New Ficcy: Symphonic
So, once again cross-posted to ff.net, although I'm putting it on here again so I can get more comments and feedback, which are always appreciated!
Title: Symphonic
Fandom: Ouran High School Host Club
Pairing: Kyouya/Tamaki (for the most part)
Rating: Overall? PG-13
Warning: Shounen-ai
Wordcount: 3181
Summary: A collection of 30 100-word drabbles based on song titles. Mainly Tamaki-centric and mostly Tamaki/Kyouya
Disclaimer: Neither Ouran High School Host Club (which belongs to Bisco Hatori, BONES, and Funimation) nor the songs (which belong to their respective artists/bands) belong to me. The title song, 'Symphonic,' is by Emm Gryner.
((To the fic!!))
Symphonic
I. When You Were Young (The Killers)
Childhood was full of joys and sorrows. Joy, for France was beautiful, and sorrow, because his mother was often ill. He knew one day he would be forced to leave that idyllic world behind to the life he was born to, but that thought was the farthest thing from his mind on those sunny summer mornings.
When his mother was well enough, she would go out to the garden with him and play soccer, or when she was feeling worse she would watch him as he swung higher and higher on the old worn rope swing, and she would smile.
II. My Heart Is The Worst Kind Of Weapon (Fall Out Boy)
He knew it would betray him. Knew that one day he would be swept out of his perfect world and become captivated by another being; another human would fill his soul and make him yearn.
He had never expected it to be another man, though. And he had never expected that man to be the son of his father’s biggest business rival.
And perhaps that worst was that he knew it would never work out. His heart would get broken. But that didn’t stop him from wanting. Didn’t stop him from hoping. And it certainly didn’t stop him from trying.
III. Time of Dying (Three Days Grace)
When the flowers faded, he thought of his mother. How was she doing, alone in France? Was she even alive? He had had no news for several years by this point, and worry gnawed at him almost every day. The only word he had to go on was that of his grandmother, and that was hardly something that could be trusted.
He knew that, someday, everything wilted and failed like the autumn flowers, but he wanted to remember his mother as she was in the full fruit of spring, and not in the death and decay that winter would bring.
IV. Chariot (Gavin DeGraw)
He had read somewhere that the sun was pulled across the sky by Apollo’s golden chariot; bright horses with manes of flame guided the glowing orb from sunup to sundown and were there again to continue their course the next morning. He thought of Apollo often when he played, too; the sun god was also the god of music, and he tried to imagine what it would be like to play for royalty like the composers of old. He mentioned this once; and only once; to Kyouya, but the younger man had merely cuffed him and proclaimed him an idiot.
V. Starlight (Muse)
It was the only thing that was witness to the nights they spent in each other’s beds; secret trysts that nobody would ever know about. Not their friends. Not their family. Only the high, cold stars would look down and illuminate their bodies; witness the familiar rhythm and sounds of their action and be there when their strength failed and they lay curled up for a time, until one would have to leave and fly swiftly and silently into the night, with no light to lead them back to their own bed but the ever present and all seeing starlight.
VI. Perfect Situation (Weezer)
It was too good to be true, he would often think. He had long ago accepted his love for his best friend, but to have said best friend one day come out and return his sentiments was mind-boggling and enough to make him think that he was still in the middle of one of his daydreams.
By the time school ended, however, he had convinced himself that it had happened, and he knew that he would not have to daydream anymore, because for the first time in a long time his dreams were real, staring him straight in the face.
VII. Somewhere Only We Know (Keane)
The maze in the rose garden was a place that he liked to come to; getting lost offered the best chance to think, and the least chance that anybody would find you while you were doing that thinking. One time, he had thought to bring Kyouya with him, but after wandering around for nearly an hour, the other man had stopped him and forcefully asked where they were going. Tamaki had merely smiled, reached to kiss his friend on the lips, and replied with a strangely bright and radiant light in his oddly hued violet eyes, “Somewhere only we know.”
VIII. The End Of The Innocence (Don Henley)
Tamaki was convinced he still had it, although Kyouya had said that he himself had lost it a long time ago. There was no room for innocence when trying to beat his brothers as he always was.
