#this is very unpolished but. its more than what ive done in a while so ill take it LMAO | Explore Tumblr Posts and Blogs

mysticetus · 2 years

Note

if ur cool with it id like to know more abt ur thoughts on the walten files, ive never been a fan of it since it feels kinda lame

i tried watching it awhile ago to see why everyone was talking about it and its simply not my thing. it feels tonally dissonant and far too derivative of preexisting works to feel genuine. to put it bluntly it feels dead.

im not going to complain about its unpolished nature because i genuinely like works that allow themselves to be a little rough and i typically love when artists set out to create their own series like this independently. in the context of that i never expect it to look completely cohesive, and in some instances it can lend itself to whatever tone the series is going for. however in the case of the walten files it starts to get distracting, especially with the amateur nature of the voice acting and script writing. it makes it hard for me to take the series seriously.

the creator has a sort of ugly attitude as far as ive seen, in that the series’ success has made them act big headed. they give entire plot points and character summaries on twitter.com rather than integrate it into the series. they act condescendingly toward their critics and lean very hard into the fandom part of their audience. the fact it has a merch page just makes me feel a little yucky about the earnestness of the art. i understand artists need to make money (in fact i encourage buying from artists, and i am artists) but plushies and t shirts feel sort of evil to me, at least in the context of this kind of series.

and maybe thats another reason i feel yucky about it, because it feels so specifically engineered to generate a fandom culture around itself. it has all the tropes to the point it feels baity. this “retro” “analog” horror stuff has become very popular in recent years and im not going to say it inherently fails but its rarely effective when it’s overly reliant on the fact that it looks “old” to have any sort of character, and this results in it feeling very lifeless. this combined with the (forgive me for using this term) prominence of “sexyman” type characters that are glitchy cursed haunted robots or tall guys in suits who drink and murder children, and the dialogue trying and failing to be funny/snarky and really destroying the 70’s/80’s immersion by using modern slang and internet jokes, it just gets very grating. i dont know why but (embarrassingly) i actively start feeling pissed when i watch it.

i dunno. maybe some of my anger toward it is unwarranted, because in my head it’s the face of a lot of phenomena that i really hate on the internet. i was trying really really hard not to compare it to petscop because its rarely fair to compare works to that series, but in episode 3 it very clearly wants you to compare it to petscop. so im gonna compare it to petscop. sophie walten is paul leskowitz for women and also done embarrassingly poorly, because this series tried to create a paul type character while unaware of what makes paul work. the pills thing is kind of hilarious. it writes these things from a perspective devoid of empathy, imo.

it also very clearly takes after fnaf and specifically other fan works like squimpus’ fnaf vhs series, which i personally think does everything the walten files tries to do but better. and i sincerely think this is because its elements are included with specific purpose. the walten files feels like it includes things because it thinks it would be cool rather than because it would genuinely serve what the series is setting out to do, which is clearly some sort of arg-adjacent mystery. thats how i feel about a lot of “analog horror” stuff actually … it just would “look cool” and it’s relatively easy to pull off on a superficial level. this is rarely executed well, however, because the substance of the series itself has to also be designed around that era, otherwise the immersion falls apart.

those are my exhaustive and blunt feelings about it. but im just some guy. ultimately it doesnt much matter its just annoying and my only worry is how it sets a standard for this kind of art going forward.

id love to open this for discussion though like. i think its a very interesting case study and i like talking about it with others

#ask

25 notes · View notes

thefloatingstone · 3 years

Text

One last Daicon IV post before bed but;

I unironically and very legitimately LOVE the rough, amateurish, derpy look to the Bunny Girl's face both as a child and as an adult. And I mean that VERY seriously.

She's not derpy in EVERY scene, and is clear some of the animators had a better grip on drawing faces than others, so there are shots were she still looks rough and unpolished but a little better done.

But I am very serious that I have genuine love and affection for the rough, amateur, unpolished look of her face (and child body in most of that segment).

