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Hiiiiiiiiiiii!
If you ever have absolutely anything you want to talk about, crit, ask, or suggest, please do so here! It's no use keeping that kind of thing in and just making yourself feel bad, and I'd be grateful for any help I can get.
Aaaand, if you want to plan anything with Tamaki, or the Host Club, ideas can go here too /o/
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Thank you very much!
[character]: Suou Tamaki
[character history / background]: wiki knows all!
[character abilities]: he can outsparkle a tiny army of Cullens any day of the week. Just sayin’. That aside, he is also a first-hand entertainer / Host, and a very gifted piano player.
[character personality]: idealistic, slightly selfish, possibly deluded, creative, eccentric, dramatic, exhaustive, sharp-witted, paternal, curious, conflicted, impulsive, stubborn, and perhaps the single genuinely kind person you’ll ever meet.
Tamaki always wants to believe the best of the people around him. He will struggle to bring out even their tiniest quality, he’ll help them become the best persons they can be, and he’ll foremost make sure they appreciate themselves for it. Caught up in everything, he often doesn’t seem to focus enough on teaching people how to afterward help themselves. That tends to make them reliant on him on the long run - to fall in love with his ‘dream world,’ and to sometimes stagnate in it.
At the same time, this begs the question of whether Tamaki could ever bring himself to truly accept someone he doesn’t believe has an inkling of what he defines as 'good.' This comes into quite a bit of conflict with the fact that, well, he’s not stupid. If anything, when it really matters, Suou Tamaki is a very keenly introspective, precise and even calculated (without any kind of manipulative edge) individual, and he does realize that, sure, he might want to think X is a flower, and Y is a dashing hero ---- but they’re… not. Never were, possibly never will be, probably not striving to become those things. On the one hand, this kind of thinking sets him up for disappointment. On the other, often the fact that Tamaki is willing to give them a chance that no one else would forces the people around him to not let him down.
With regard to the world at large, Tamaki’s... er, ahahhaha... eccentric. Forever. He has a fascination with all things commoner, although if you think about it, he can’t have been the best off of fellows while living with his mother, either - certainly still solvent, but no where near bathing in yen. He enjoys making people laugh, and dedicates most of his time to making women of any age happy. Unlike most hosts, who have to fabricate their courtesies, Tamaki believes in every single compliment he awards anyone (and he finds some kind of reason to award’em by the ton, all in superlatives). He’s a buoyant boyo, likes putting on a show, and would probably go to interesting, mildly disturbing lengths for his friends (put the tentacle monster down, Hitachiin twins >_> ) . He’s warm, fuzzy, cute, and very, very, very cuddly. Bless him.
That said, Tamaki has an unusual gift of... keeping people at a certain comfortable distance. Behind his theatrics, he’s a fairly private individual, who avoids showing his actual, 100% opinions, possibly because some of them touch too closely on truths people don’t like to hear. He doesn’t speak of his circumstances very much, and neglects to show when he’s been honestly hurt, or when he understands more than one might think he does. As for actual romance... ah, but that would break the little ‘family’ he’s made, wouldn’t it? And Tamaki strongly feels that clubs - …yes, even you, newspaper club folks - are like families that should never be parted. In spite of all this, it would be unfair to claim Tamaki puts on a masque and lies to his familiars; he doesn’t. The “Host King” is simply his gift to the women around him, an expression of his gratitude.
As a companion, Tamaki can get... tiring. =_= He has more energy than anyone would ever want, and more often than not, he’s determined to BE IN YOUR FACE, and BE YOUR FRIEND, and ALWAYS IN CAPSLOCK. The wild Tamaki never roams subtly. He stampedes.
[point in timeline you're picking your character from]: the end of the anime series!
[journal post]:
[AUDIO POST]
To the Evil Overlord of unmistakable Doom behind this nefarious kidnapping plot of the most valiant, precious, pure-hearted and magnificent of princes -
If you’re a lady: …ah… may your day be as bright and as beautiful as you yourself doubtlessly are. Even if it’s a rash decision, I’m sure there’s a hidden tragedy, or a dark reason justifying your ways. And I’m just as sure you’re very, very sorry. And that you don’t want to wear a black cape and a white cat accessory forever, because as the devilish duo can tell you, it’ll go out of fashion really, really soon.
If you’re an alien: I HOPE YOU CAME IN PEACE.