Tamaki swore that he would always maintain it, no matter how ruthless or cruel the world demanded him to be, but Kyouya merely stared at him with those grey eyes; eyes filled with loneliness and hurt, with everything Tamaki himself had rarely experienced. And in that moment, Tamaki knew that being with Kyouya meant losing his innocence. And he was alright with that.
IX. Am I Ever Gonna Find Out (Lifehouse)
He often wondered if Kyouya loved him. He was sure that the other man conveyed his feelings through actions, but just once he wanted…no, he needed…to hear those three little words. To hear that Kyouya cared about him just as much as he cared about Kyouya.
Once, when they were sitting in the music room after club; Tamaki playing piano and Kyouya jotting notes; the younger man had looked up with a strange gleam in his dark eyes and Tamaki was sure it was about to happen.
But it didn’t. And so, he would wait until the day it did.
X. No More Sad Songs (Clay Aiken)
Whenever Kyouya asked Tamaki to play for him, it was one of two things: nocturnes and requiems. Funeral songs and songs of the twilight. Tamaki himself preferred preludes and serenades; songs of beginning and love. Perhaps this highlighted the difference between them in the most obvious way, and Tamaki made a conscious note of this, choosing more nocturnes himself in an effort to get Kyouya to change.
One day, Kyouya walked up and asked him to play Mozart’s Sonatina in Eb Major, and Tamaki had to smile. It wasn’t quite a prelude or a serenade. But it was a start.
XI. It Ends Tonight (The All-American Rejects)
Tamaki could feel the tension between them as one could feel distant thunder approaching. They had been disagreeing more and more recently; silently feuding to the point where the rest of the club had begun to notice something wrong between ‘mommy’ and ‘daddy.’
One day, they began to be civil again, and Tamaki knew that this was the proverbial calm before the storm.
He hated being right, especially when Kyouya came to him that afternoon and told him that they could no longer be together in that way. Tamaki had nodded and walked away, freely allowing the tears to fall.
XII. Made of Steel (Our Lady Peace)
Sometimes he thought Kyouya was. The man was entirely too unemotional and shrewd for his own good; at least when it came to Club matters. Tamaki was determined to break him out of his shell in whatever way it took, and if it meant going to drastic measures, he was willing to do that, too.
All of his efforts proved futile, however, until the day when he had led Kyouya home, to a bed made with white linen sheets and covered in red rose petals.
Tamaki discovered that afternoon that perhaps steel wasn’t as unbreakable as he had once thought.
XIII. Afflicted (Age of Daze)
It truly was an affliction. In class, he found his eyes drawn more often to the dark-haired man than to whatever his teacher was demonstrating. During Club hours, the words he said with complete honesty to the princesses were never directed at them, but rather to the cool and collected Host sitting in the corner. When his grandmother called him out for being the son of a mistress, he only had to imagine Kyouya’s face and he could force a smile onto his own.
Yes, being in love certainly was an affliction. And Tamaki didn’t want to ever be cured.
XIV. Give Me Novacaine (Green Day)
He knew that sometimes Kyouya needed him to take away the pain and frustration of being the third son. Tamaki was like a drug; being with him numbed the sensation to a point where it was bearable and he could find the strength to make it through another day, or another meeting, or even just another meal with his family.
Tamaki knew this better than anyone, and he knew that the only thing he could do for Kyouya in those times was to be there for him. Tamaki would be his drug, and he would do it whenever Kyouya asked.
XV. Insensitive (Jann Arden)
He had once asked Kyouya to teach him how to be so indifferent, and Kyouya had looked at him with scorn and replied that it wasn’t something that could be taught. He had explained; with the odd way of speaking as if he were talking to a child; that insensitivity was something that was bred into a person at a young age due to the kind of family environment they had.
Tamaki didn’t believe it, and honed his attitude on his own. Upon showing Kyouya his new-found ‘cool’ characteristics, Kyouya had grudgingly smiled, and Tamaki knew he’d scored a point.
XVI. Gomenasai (TATU)
“I’m sorry, Kyouya. But Haruhi asked me to be her boyfriend, and I can’t say no to her.”
The words had stung, but not as much as the shocked look that briefly crossed Kyouya’s handsome face before he put up his stony mask again. Tamaki was torn between turning and walking away and rushing to the other man; taking him in his arms and kissing him until all the hurt went away.