Since Daicon IV, the Gainax crew have gone on to reference the Bunny Girl countless times in its later productions, the most direct being in Otaku no Video

But although the bunny girl in Otaku no Video has a MUCH more polished, clean and overall professional look to her face in every shot she's in and it is clear she's being drawn by what were now veteran animators of almost 10 years... what makes the derpy Daicon IV Bunny Girl's face so special to me is you can SEE the college kids making the animation for Daicon IV were copying Nausicaa and what was going to become the Ghibli art style.

Sometimes she looks a little more like a Macross or Gundam character, but for the most part, her art design is most clearly a copy of Miyazaki's art done by a college kid who didn't really know what they were doing.

And like... that's the whole POINT. That's WHY people care so much about Daicon IV even 40 years later. It's WHY people continue to try and restore the copies we have access to. it's WHY people keep uploading different versions of it to youtube and it's why the laserdisc is currently being sold for $2000 on ebay.

Daicon Iv was made by 12 college kids who didn't know what they were doing, imitating an art style from a master animator they revered (and if Otaku no Video is to be believed- slept in a queue overnight to see Nausicaa on opening day for) for a sci fi convention in which they tried to cram every single thing they have ever loved about sci fi, fantasy and anime in one 5-ish minute short film.

The animation in Daicon IV is incredible for ANY level of skill or experience. But if it was TOO perfect and TOO amazing we'd just take it for granted.

The Bunny Girl's imperfections remind us that this passion project was made by a bunch of kids because they loved Scifi, Fantasy and anime. They poured every single drop of their passion into those 5 minutes.

And Derpy faced Bunny Girl is here to remind you that they accomplished this INSANE feat which dropped like a bombshell at the Daicon convention in 1983 and literally changed anime forever... all while not being completely sure what they were doing and not being "that good at it".

The Bunny Girl has been drawn a few times by highly skilled artists, both from Gainax as well as just fanart, but I truly don't believe you could really re-capture what made her so special in the original short.

Things are too polished, people are too practiced and talented.

But Rough, bootleg Nausicaa, "eye trying to escape her face" Bunny Girl is absolutely, without making a joke about it, completely perfect.

#Daicon IV #anime #80s

52 notes · View notes

lesbeet · 4 years

Text

not to be a nerd but i accidentally just wrote a whole impromptu essay about editing ndjsdksksk im throwing it under a cut bc it's fucking inane and really long but honestly... i just want other people to become as passionate about editing as i am lmaooooo

i also recommend 2 books in the post so if anything at least check those out!

quality books about editing... *chef's kiss* a lot of the basic ones (including blog posts online n such) are geared towards beginners and end up repeating the same info/advice, much of it either oversimplified or misrepresented tbh. but i read one yesterday and i'm reading another one right now that really convey this passion for editing + consideration for it as its own sort of art and i just!!

it's such a weird thing to be passionate about lmao but i AM and i've spent a lot of time the past year or so consciously honing my craft (ik i mention this like 4 times a week i'm just really proud of how much i've learned and improved) and kind of like. solidifying my instincts into conscious choices i guess?

and these GOOD editing books have both a) taught me new information and/or presented familiar information through a new perspective that helped me understand something differently or in more depth, and b) validated or even just put into words certain preferences or techniques that i've developed on my own, that i don't normally see on those more basic lists i mentioned

btw the book i finished yesterday is self-editing for fiction writers: how to edit yourself into print by renni brown and dave king, and the one i'm reading currently is the artful edit: on the practice of editing yourself by susan bell.

the former was pretty sharp and straightforward. the authors demonstrated some of their points directly in the text, which was usually funny enough that i would show certain quotes to my sister without context

("Just think about how much power a single obscenity can have if it’s the only one in the whole fucking book." <- (it was)

"Frequent italics have come to signal weak writing. So you should never resort to them unless they are the only practical choice, as with the kind of self-conscious internal dialogue shown above or an occasional emphasis."

or, my favorite: "There are a few stylistic devices that are so “tacky” they should be used very sparingly, if at all. First on the list is emphasis quotes, as in the quotes around the word “tacky” in the preceding sentence. The only time you need to use them is to show you are referring to the word itself, as in the quotes around the word “tacky” in the preceding sentence. Read it again; it all makes sense.")

