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#remade these gifs after a year and almost two months
enananhearts · 1 year
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❝dazai! don't—! ❞ // ❝don't go, odasaku! ❞ 2×1 // 2×4
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greatsylveon2007 · 3 months
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"Kids with passion to play make-believe;
Will become young adults with the will to achieve"
Alright, so I figured I wanted to make this eventually. I finally finished my part for the Guaraná MAP a few months ago after like, almost two years of having it lmao, and those two years were wild and included a bunch of different versions of the part which would never see the light of day outside of the map server, so I figured I should put them all here :)
Here is the finished part which I am very happy with honestly, love some Hollyleaf angst
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So now let me tell you about how the part used to be IWKFOLSPS
To get the part I actually had to fist fight a friend because it was one of the few really simple interesting parts and we both wanted it pretty badly
When I eventually got the part I made two storyboards for it, and my idea was for it to be very limited animation with mostly tweening, as, in my head, it would make my life easier
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The first storyboard I was not happy with so I threw it out the window and made another soon after
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This one I was way happier with and is the storyboard I used for most of these two years, here you can see a little light/shadow behind Hollyleaf that, while I liked, was really out of place so I didn't keep it in the end :(
What followed was multiple months of me chipping away at this part and telling myself every time that it would be easy to do because it was pmv, I got pretty far with this, making the assets for all of the cats and only needing to shade Hollyleaf, finish the backgrounds and guaraná plants and edit
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At that point however, despite being almost done, I really couldn't bring myself to work on this part anymore, I'm not sure what exactly it was, but messing around with all the assets and tweening and all that just wasn't fun for me at that point and I just began stalling to avoid having to open the file again
Eventually in February a light shone upon me, if I wasn't having fun with PMV then screw it AMV was my new best friend
In a few hours I made a new sketch, skipped the rought animation stage and finished Holly's entire animation (don't do this ever, don't be like me)
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I had also started on Lion but I was struggling on what to do with him because of how I animated Holly lol
I don't remember the exact plan but originally the character acting was:
Holly and Lion are looking up, Jay is a little frustrated. Holly talks to him to cheer him up and he looks at her, feeling a bit more encouraged. Then she would look at Lion, he would reassure her, and they'd all end up happy
Somehow though, while animating Holly, I ditched the plan and made her be surprised by Lion and look at him, so I struggled a bit trying to figure out what Lionpaw could do to get her attention, and spent a good while trying to figure out the solution to a problem that I created in a few hours of not following a simple plan ISMOCKSKKDS If you plan something, preferably follow it, don't be like me²
I could have just remade her animation so that would have been solved but I liked her animation I didn't want to redo it :(
Anyway, eventually I figured he could say something stupid to help cheer up Jay or something and I like his and Jay's new movements so it all worked out :)
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After making the first shot, I caved in to something I wanted to do for a while which was a transition between the shots, instead of having it cut to the second shot or move the characters around a little bit.
I didn't know if I wanted to do a transition with stars or with the fire scene, until eventually I figured that the fire scene and Ashfur's... thing was what really affected the siblings, especially Hollyleaf. The part also follows a sequence of Hollyleaf feeling guilty for what she did so in general I thought that Ashfur would transition well
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You may also notice that I hadn't splattered blood all across Holly's face in the second shot and that was because I forgot she was supposed to have blood on her until I read the script again for some reason and realized I forgot ISNKCKAKDLSL
So, what did we learn? PMV sucks, animate it all at 24 fps in one sitting instead/JOKE
This is all I have about the Guaraná part, it was pretty fun to work on and I loved joining a map about my country, this map lives in a little part of my brain rent free <3
Might do this for other parts that have a bunch of wips or something I'll think about that, it's kind of fun to just lay out your process like this, would recommend 10/10
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mistkisbiggestfan · 9 months
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Could you do Anna with a survivalist reader
Anne x Survivalist! Reader
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A/N: Finally got to work on my inbox!! Requests are open, kinda wasn't sure what to do at first so I hope this is okay! <33
Y/N is gn here btw, love you guys!! Word count: 1.6 k
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As a survivalist you were prepared for every case, you knew how to start a fire, how to hunt, forage. Anything there was to learn about surviving you knew. So when that one day while walking through a park, you suddenly landed in a place hostile at every step, you were more than prepared. You learned how to survive on your own many years ago, sometimes sneaking out just to spend your night outdoors with nothing.
