of other noises pulled you out of bed. Unaware of the eyes peeking out from under the covers, a smirk on their proprietor's face as you shuffled out of the room, you journeyed into the living room. And he knew that you had found precisely what you were looking for when he heard a barrage of coos and badly muffled shrieks escape your lips, rushing back into the room with a puppy snuggled in your arms, a cute bow fastened to its collar. He knew your heart had been stolen at a glance, much like he had been long ago.

That puppy is now your child, a part of your family. Even if you don't realize it, this dog expresses his eternal fondness and dedication to you and any family you plan to have. He would prefer to pick a larger dog breed, the loyal type of canines that remain devoted to their families (Akitas, Belgian Malinois, German Shepherds, etc.). He knows you'd love any dog, but he wants to guarantee that you'll be protected if he isn't there.

And don't be surprised if an engagement ring follows a few months later. You're raising an animal together—your fur baby—and while it's a bit out of order, he wants to tie the knot officially. And you'll have the cutest little ring bearer in the world ⋆˙⟡♡

𝗙𝗬𝗢𝗗𝗢𝗥 𝗗𝗢𝗦𝗧𝗢𝗘𝗩𝗦𝗞𝗬 ⋆⁺₊ ⸺⸺⸺

(I briefly discussed this in a post a while ago, but I wanted to expand on it a bit further.)

A stack of uniform presents pile in symmetrical mountains around the base of your shared tree; each fold intricately pristine. However, he insists on having a large breakfast, reveling in your anticipation with each course as you eye the gifts—it's too cute. Once you've finally reached the tree, he observes with unstated delight as you rip open the wrapping paper, only to discover hardcover copies of classic novels in your favorite genres.

He knows you peruse through his personal collection while he is away on missions, missing him and seeking comfort in his familiar words. Without your knowledge, he has caught you with a beaming grin on your face, skimming the story, enamored by his annotations. So once you've finished the book, with your thoughts written neatly inside the pages, he'd offer to swap with you, finding a sudden interest in the story.

Because the way your brain operates is absolutely fascinating to him—it is, in his (correct) opinion, one of your most stunning attributes. He finds himself seeking other ways to look into your thoughts, and if you just so happen to get inside his head as a result, he finds that he doesn't mind all the much.

𝗡𝗜𝗞𝗢𝗟𝗔𝗜 𝗚𝗢𝗚𝗢𝗟 ⋆⁺₊ ⸺⸺⸺

He would be bouncing up and down as soon as the sun rose, forcing you onto the sofa as he picked presents up from across the room. However, breaking away from tradition, he insisted that he opened the first few, utilizing many of your gifts as props for a little skit.

He enjoys your laughter more than any other sound in this world. It's such a freeing sight, watching you throw back your head, unable to help yourself. Even in the midst of his antics, he finds himself unable to avert his gaze, wide-eyed as you laugh without a care in the world. To him, you're always beautiful, but especially when you're happy.

And in that, he realizes that he wants to make you laugh all the time. Every second that you're together should be filled with joy. His heart constricts painfully whenever he sees sorrow on your face, and he has made it his prime duty in life to relieve your suffering. Anything that has ever made you laugh is collected in those gift boxes, and he feels lighter than ever as you giggle in your seat.

You have become the rope that tethered him to the ground, but he finds that he no longer wishes to fly free. Perhaps he has become exactly what he used to fear: his own attachments anchoring him, but he doesn't mind. He is a fool, but only for you.

𝗦𝗜𝗚𝗠𝗔 ⋆⁺₊ ⸺⸺⸺

He has never had anyone to celebrate the holiday with before; there hasn't been a reason. So instead, he would bury himself in his paperwork, trying to find a purpose through the letters, though he knew it was all in vain. So when he finds someone to celebrate with, he will ensure that you will stick around until the holiday next year.

You're met with bundles of presents, heavy with luxurious clothes and fragrant accessories, things he knows you like. But one of those gifts stands out amongst the rest: a simple box with a neat but fashionable outfit inside. Your eyes scan the seams, and it dawns on you—these are handmade. 

He knows his stuff about fabrics and colors, constantly choosing different options for the casino, and one of his stress-relieving hobbies (in my headcanon) is sewing. Before you came into his life, he made his own clothes, finding only brief comfort in the repetitive stitches.

But there is something so domestic about creating clothes for someone you care about. Thoughts of them are embuded in every stitch, seams pressed with care as it's molded to flatter your body specifically. It reassures him whenever you walk around the building, showing off your new clothes with a smile on your face—you are his family, his home. His other half. And you are here to stay.

ᴛᴀɢʟɪꜱᴛ: @imhandicapableofmath @lovedazai @hauntedsol @ruru-kiss @ishqani @zyilas @lovesick-fairy @fedyascoffin @squigglewigglewoo @kelperspelt @miloofc @thesilvernight0wl @s1eepybunny @dazaisms @deepseafragments @justanotherjester @sillyspookycat @kotysluny @aureatchi

© 𝐆𝐔𝐀𝐂𝐀𝐌𝐎𝐋𝐄𝐑𝐎𝐋𝐋 2023 — do not repost or modify my works for any reason. do not steal graphics w/o explicit permission. reblogs are appreciated.

[creaman]

Hi there! I apologize for taking up your time, I am just so curious: When you tackle a comic, what does the process behind it look like?