and like i said, i also learned some new ideas or techniques (or they articulated vague ideas i already had but struggled to put into practice), AND they mentioned some suggestions that ive literally never seen anyone else bring up (not to say no one has! just that ive never seen it, and ive seen a lot in terms of writing tips, advice, best practices, etc) that ive already sort of established in my own writing

for example they went into pretty fine detail about dialogue mechanics, more than i usually see, and in talking about the pacing and proportion of "beats" and dialogue in a given scene, they explicitly suggested that, if a character speaks more than a sentence or two and you plan on giving them some sort of dialogue tag or an action to perform as a beat, the tag or action should be placed at one of the earliest (if not the first) natural pauses in the dialogue, so as not to distance the character too far from the dialogue -- bc otherwise the reader ends up getting all of the dialogue information first, and then has to go back and retroactively insert the character, or what they're doing, or the way they look/sound while they're giving their little speech

and like this was something ive figured out on my own, mostly bc it jarred me out of something i was reading enough times (probably in fic tbh) that i started noticing it, and realized that it's something i do naturally, kind of to anchor the character to the dialogue mechanic to make sure it makes sense with the actual dialogue

so like. ok here's an example i just randomly pulled from the song of achilles (it was available on scribd so i just looked for a spot that worked to illustrate my point djsmsks)

the actual quote is written effectively, but here's a less effective version first:

“Perhaps I would, but I see no reason to kill him. He’s done nothing to me," Achilles answered coolly.

see and even with such a short snippet it's so much smoother and more vivid just by moving the dialogue tag, not adding or cutting a word:

“Perhaps I would, but I see no reason to kill him.” Achilles answered coolly. “He’s done nothing to me.”

the rhythm of it is better, and the beat that the dialogue tag creates functions as a natural dramatic pause before achilles delivers an incredibly poignant line, both within the immediate context of the scene and because we as the readers can recognize it as foreshadowing. plus, it flows smoothly because that beat was inserted where the dialogue already contained a natural pause, just bc that's how people speak. if you read both versions aloud, they both make sense, but the second version (the original used in the novel) accounts for the rhythm of dialogue, the way people tend to process information as they read, AND the greater context of the story, and as a result packs significantly more purpose, information, and effect into the same exact set of words

and THAT, folks, is the kind of editing minutia i can literally sit and hyperfocus on for hours without noticing. anyway it's a good book lmao

the one i'm reading now is a lot more about the cognitive process/es of editing, so there's less concrete and specific advice (so far, anyway) and more discussion about different mental approaches to editing, as well as tips and tools for making a firm distinction between your writer brain and your editor brain, which is something i struggle with

but there have been so many good quotes that ive highlighted! a lot of just like. reminders and things to think about, and also just lovely articulations of things id thought of or come to understand in much more vague ways.

scribd won't let me copy/paste this one bc it's a document copy and not an actual ebook, but this passage is talking about how the simple act of showing a piece of writing to someone else for the very first time can spark a sudden shift in perspective on the work, bc you'll (or at least i) frantically try to re-read it through their eyes and end up noticing a bunch of new errors -

or she talked about the perils of constant re-reading in the middle of writing a draft, which is something i struggle with a LOT, both bc i'm a perfectionist and bc i prefer editing to writing so i sit and edit when i'm procrastinating doing the actual hard work of writing lmao

it's just this side of fake deep tbh but i so rarely see editing discussed like this--as a mixture of art and science, a collaboration between instinct and technique, that really requires "both sides of the brain" to be done well.

and because of the way my own brain works, activities that require such a balanced concentration of creativity and logic really appeal to me. even though ive seen a lot of people (even professional writers) who frame it as the creative art of writing vs the logical discipline of editing. but i think that's such a misleading way of thinking about it, because writing and editing both require creativity and logic -- just different kinds! (not to mention that the line between writing and editing, while mostly clear, can get a little blurry from up close)