By the mark of two months you were already stacked, you found out about civilizations living around this place called Amphibia. Frogs, Toads and Newts you supposed. But it didn’t matter, you were by yourself, put through dangerous situations out there in the wilderness, by choice. And all this—the harsh weather, hostile brutes lurking at every other living creature and the strangeness of it all—had no effect on you. That was not for the fact that you were long familiar with it, you were a newcomer in the land. But it was for that you were well prepared for anything coming your way. 
Dressed in chitin cuirass, made of Barbari–Ant’s hide that you polished and remade, it consisted of a hard chestplate and backplate fastened together, leaving the limbs free and light. You killed off two of them after they lost their horde, although they’re fast, aggressive and vicious, they were no match for you. Their pincers served as tools for your use.
Walking through the local market all the eyes were directed at you, knowing you weren’t in this town yet you realized it wasn’t the best idea. “Oi look! There is another one!” – You heard one of the Frogs say, you sent him a cold glare and saw his soul almost leave his body. 
The locals stared in awe at your cuirass and knives made of stings of many unfortunate insects that crossed your road. You sighed as you heard another whisper – “This one is surely less, hm, lanky than our Anne.”. 
Remembering the town’s motto, you couldn’t really be mad. — Slow to accept, and even slower to respect. — You muttered to yourself.
Sighing, you walked into one of the shops. “Leopold Loggle’s”: The sign read, door creaked loudly as you walked in, your armor scraping against the wooden frame. Everything inside was wooden, the shopkeeper nowhere in sight. Looking around you finally spotted a light blue axolotl with dark blue gills, his mouth was almost covered with his large ashy mustache. You could tell by the looks of it that he was a rather passionate wood carver.
You walked over to him, the axolotl was rather surprised at the sight of you, gasping slightly he looked at you cautiously. 
— Can I find a weapon here? — You said, waiting for his response. 
— Of course you can… not. — He said with a pause, giving you hope for a moment.
— Do you know a good place for that then? 
— Absolutely, I do…n’t. I don’t. — He said weirdly again.
— Why do you keep doing that? — You finally asked, confused by his pattern of speech. By now he moved, standing behind his counter.
— Old smithing accident, I tripped on an anvil. Landed neck–first on a metal pipe. Pierced my voice box clean through! That’s why there is no blacksmith in Wartwood anymore. — He said, you nodded, not really disgusted by his story. Bad things happen, as a survivalist you learned how to accept them and adapt to them. — Switched to wood after that. Anyhow, I’m afraid I can’t do much for you. 
Nodding again you turned around, ready to head out. — Wait, tell me, few have made it out alive after meeting a Barbari–Ant, fewer yet collected a trophy. You seem different from the other one of ya monster ‘round here, and I haven’t seen ya here yet, you from somewhere else? 
— I’m currently resigning in the wilds near this town. — Before leaving, a sudden realization hit you. 
— What do you mean, “different from the other one”?
— I am fairly sure I’ve seen another one of ya creatures here, in Wartwood. — He said, you acknowledged the fact and nodded to him as a sign of saying goodbye. You noted his words and carried on with what you were doing.
Once outside, you left Wartwood rather quickly, skipping its main road and just heading off back to the wild woods you had your camp in.
As you came back to your resting area, you set up some traps along the way, hoping for a game to fall into them. During this time, a foreign to you girl ran through the town’s square with her best friend, Sprig, by her side. 
She couldn’t shake off a feeling that she missed something prior to now. Both of them ran into the Leopold Loggle’s. At the sight of Anne Lepold murmured to himself. — Yes, yes I knew that there were other kinds of ya ‘round here somewhere.
— Did you say something? — Sprig asked him, as for they were close enough to hear.
— Oh yeah, yeah. — He turned to Anne herself and spoke up. — Ya didn’t tell anyone there were more of you around. It stirred up the whole Wartwood just a second ago. 
Anne and Sprig looked at eachother confused, the girl quickly jumped into action asking questions, hoping it was either Marcy or Sasha, her other best friends also stuck in Amphibia. 
— What did they look like? That was probably Marcy! My friend from back home.