Haruhiiiiiii, come hold Daddy’s haaaaaaaaaand… while he hides behind Mori-senpai. Who’ll hide behind Honey-senpai. It’s an anti-alien strategy.
If you’re a dragon, please forgive me, but you’re about to be vanquished. Or, um, well, blood and hostility aren’t any good, so how about the fifth Suou estate secretary should call your secretary to arrange a nice time when we can both choreograph a violence-free slaying? It can include a romantic monologue, a tragic sunset scene, the most flattering lighting for your lizard-y physique…!
And finally, if you’re Kyouya Ootori: oi, Mother, don’t sell the loving Father of our children into slavery so casually! What kind of example are you setting? This is domestic abuse! The kind we can’t even market to demanding ladies everywhere as part of our special Asian Drama program!
[third person / log sample]:
In five minutes, he’ll stop playing this piece.
Now, it’s --- too slow.
A Maestro once told him, "The prelude, there’s too much fire."
Nonsense. He never contradicted his masters, they knew much better, they’d been chosen for him, they’d studied, but --- butnonsense. You don't play Bach as if cautiously giving your audience bitter medicine, as if digging its grave. His hand slipped the once, and that had meant delay - which Tamaki can't suffer, not in his affairs, even less in his performance. He knew the piece by heart, music sheet long dismissed because he never could really be trusted to guard it. In the absence of commitment, he’d take on a new whim every single day, never wrapping up his old ones, and so he’d taught himself - so his professors had insisted - that he should learn partitures as soon as he read them. He knew the melody. He knew the writing. He knew the… theory.
But playing it now, yes, maybe something was missing. Some misunderstanding in his interpretation, a misalignment of feelings, a mis - sol-sol- la- do - ah. Mistake.
He played a similar sheet with accompaniment once, with enough courtesy to follow another's pace in soft Lied. The experience, while satisfying every formal requirement, felt hollow: the piano, Tamaki realized, is a private thing. You can play with an audience, and that pleasure he always wants shared; or you can play in duet, and the most he can do to survive the ordeal is to deafen himself completely. Ignore the third party in his romance (may Shirou-kun forgive his selfishness). After all, Tamaki can lead, and often, to disaster - but he's learned not to follow. He is not a subordinate. He is not a beloved commoner. He is not a tool. He is not his father's - grandmother 's - he is not - well, if they prefer him to be, then - then maybe -
Fugue.
Faster. Too slow. Faster.
Kyouya would call this style too avant-garde, without the proper respect for form. But that's Kyouya, and Kyouya himself is too artistically conventional, little though Tamaki says. He likes Kyouya, which is why, three out of five minutes later, when he’s almost run the bars raw from his practice, a one third Ootori heir is allowed a jab, “Tamaki, don't ruin the keys. There's only so much we can add to Haruhi's bill.”
For a moment, that’s temptingly familiar. Tamaki knows the routine answer: “DADDY WOULD NEVER - "
But he can’t finish that. He's prim now. He's proper. He sits back down, and he plays again, because really, this isn't about Haruhi, the one constant to the many variables of the Ouran equation - and if he must slow down to get this right, then he’ll slow down and - nonsense. He plays after Breitkopf. He plays roughly, with dead, strident notes, and he foremost plays cantabile.
Tamaki heard that once: play as you hear. As you know. He knows Haruhi, and he knows the Host Club, and he knows - invariably - that that day may well have come, with Eclaire Tonerre and the French proposal. The day when they break loose, all of them, and the day when he can choke on it, a little burning sliver of expectation, and the day when he finds his clothes missing, his books, his shoes, his piano, when they’re in box and suitcases again, when he has to face another brave new world and start all over. The day when his mother will be done with her waiting, when he trades one family for another.
Inevitably, the past week changed him as they changed his playing. Every morning hereon, this will be his choice: if he lets it, that day can be now. If he lets it, everything can end.
The responsibility of this decision, the selfishness brought by his love for everyone in his mirage family, that magnificent entity called a ‘Host Club’… he hates knowing this decision exists.
Piano. The piano is a solitary experience.
For another sixty seconds, he plays assiduously, until the next missed note. There are no markings for tempo in the original prelude. No dynamics. He can do as he likes. Pianoforte - once again, a choice that stands with him.
Like every other choice, today he refuses to take it, slams the lid with a whisper, "Prelude to the Great Demon Bereznoff."
There are worse beasts for a King to dare than pianos - but he can win all those over with a smile.
His five minutes are over.