but like...all stories have an inner logic to them, even if the writer hasn't explicitly or consciously planned it, and even if the logic is faulty in places in the first couple of drafts. when you're sitting and daydreaming about your story, especially if you're trying to figure out how to bridge the gap between two points or scenes (or, how to write a sequence of events that presents as a logical, inevitable progression of cause and effect), the voice in your head that evaluates an idea and decides to 1) go with it, 2) scrap it, 3) tweak it until it works, or 4) hold onto it in case you want it later? that's your logic! if an idea feels wrong, or like it just doesn't work, it's probably because some part of you is detecting a conflict between some part of the idea and the overall logic of your story. every decision you make as you write is formed by and checked against your own experiential logic, and also by the internal logic of your story, which is far less developed (or at least, one would hope), and therefore more prone to the occasional laspe

but while ive seen a number of articles that discuss the logic of writing, i don't see people gushing as much about the art of editing and it's such a shame

the inner editor is so often characterized as the responsible parent to the writer's carefree child, or a relentless critic of the writer's unselfconscious, unpolished drivel

and it's like... maybe you just hate thinking critically about your work! maybe you view it that way because you're imposing external standards too fiercely onto your writing, and it's sucked the joy out of shaping and sculpting your words until they sing. maybe you prefer to conceive of your writing as divine communication, the process of which must remain unencumbered by lessons learned through experience or the vulnerability of self-reflection, until the buzzkill inner editor shows up with all those "rules" and "conventions" that only matter if you're trying to get published

and like obviously the market doesn't dictate which conventions are worth following, but the majority of widely-agreed-upon writing standards, especially those aimed at beginners, (and most especially those regarding style, as opposed to story structure) have to do with the effectiveness and efficiency of prose, and, in addition to often serving as a shorthand for distinguishing an amateur from a pro, overall help to increase poignancy and clarity, which is crucial no matter the genre or type of writing. and even if you personally believe otherwise, it's better to understand the conventions so you can break them with real purpose.

so editing shouldn't be about trying to shove your pristine artistic masterpiece into a conventional mold, it should be about using the creative instincts of your ear and your logic and experience-based understanding of writing as a craft to hone your words until you've told your story as effectively as possible

thank u for coming to my ted talk ✌️

#long post //#editing #wref #sefa rambles

17 notes · View notes

text-to-speech-impediment · 5 years

Text

THE VAULT IN OUR STARS

An Opinion Piece on How Bethesda Survives (And How You Can Change Them!)

A/N: I wrote this op-ed for funsies. As you may know, I am known to warm myself at a corporate dumpster fire from time to time, but this one is especially close to my heart. I may replace with an actual edited version but for now, just enjoy it in its raw & unpolished glory. If you’re a Bethesda fan, you’re used to it anyway.

In the words of Todd Howard, “I read on the internet…that sometimes it doesn’t just work.”

Indeed, after just over two weeks since its 14 November release date, Bethesda Softworks’ release of survival multiplayer sandbox “Fallout 76” has more than merely failed to impress most of its players. The game has garnered an infamously low average score of only 54% on popular game journalism site, Metacritic. It fares no better on Youtube, with dozens of popular influencers obliterating the high expectations of even the most devoted fans of the Fallout franchise; but this will not be another essay to dishonor the multiple technical, immersion and storytelling woes that plague beleaguered “Fallout 76”. That’s for another essay.

This criticism is one that many previous public complaints have touched on, flirted with, but seldom fully explored while caught up in the disappointment they had in “Fallout 76.” Specifically, this essay is leveled broadly at Bethesda Softworks LLC, the video game publishing division responsible for “Fallout 76”, as well as ZeniMax Media Inc., the parent organization of Bethesda and many other well-known game developers such as Arkane Studios, id Software and more. The upper management of these companies is removed from all but the finances of their industry; they are abusing both their content creators and consumers to calculated effect, remaining foggy at best on the aim of the products their teams are producing and out of touch with the end user’s interest.

What more can we say against corporations of this staggering size? Corporations and mergers, time and again, continue to exploit art production and consumption then shrug off the backlash by driving screws into their overworked employees and letting them take the fall with the public. Unless we look at past events, this trend of blame shifting isn’t obvious. It’s hard at the moment to see that Bethesda Softworks’ colossal failure to recreate their previous endearing successes with fans in “Fallout 76” didn’t happen overnight.