— Well, they had H/L that was H/C colored, they also wore Barbari–Ant armor. They were slightly taller/shorter than ya. Kinda different, really different. They were definitely stronger and more harsh looking than ya, kid. — That confused Anne, her friends were very different from the description that Loggle gave her. 
— Are you sure dude? — She said, confused.
— Of course… — They expected him to say something that fit his style but he continued. — I’m sure. They said they live in those wilds next to Wartwood, pretty dangerous if you ask me.
Both best friends looked at each other and ran out of the woodsmith’s shop. — Thanks Loggle! — They yelled behind them.
— Do you think what I am thinking? — Anne asked Sprig he nodded.
— Yeah! We gotta find that person. — He said as Anne agreed. 
Soon they came up with a plan, it only took a few minutes, they decided that Sprig will stay and deceive Hop Pop as Anne will go out and find the mysterious person. Meanwhile you were chilling by a fire you set up, laying on the soft moss, a calm moment among the dangerous wilderness. 
As Anne entered the woods after asking for directions, she was met with nothing other than light footsteps left in the mud. She stepped forward and regretted not having both shoes on. Walking cautiously she looked around, only wind accompanied her. 
Shuffling through the woods she realized she's not even sure about the person you are. Lost in thought, Anne didn’t even realize when she stepped into a trap, a handmade rope tied around her foot and pulled her up, she shrieked, now dangling in the air she realized the bad situation she landed in. 
Growing nervous she heard something inching closer. A figure soon emerged from the thick bushes, walking over to the place where rope was tied, she saw them taking out a makeshift knife. She heard a snap as she came tumbling to the ground, scrambling to get up she saw the person coming closer and taking out a hand towards her. — Uh, are you okay?
Anne froze in her place, she looked you up and down, shocked to see other human in Amphibia after all this time spent with Frogs and others. — Hello..?
— Oh my god, am I dreaming? — She said, more to herself.
— ..Sorry..? — You asked confused, blushing from the weird reaction of Anne’s, she quickly picked herself up and blushed slightly, she could swear she had seen you before, somewhere in her school and then it clicked. She knew you, Marcy and Sasha always teased her about looking at you during lunch or always stumbling on her words when she talked with you. 
— You’re Y/N, right? I’m Anne Boonchuy, we used to go to the same school before… — She mentioned everything around her. — all this happened. You don’t even know how happy I am to see another human after all this time dude! 
You observed her closely before she tackled you into a bear hug, she was right, you remembered her, vaguely, but still. You remembered how she always talked with her friends and got into trouble. After breaking apart you saw her grin at you. Then you noticed a slight gash on her forehead. — Come on. — You gestured for her to follow you, while you walked she asked you questions to which you replied quickly. 
Finally you walked back to your camp, the fire was shining and burning brightly. She gasped and started to look around, slightly flustering you. — This is where you’ve been living all this time? — She asked as you nodded, taking out a bangade and purified water you previously boiled. 
Anne sat down on the hammock you set up for you to sleep during the night. You washed off the wound and bandaged it while talking with her about everything that happened in Amphibia, comparing your experiences so far, you talked for a long time, to your surprise, you missed talking with anyone. It reminded you of the fun but short times you shared with Anne.
Maybe you can finally get closer to each other? 
You smiled at the thought and went back to talking with Anne, this encounter marking a new chapter for both of you.
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kyleismoody · 1 year
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The Parallax View and The Conversation: A Conspiracy of Looking
What is the point of a conspiracy theory?
Usually we see them defined as a way of outlining how plots against unsuspecting victims. It creates a narrative for “us vs. them,” a way to make sense of an often chaotic world. I had an entire podcast dedicated to it, talking about everything from the 9/11 attacks to MK Ultra, and even Bigfoot and other cryptids. But they always revolve around the same thing: the world is messy, there’s a plot against us, and these are the reasons why. We are storytelling creatures, and the story helps explain things in more comforting ways than “we live on a rock careening through space and are at the absolute whims of nature.”
Films around conspiracy theories are great ways of dealing with the messiness of these issues because they can easily cast compelling actors into convoluted plots that can delineate lines between good and evil. From movies like The Manchurian Candidate (1962 and remade in 2004, respectively) and Seven Days in May (1964), we begin to see how shadowy figures can be responsible for massive changes in the world. It’s easy to believe that those corporations and politicians we entrust with our goods and government would be sinister and want to enslave us; the reality of the world is much harder in that there are multiple systems and machinations set in place that take so long to grind to stop that we may never get to really change them. It’s easier to change ourselves than the system...that is, if we’re willing to change. 