Asking because I found myself scrolling through your blog once again and couldn't help but marvel at all the beautiful effects you use, at how flawlessly the structure guides the viewer's eye across each page, how the graphic weight seems to always be in just the right places…, and wonder how you learned doing this. Everything you put out looks incredibly professional and I aspire to reach your level of skill 😌❤️

Thank you Finz!! You're no bother at all, I'm an open book. This is such high praise for a guy that really doesn't have a set process, I feel like a hack. Ha. Rest assured my style is still developing. Besides the referencing of the linework and composition of official comic books, (practicing by redrawing panels for fun), explaining the process makes me feel like a serial killer but I will do my best.

(WIP Riddler panel, scrapped Scarecrow composition)

My comics usually stem from a single panel or concept — I like to focus on/emphasise particular panels of my pages, the heavy hitters, the main piece that catches your eye. I know I'm not a profoundly technically proficient artist so I prefer visually interesting elements and formatting, i.e. drawing characters outside their frames, negative space, notation, perspectives etc.

(Kung Fu Panda 4 sketch god I hate Kung Fu Panda 4)

I like to establish 'main focus' panels, the bits of the comic that really, well. make people want to chew on it. This is where the technical effort is concentrated, really, and the rest of the comic is generally build around these concepts.

('Restaurant Balthazar' focus panels)

Textures and effects are done on individual panels first, then the entire page as a whole to even out the unity. Generally, blocking in shadows, hatching for visual interest + middle tones, then textures/half-tones, then highlights.

(Script excerpt WIP)

I'm not a writer per se, but having a vague 'script' in your pages helps with pacing and direction. Comics are a versatile story-telling medium. I only really do scripts for comics longer than 2 pages. An optional but recommended strat is to send your script to a friend for a second opinion.

(Script excerpt — 'Restaurant Balthazar', annotated by @vincepti0n I don't know why he drew a face in the middle)

With the script crudely slapped together, I rough out the thumbnails and composition with the text, prioritising coherence and clean integration of previously mentioned 'main focus' panels.

Settling on a composition sucks the hardest. Drawing is fun, thinking makes brain hurty. Variety is good! Close-ups, wide shots, visual metaphors. Every panel is its own artwork.

The text bubbles are usually added in post, yes, but I'm just one guy and I don't have a writer to call me a good boy for doing things correctly. Bite me.

(Early 'Restaurant Balthazar' drafts)

In addition, keeping the text graphics in mind help create a sounder composition wherein even if the panels don't read cleanly left to right + top to bottom, the text can stagger and create the same reading order effect.

Panels and concepts are constantly tweaked, and my comic process is still highly experimental. A lot of industry standard comics aren't illustrated to their full potential due to deadlines and such — I strive for visual epiphany by treating each panel as its own artwork, and every page as a a bit of a mural.

(Old art hurts the soul)

Constantly experimenting allows you the insight of looking at your current art in comparison to your older works. In more recent works, I've been blocking in more shadows wiht lineart with thinner lines and more line weight, and learned to integrate the subject characters with less plain, abstract backgrounds.

TLDR: I have no idea

[apas-95]

Idk how to feel about China opening diplomatic relations with the Taliban. Yes Afghanistan's assets should be unfrozen and the entire reason the Taliban runs Afghanistan now is the fault of the US, but they are still an extremely brutal reactionary theocracy enforcing the most extreme gender apartheid in the world. It's not China's (or anyone's) place to change that obviously, but I can't bring myself to celebrate China opening diplomacy with them as a win for the third world.

So, in a word: non-interference.

You're right that the Taliban are a reactionary organisation, and you're right that they're in power because of US interference and invasion. Furthermore, you correctly point out that China should not attempt to change the internal political structure of Afghanistan, but the reason for that is much more than an abstract notion of sovereignty or respect - it is moreso a matter of practicality.

The Taliban are in power because they are the Afghan-nationalist group most favourable to US interests. The US would prefer its puppet government be in power, but failing that, there are groups it very much does not want to take power, such as Afghan communist organisations. The US directs more resources to undernining those groups than it does the Taliban. In any case, the Taliban are still better for Afghanistan than the US-comprador government is, but they are still ultimately in power due to continued US intervention. The US refusal to recognise the Taliban is an element in a continuum of intervention, attempting to tip the scale towards US-favourable groups - it is, counter-intuitively, an element of the exact strategy that is keeping the Taliban in power.

China's non-interference policy not only does not influence the internal affairs of other countries - inherently, it actively *weakens* US influence in those countries. If the threat keeping US-favourable groups in power is sanctions, blockade, and international non-recognition, then the credible promise that China, an incredibly useful partner, will engage with *whichever* domestic group takes power, no matter their ideology, allows for organic Afghan interests to express themselves and bring about organic Afghan political goals. Similarly, the provisioning of no-strings-attached investment, infrastructure, etc, makes US support of preferred groups less effective, as Afghanistan is both less desperate for support, and also has less incentive to take aid packages that include 'restructuring' demands.

In essence: refusing relations with the Taliban, like the US is doing, is part of the exact gradient of political-economic pressures that keeps the Taliban (the group least threatening to US interests, other than an unsustainable puppet) in power. Opening non-judgemental relations to *whoever* achieves power weakens that gradient, and strengthens the ability for the genuine interests of the Afghan people to determine who achieves and retains power. China refusing to open relations with the Afghan government because they do not align ideologically would not change that gradient at all, and could only add yet another set of foreign interests overriding those of the people (interests which could not be more commanding than those of the US military empire, in any case). Free and non-judgemental relations with a reliable trading partner is precisely the environment that weakens the political base of reactionary organisations, and strengthens genuinely revolutionary ones.