It is for this reason that I sit on my soapbox today, somehow about to make an analogy of the gaming marketing industry by using Hazel and Gus from good ol’ John Green’s “The Fault in Our Stars.” Never did I imagine I’d see those concepts together, but here I am smashing them together like this is fanfiction(dot)net. Don’t get too excited, though, because none of the wholesome aspects of Hazel and Gus make it into this analogy; no, this essay is all about the essence of what happens when you take a beautiful thing and strip it to the bare bones. Being a gamer in today’s culture of parasitic marketing is roughly akin to being desperately in love with a dying cancer patient. With their pants down and tumors exposed, Bethesda is giving us a rare glimpse into exactly what has made them cancerous: a lack of Vision (not to be confused with Activision.)

You see, Bethesda doesn’t have a vision. If you asked Todd Howard today what Bethesda’s vision was, his response would essentially amount to “get bigger, bigger than we’ve ever seen before,” and you would never be quite sure if he meant to say it would be the games, the bugs, or the pocketbooks that would be getting “bigger.” Bethesda has no vision because they are blinded by what I like to refer to as the survivalist mindset, cancer that has spread through their higher management and public faces so quietly for so long that Bethesda has only just noticed it rearing its ugly head. They have ventured through the past 20 years producing games that fans would merely refrain from harshly criticizing. If only they had seen their culture of undiluted survivalism in time to integrate it into “Fallout 76.”

To see the birth of this cancer that is killing Bethesda, we will travel back in time to 31 October 1998, when “The Elder Scrolls Adventures: Redguard,” along with its related title “An Elder Scrolls Legend: Battlespire,” were both resounding “commercial failures,” according to Stephan Janicki of Computer Gaming World. These two disappointments brought Bethesda to the edge of bankruptcy before ZeniMax Media swooped in and claimed them as a subsidiary in 1999. In the following years, Bethesda Softworks knew they had to succeed, or they were done in the eyes of both their corporate overlords and their fans. This is when the panicky, survivalist mindset set in. Feverishly they worked until, in 2002, they released “The Elder Scrolls III: Morrowind,” and Todd Howard was relieved to find that “It just work[ed].” Upon the laurels of Morrowind, Bethesda skipped happily into the sunset, bringing us many more beloved titles like “Fallout 3,” “The Elder Scrolls IV: Oblivion,” “The Elder Scrolls V: Skyrim,” “The Elder Scrolls V: Skyrim – Legendary Edition,” and “The Elder Scrolls V: Skyrim – Special Edition.”

But they never grew out of that survivalist panic. Like cancer, it festered in the background, that burning fear of “commercial failure,” which is a euphemism for rejection by their fans. Bethesda’s near-death experience had scared them. Their aversion to conflict and attempts to please every consumer instead of maintaining a focused design and lore quickly made them the endearing dweeb of game developers, merely slapped on the wrist for repeat performance flaws that would break the fans of other developers. “Cute” bugs in coding dating back several releases, consistently shipping products with technical difficulties unbecoming of a $60 price tag, multiple rerelease announcements and story-writing so poor that it’s common for players to joke about blatantly ignoring the main plot of the game, often for hundreds of hours, in favor of the things Bethesda did capture: exploration, immersion, and lore.

That brings us to the jokes. After Skyrim-related content pervaded their 2017 E3 press conference, it began to dawn on Bethesda’s corporate half that all those Bethesda memes were laughing at them, not with them. Shaken by flashbacks of Tiber Septim’s conquest of Hammerfell in “The Elder Scrolls Adventures: Redguard,” Todd Howard and Bethesda’s upper management knew they couldn’t sit by idly and allow for history to repeat itself. They couldn’t accept hearing rejection from fans, even if it meant directly ignoring their feedback. Tunnel vision set in in the wake of more Skyrim jokes and criticism over their Creation Club microtransactions. The cancer was consuming them and the only way to heal their fracturing friendly persona and silence their critics was to get bigger, bigger than we’ve ever seen before; but at E3 2018, two decades after their initial “commercial failures,” their realization came many years too late and they didn’t snap out of their survivalist mindset in time.