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The Parallax View and The Conversation are two films released within three months of each other in 1974. They both were crafted by excellent filmmakers (Alan J. Pakula and Francis Ford Coppola) with a focus on looking at how conspiracies and plots are set up. The difference is where the locus of control is placed. The Parallax View is focused on the unseen “them” of conspiracies, where we learn how the Parallax Corporation acts as an intermediary for political and social control. The Conversation is all about “us,” where we are under surveillance and act and react to the fact of being recorded.
The Parallax View focuses on the shadowy corporations and assassinations that became responsible for being the middlemen in plots against figures who are murdered suspiciously. Warren Beatty is there as a womanizing journalist named Joe Frady who witnessed a political assassination in Seattle at the Space Needle, and stumbles onto a pattern of murders committed against the other witnesses. Obviously riffing on the JFK assassination and the Warren Commission’s findings, Pakula plays with perception and fear in his examination of paranoia and how it manifests. The sense of discovery is largely what makes the movie so successful, as Frady soon sees that the Parallax Corporation is consistently growing and employing sociopaths and those who associate negative emotions with positive accomplishments.
This last part creates the best element of the movie, and it is breathtaking in its representation. Almost as though Frady jumps into the internet forty years after its release, The Parallax View makes its viewer experience the personality test in its horrific totality. It’s possible to watch this and see exactly what is so appealing about Parallax as a way of giving power to people that fall outside of the mainstream of society, which is eerily reflective of the rise of conspiracy theories like QAnon and its ilk in the modern era.
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Frady is recruited by the organization and ultimately tracks down the plans of the Parallax Corporation, which is targeting another Senator with policies that go against their interests. Cleverly outsmarting a planned detonation of a plane, Frady then tracks down the senator to a rally, where the politician is gunned down. Suddenly he’s fingered as the culprit, and as he tries to make his escape, Frady is shot by the recruiter that brought him into the organization. Pakula ends the movie with a simple interior shot of an almost faceless committee reading the Parallax Corporation’s intended narrative about Frady, which was his isolation as the patsy assassin. Fade to black, it will happen again, and Gordon Willis’s famed dark interiors match our moods as the credits roll. The unhappy ending is part of the appeal of The Parallax View, as it released during the Watergate hearings and denouement with President Nixon’s resignation before facing impeachment. It’s a dark mirror of our country at a time when public trust in institutions was badly damaged. Little would change over the next half century.
The Conversation is a strong internal companion to the sprawl of The Parallax View, looking at the interiority of protagonist Harry Caul’s life and finding it wanting. Caul’s life is spent in surveillance – of others and of himself. He constantly monitors his own actions and those of others to keep people at arm’s length, seeking to be the best wiretapper in the country and thus trusting nobody. Unwilling to let others in, and he can’t open up, Caul exists in a bubble of his own making. He breaks up with the girlfriend he’s afraid of admitting he has; he doesn’t answer questions about his personal life; he’s clearly repressed, and when we learn that his last east coast job resulted in the murder of an entire family, we can empathize to an extent.
It's fitting that I saw this so soon after revisiting Klute as it also has a similar focus on technology and audio. Caul thinks that he’s uncovered a conspiracy on a job trailing two errant lovers, and he fixates on the details of the tape, which unleashes its static hiss and obscures as much as it reveals. Coppola lovingly focuses on the different mechanisms that are used to reveal the conversations, with Caul only coming alive as he reveals the audio and uncovers what is a plot about the possible murder of the people he’s surveilling. Coppola also twists the knife by never revealing much about the plot, leaving his audience to learn the possible meaning with Caul.
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The party that happens midway through the film is a fulcrum point for the audience and for Caul. We see him in his element around other conspirators, people that are experts at wiretapping but wholly oblivious to the human experience. They don’t seem to care about the possible destruction their constant surveillance will do to their subjects, and includes Caul in their list of subjects when a pen microphone reveals some truths about the protagonist of the movie. How scared he is to talk to women; how much the murders weigh on his mind; and how much he pushes away anybody that dares to look underneath the surface. The sex worker he sleeps with that night steals his recordings away, as the client who asked for them was getting impatient.
The final reveal is ultimately satisfying because of how much it plays with audience expectations. Caul believes he’s stumbled onto a plot to kill the two wayward lovers, and he heads to the hotel they stated they would frequent, only to find the girl already dead. Or is she? In a stunning twist, the wife of the executive that paid for Caul’s tapes turns up alive, with her husband murdered by her lover and his assistant. Brilliantly, they used Caul’s paranoid nature to create the conspiracy. It’s all about his personality, which is how they trap him. At the end of the film, as he searches for an impossible bug that is planted in his apartment, he tears apart his world, leaving himself only to play along with a recording that he has destroyed. The pessimism that was in The Parallax View manifests again in the personal, which is the masterstroke of The Conversation.
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Small wonder that both these movies resonate almost a half century later. The Parallax View and The Conversation show the pernicious effects of paranoia, of believing that somebody is always watching you, and of always watching and listening to others. Movies like these with major stars don’t exist anymore in the budget-conscious and fearful studio system, as superhero films pay homage to them without implementing the banalities that Pakula and Coppola sprinkled into their fantasies. It would be impossible to recreate the moment of The Parallax View, where a decade’s worth of paranoid fiction merged with the seismic news of the Sixties and Seventies, and we found ourselves at the other end of forces beyond our control.
But it is possible to imagine ourselves as Harry Caul, obsessed with technology and its implementation. It’s possible to see how our very natures could be turned against us. Companies like the Parallax Corporation (or Meta, in this case) do it all the time, gaming us against our own wills to produce simple Skinner box content. In the end, all these movies do is reinforce how we are also watching ourselves, making it impossible to look away even when the price is more than we can bear. The real conspiracy theory isn’t us against the invisible other. It’s us against ourselves...and we always lose. 
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allthingsfangirl101 · 4 years
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Useless–Zac Efron
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I sat on our couch, my second glass of wine in hand. I found the remote and turned on the show I was recently binging. My eyes naturally fell on the picture Zac and I took our first weekend away together.
Zac and I started dating six months after we met. While he's the big, well-known actor, I'm an assistant to one of the biggest publishers in LA. When people found out about Zac and me, they were full of questions and opinionated comments.
Why would he be with her? Why would a guy like him be into a girl like her? She isn't famous. She's not good enough for him.
Any time either one of us posted a picture of the two of us, the comments were full of hate and negativity. Zac always tried to protect me from his fans but the longer we were together, the worse they got.
"You're home early."
I looked up to see Zac closing the front door behind him. He turned around, his smile dropping when he saw the state I was in.
"What's wrong?" He asked as he put his bag down and jogged over to me. He sat next to me, one hand on my knee while the other arm was draped across the back of the couch behind me.
"Mr. Alvarez sent me home early," I said, looking down at my almost empty glass.
"Why?" Zac asked as he reached up and cupped my cheek in his hand, making me look up at him.
"I don't know," I said, my voice breaking. "It was just one thing after another today. The coffee wasn't hot enough, his lunch was two minutes late, he asked for one file but meant another. . ."
When my voice cracked again, Zac took the glass of wine out of my hand, put it on the table, and pulled me into his chest.
"I've never liked that guy," he whispered as he rubbed my arm. "He has done nothing but yell at you since your first day working for him. You don't deserve it. Please, Y/N, just quit. For you and for me. I can't sit back any longer and watch him treat you like shit."
I pulled out of his embrace, turning away from him. "I can't," I whispered.
"Y/N," he sighed. I stood up, instantly wrapping my arms around myself as I started pacing.
"We've talked about this, Zac," I said, my voice shaky. "I can't quit my job. I have to work."
"No, you don't," he chuckled. Zac stood up and blocked my pacing path. He reached forward and grabbed my hands, intertwining our fingers. "Y/N, we live together, we both have enough saved up, and we already share a bank account. You don't have to worry about rent or groceries. I can cover us until you find another job. Hell, you don't even have to work if you don't want to anymore."
"It's not that I don't want to work anymore," I sighed as I looked down at our hands. "It's just. . . He gets in my head. And then. . ."
Zac cut me off by leaning down and pressing a gentle kiss to my lips. I smiled weakly as I started to kiss him back. I broke the kiss, leaning my forehead against his.
"And then it's my job to get him out," Zac whispered as he rubbed his nose against mine. "He doesn't deserve you, babe."