Their bigger-than-we’ve-ever-seen-before came in the form of “Fallout 76”, not an ambitious venture objectively but very ambitious for Bethesda Game Studios Austin Branch, formerly known as BattleCry Studios LLC, who had never coded a project using Creation Engine, which Bethesda has been using exclusively since 2011.

But wait! say the studious fans of Bethesda. If Creation Engine has only existed since 2011, why does “Fallout 76” have bugs dating back as far as Morrowind? Creation is based off a much older engine called Gamebryo (known as NetImmerse until 2003). A much older engine that has successfully supported huge multiplayer games, most notably the critically acclaimed “Warhammer Online: Age of Reckoning.”

If the core of Bethesda’s Creation Engine is a game engine that can create an enjoyable multiplayer experience, then why can’t “Fallout 76” do the same? Well, spread this funny honey on a biscuit, baby, because the answer is more cancer!

The fact that Bethesda has recurring bugs dating back over multiple releases suggests that, rather than taking time to address technology advancements, Bethesda’s survivalist mindset has grown upon Creation Engine like a tumor, strapping framework on top in half-baked layers, as quickly as possible, reducing the flexibility and independence of asset files into a fragile, unstable, monstrous whole.

I genuinely do not believe that Bethesda Game Studio Austin’s game developers were incompetent or lazy. Since the “Fallout 76” announcement at E3 2018, many have suspected disorganization in Bethesda’s management as they encountered a truly new set of obstacles for the first time. No one knew what “Fallout 76” would become, not the end users and certainly not the management of Bethesda Studios that for years had ignored the desperate need for ease-of-use coding with conservative couplings (files dependent on other files). They threw BGS Austin, a relatively new team that was inexperienced with designing Creation Engine worlds, into a hyped AAA release with an enormous fanbase; and what it became was an unacceptable byproduct of that insidious culture of corporate survivalism. Bethesda officials became so concerned with what the public thought of them that they never thought to check. They fixated on getting bigger than we’ve ever seen before until their creation became confused and codependent. They obfuscated what brought fans to Bethesda in Morrowind and kept them coming back through every hiccup and every rerelease: the fun to be had in exploration, immersion, and lore, but most importantly, the Vision.

Oh, what a situation Bethesda finds itself in now! Even though they’ve finally seen a backlash from setting profit margins before considering their team’s capacity, many feel this call-to-god moment has come too late. Losing the reverent trust of large portions of their fanbase, they must either find a way to fix their cancerous, bloated Creation Engine or risk losing their Bethesda aesthetic by developing a costly new engine to proceed. Bethesda knows this, and they desperately hope that no one else does because they also realized that by promising not only a decade-anticipated new “Elder Scrolls” release but a new game franchise as well, they’ve already allocated most of their resources. They can’t go back on their promises now without a complete “commercial failure” from fans already stretched thin by “Fallout 76;” now more than ever they need all hands on deck. There is little time and money left to dedicate to the enormous undertaking of designing a new game engine from scratch, much less the even more arduous task of unscrambling Creation Engine, now so distorted that their employees don’t know how to fix it anymore or they would, just to stop seeing memes about Skyrim and floating Scorched Zombies. It’s hopeless. It’s arguable that they deserve help after insulting fans with the lack of focus and attention for “Fallout 76,” multiple buggy rereleases of a buggy title from 2011, and the general sense of not understanding what made a compelling story. They do not deserve sympathy for the vague unease of having to create your own purpose, a job which Bethesda has shifted to its fans to avoid facing its fears from 20 years of trying to please everyone for their own pride and not in the spirit of their consumers.

Bethesda may not deserve our help, but many still believe that The Elder Scrolls does, that Fallout does. If you’re one of those people, there is something you can do, and it’s to ignore the cries to boycott all Bethesda products “forever.”

Bethesda owns the intellectual property to The Elder Scrolls and Fallout; and while Bethesda is an abusive, frustrated company with—seemingly—a vision of self-destruction, they do still care what you think because of their all-consuming fear of the Redguard. But ZeniMax Media owns them, even the neurotic Todd Howard, and ZeniMax Media has only ever cared about your money. You cannot refuse to agree to buy the game you want Bethesda to make and still expect it to arrive, but you can refuse to pre-order their games and indulge in microtransactions for as long as it takes. The game industry’s security and stock values are heavily dependent on fan loyalty, digital merchandise sales and pre-orders. This money gives them their security blanket in case they create “Fallout 76.” Wrapped in their blankies, the management of Bethesda and ZeniMax Media will keep their narrow vision and continue to use their development teams as bad press sponges unless they experience some genuine fear of “commercial failure.” If consumers reject their vision, they will change their vision for money; because Truth is, the game was rigged from the start.

#my writing #bethesda #zenimax #fallout 76 #fallout #fo76 #fo76 beta #fallout 4 #skyrim #the elder scrolls #writeblr #writing #article #humor art #long post #vidya games

3 notes · View notes

mysticdaddies · 7 years

Note

idk if this has been done but how about mc lyric pranking the rfa+v+saeran? can be sfw or nsfw!

Saeran: Little Did You Know by Alex and Sierra

You: Little did you know...

Saeran: Don’t tell me you ate my ice cream.

You: How I’m breaking while you fall asleep, Little did you know…

Saeran: Muffin, what are you talking about? Tell me, please remember no secrets between us

You: Im still haunted by the memories…. Little did you know I’m trying to pick myself up piece by piece…

Saeran: Look I know I don’t deserve you okay but please tell me how can I help you because (y/n) you helped me pick up my pieces please babe please let me know how to help you… your scaring me….

You: Underneath it all, I’m held captive by the hole inside, Ive been holding back for the fear that you might change your mind….

Saeran: Please.. don’t tell my.. my biggest fear is coming true… please.. noo.. lets talk about this when I get home… please..

You: Im ready to forgive you but forgetting is a harder fight

Saeran: NO PLEASE NO IM SORRY PLEASE (Y/N) IM SORRY PLEA-

You: COOKIE IM SORRY ITS JUST A SONG I LOVE YOU… I ATE YOUR ICE CREAM IM SORRY…

Saeran: @$#%! HDFGJQN GD^!*@

Jumin: Ego by Beyonce

You: Aw, baby, how you doing? You know I’m gonna cut right to the chase, huh? Some women were made But me, myself? I like to think that I was created For a special purpose, You know? What’s more special than YOU? You feel me?

Jumin: Continue Kitten

You: It’s on, baby let’s get lost, You don’t need to call in to work ‘cause you’re the boss, For real, want you to show me how you feel, I consider myself lucky, that’s a big deal, Why

You: Well, you got the key to my heart, But you ain’t gonna need it, I’d rather you open up my body, And show me secrets you didn’t know was inside, No need for me to lie

Jumin: Keep going my love, you have my full attention *he exits the limo*

You: It’s too big, Its too wide, its too strong, it won’t fit, its too much, it’s too tough, You got a big ego, such a huge ego, I Love your big ego..

*you hear the door open and then you felt your back lightly hit the couch*

*You see jumin licking his lips and suddenly you felt his hot breath tickling your neck*

Now now my kitten, lets see you stroke *grabs your hand and puts it on his crotch* this ego and lets make it fit shall we?

Seven: Acquainted by The Weekend

You: Baby you’re no good, caused they warned me bout your type, got me ducking left and right

Seven: You got that right ;)

You: You got me touchin on your body, to say that were in love is dangerous, but seven I’m glad we’re acquainted

Seven: Really having my d**k in your mouth means that we are just acquainted.. WE ARE NOT EVEN FRIENDS. I THOUGHT WE WERE DATING. FINE IF YOU DONT APPRECIATE ME.. ILL FIND SOMEONE WHO DOES!! I AM HURT THAT YOU DEGRADED EVERYTHING WE HAVE TOGETHER

Seven: Oh and if I was you, I would pick a song that we didn’t fuck to :) love you see you in 10 mins!!

V: Gotta Catch em All - Pokemon Theme Song

You: I want to be the very best, like no one ever was

V: Hello my precious angel :) I hope you can accomplish your dreams and be the best in your field! Know I love and support you always!

You: To catch them is my real test, to train them is my cause!