"I mean. . ." I stuttered, taking a step back. "I'm basically Ryan Reynolds in The Proposal."
"Y/N," Zac laughed. He stopped laughing when I turned around, wrapping my arms around myself.
His breath got caught in his throat when he turned me around and instantly saw the tears in my eyes. "Babe?" He whispered as he took a step towards me.
I tried to take a step back, but he instantly closed the gap between us and pulled me into his chest.
"I'm not good enough, Zac." My voice cracked as the tears started streaming down my cheeks.
"What?" He stuttered, gently letting me go so he could see my face. "Y/N. . ."
"I'm not good enough for you," I whispered, looking down at my feet.
"Says who?"
"Says everyone," I scoffed, turning around. "Everyone looks at us and thinks you're crazy for being with me. Everyone knows I'm not good enough to be with the famous Zac Efron. But no one dares talks about us because they are afraid to upset you. . . I'm useless, Zac."
"No," he said desperately. He gently grabbed my shoulders, turning me around. "Y/N, you are not useless."
"Yes, I am," I stuttered, my voice breaking. "I'm useless at work. I'm useless around our apartment. I'm useless when it comes to paying for rent or groceries or anything. I'm useless in our relationship, Zac. I don't bring anything into our relationship. I'm useless."
"Y/N, stop," he said softly yet sternly. He shook his head, his eyes filling with tears. "That's not true. None of this is true, babe. You're not useless. Not to our relationship and especially not to me. I love you, Y/N."
"You shouldn't," I whispered. Before he could stop me, I turned on my heel and ran up the stairs, straight to our room. I slammed the door shut behind me, leaning back against it as the sob that I've been holding back finally escaped.
I took a few steps forward, collapsing onto our bed. I crawled onto it, instantly sitting crisscrossed as I clutched a pillow to my chest. All the feelings of self-doubt and anxiety came crashing down on me.
I sucked in a breath when I heard the door slowly open. I hesitated before finally looking up at Zac. He was leaning against the doorway, arms crossed over his chest, and a smile on his face.
"Why are you smiling?" I asked, clearing my throat as I reached up and quickly wiped a stray tear.
I hugged the pillow closer to my chest as he took a few steps towards me, crawling onto the bed next to me. He sighed as he wrapped his arms around my waist, pulling me into his chest as he was leaned against the bed frame with me in his arms.
"I'm smiling because I'm thinking about the time we first met," he said softly as he tightened his arms around me.
"You were filming the third High School Musical," I mumbled. He nodded as he let out a small chuckle.
"And you had just gotten hired by Henry Alvarez at Poppyseed Publishing. I was on my way to set and you had just picked up coffee for your boss. But thanks to me, I ended up bumping into you and spilling the two drinks down your white blouse."
"You paid to have them remade and even gave me the flannel you were wearing," I smiled as I leaned back more into him.
"It was the least I could do," he chuckled. "I spilled your first two and it stained your shirt."
"What I didn't know was that you had them write your name and number on my cup," I giggled. Zac leaned down and pressed a kiss to my neck.
His breath tickled my neck as he whispered, "And it took you almost a week to call me."
I laughed as he started to tickle me. He rolled us over, hovering over me. He leaned down and pressed his lips to mine. I moaned as I ran my fingers through his hair, instantly moving my lips in sync with his.
Zac broke the kiss, hovering over me. The smile fell from his lips as he scanned my face.
"Y/N," he said, his voice soft. "I can't believe that you think. . . We've been together for almost three years, babe. You are not useless. My life would be useless without you in it. Everything I have—our apartment, my career, everything—is worthless without you."
"But Zac. . ."
"But nothing," he interrupted me. "I hate that you think you're useless. If you're not happy with your job, quit. As for us. . ."
He shook his head as he sat up, pulling me with him. He reached up and tucked a piece of hair behind my ear, his hand lingering on my cheek.
"I can't say this enough, baby," he whispered. "You are my everything, Y/N. I love you."
"I love you too," I said, my eyes filling with tears. He leaned down and pressed a soft kiss to my lips. It instantly started to get heated as he laid us down, hovering over me.
"Zac," I gasped as he pulled away and started kissing my neck.
"I love you," he whispered in my ear.
I closed my eyes and took a deep breath. "I love you too."
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