V: ……

You: I will travel across the land, searching far and wide!

V: Teach Pokemon to understand!!!! The power that’s inside!!!! Pokemon, (gotta catch them all) its you and me!!!!!!! I know its my destiny!!!!

You: Pokemon, (gotta catch them all) its you and me, I know its my destinyPokemon, oh, you’re my best friend!!!!! In a world we must defend, Pokemon, (gotta catch them all) a heart so true!!!Our courage will pull us through

V: YOU TEACH ME

YOU: AND I TEACH YOU!!

V: POKEEMOOONN

YOU: POKEEEMOOOON !! I never would of that the amazing, carefree, would know the Pokemon theme song! I never knew you liked those stuff :)

V: I like to be a bit mysterious… it goes with me.. Me and Jumin use to battle each other all the time..We still do…. I started with popplio.. he started with Rowlet…

You: Dont fuck with my litten.

Yoosung: Burn by Usher

You: Its going to burn for me to say this but its coming from my heart

You: It’s been a long time coming, we da been fall apart

Yoosung: Baby do you need me to call an ambulance!! ARE YOU AT THE APARTMENT A HEART BURN SOUNDS SERIOUS

You: I really want to work this out but I don’t think you’re gonna change

Yoosung: Have I done something wrong? :( I know you are out of my league, I hear my classmates whispering how can a pathetic guy like me have someone so beautiful as you :(

You: I think its best we go our separate ways…

Yoosung: I always dreamed of this day coming.. first… sally left… then Rika… and now you… I… respect your wishes (y/n).. can you please.. just wait till my last class is over? May I have permission to buy you your favorite flowers and food because if this is going to be my last time seeing you, I want to have a good memory of you….

You: *dies* *guilt* *his heart shattered* *your heart is shattering* YOOSUNG IM SORRY IT WAS A JOKE A LYRIC PRANK IM SORRY!!! YOU KNOW IM IN LOVE WITH YOU!!!! IM SORRRY

Yoosung: WHY WOULD YOU WANT TO PLAY WITH MY HEART WHEN YOU KNOW ITS YOURS *SENDS CRYING EMOJI*

Zen: Pullin me Back by Chingy

You: Every time I try to leave….something keeps pulling me back, Telling me I need you in my life

Zen: What do you mean ‘leave’. Define it and use it in a sentence.

You: It was meant to be, You were meant for me, So that means we gotta make it work

Zen: I am legit confused. This is worse than an unpolished script. So you want to break my heart but then you want to make it work. We are talking about this when I get home. Im leaving practice right now. Just look at a picture of me and just remember all the good times we have. Please.

You: It was all good at first, Spending money, going shopping, Eating at the finest restaurants,And then from club hopping

Zen: So when you think and see a picture of me, all you think is materialistic things! REALLY! Wow, Jaehee was right about you, you were just using me. I’ll help pack your things when I get to my house. Thanks for breaking my heart.

You: NO HYUN PLEASE IT WAS JUST A PRANK YOU KNOW I WOULD NEVER DO THAT PLEASE HYUN FUCK BABY PLEASE IM SORRY LOOK UP THE LYRICS AND YOU WILL SEE THAT ITS FROM A SONG AND AND BABY PLEASE

Zen: *sends winks face selfie* Cute how my acting skills even work on you ;) I love you too baby, don’t ever think about messing with me ;)

Jaehee: Come and Get It by Selena Gomez

You: You ain’t gotta worry, its an open invitation Jaehee: Did you open my mail? You: I’ll be seating right here, real patient, All day all night, I be waiting standby Jaehee: Please (y/n) don’t stay up for me, Mr. DickHead has me working over time :( I don’t want you to sacrifice yourself for me :( You: Can’t stop because I love it, hate the way I love you, All day, all night, maybe I’m addicted for life, no lie.Jaehee: You speak beautiful words hehe *3* thank you for making hell more bearable :) You: I’m not too shy to show I love you, I got no regrets. I love you much, too much to hide you, this love ain’t finished yet.Jaehee: What do you mean show me……. You: *sends nude* *jaehee in the office*

2K notes · View notes