But he had to be strong. It was better this way. He walked away down the hall; only looking back long enough to whisper one simple word: “Gomenasai.”
XVII. Taking Over Me (Evanescence)
Sometimes Tamaki thought he was losing his mind. The thought came most often when he was in the throes of ecstasy, the only sensation running through him being absolute pleasure and he couldn’t even remember his own name.
Hands and lips everywhere, touching as much exposed flesh as they could and surrounding it all a glorious heat that was all-encompassing and pushed him farther and farther into madness.
He decided once, laying in the afterglow, that if going crazy meant surrendering himself to a dark-haired, stormy-eyed shadow lord named Kyouya Ootori, he might not hesitate to do it after all.
XVIII. Days of the Week (Stone Temple Pilots)
Tamaki is convinced that Kyouya purposely plans out days on his calendar in order to be “Tease Tamaki” days. Like Monday. He had practically given the blonde ‘bedroom eyes’ the entire day, only to tell him that he had to go home and finish budgeting.
Or Wednesday, when he demonstrated to Kaoru how he wanted the twins’ act to go the next day, pulling the younger man into his lap and bringing their lips within inches of touching.
But on Friday, when Kyouya shoved him into the bedroom, he decided he’d endure all the teasing if this was the reward.
XIX. Surrender (Billy Talent)
He knew that this was something Kyouya hardly knew how to do. He knew it when he had first met the young Ootori, and through the years his desire to always appear strong and to never concede anything to anybody had only grown more prevalent.
But Tamaki also knew that sometimes in love one needed to give their partner the upper hand, and he hoped that one day Kyouya would understand this, too.
Until then, however, he would let the other man win, because only then could he teach Kyouya that sometimes losing was the only way to achieve victory.
XX. Sex and Candy (Marcy Playground)
They knew the rest of the Host Club could never find out, because they had no idea whether they would be accepted.
So their activities were done after club hours when nobody would be around to disturb them or accidentally walk in, and they had never been concerned that even the most careful plans can go horribly awry.
It happened on the day they had neglected to lock the door, and Kaoru strode in. He froze, blinked, made an offhand comment about the room smelling of ‘sex and candy,’ and walked out.
To Kyouya and Tamaki, it was strangely reassuring.
XXI. Flawed Design (Stabilo)
Tamaki knew that, when it came to Kyouya, he could be a little bit of a pushover. No matter what the other man required of him, he would find a way to get it done; usually without so much as raising a complaint. Thus was the power the vide-president had over the Host Club, and every single one of them knew who truly ran the show, although they would rarely dare to say it aloud. But Tamaki didn’t mind. As long as he was being useful to Kyouya, he knew that he would remain happy. That was enough for him.
XXII. So Far So Good (Thornley)
Every morning when he woke up, he would thank whomever was looking out for him that his relationship with Kyouya was progressing as smoothly as it was.
Of course they bickered; but then, what couple didn’t? The most affectionate term Kyouya seemed to know was ‘baka,’ but Tamaki hardly let it affect him anymore.
And of course they sometimes had misunderstandings, but Tamaki merely had to use his inherent charm to smooth it all over. Kyouya was certainly not an easy man to placate, but Tamaki seemingly had found a way to do it. At the moment, life was good.
XXIII. Tangled (Maroon 5)
It was a complicated web, he often thought. The threads that tied them together were weak and at the same time incredibly strong. Threads of friendship were overlaid with deeper ones that Tamaki often labelled as `family’…at least, to himself.
Because the Host Club was a family, no matter what anyone else might say. They had come together as lost souls and had found something that they needed in the relationships that they had formed with each other.
And because Tamaki had only truly known his ailing mother, this, to him, was about as perfect as a family could get.
XXIV. Semicharmed Life (Third Eye Blind)
Despite having almost anything a normal teenage boy could wish for, there was one very big obstacle standing in the way of Tamaki Suou and happiness: his grandmother.
True, he had money; good looks; musicianship skills; was quite smart; and had great friends, but his future dreams could be taken away if his grandmother so much as said the word.
However, he had one thing that his grandmother could never take out of his life: love.
He had Kyouya, and if it all was taken away from him, as long as he still had Kyouya, he would always be content.
XXV. For The Nights I Can’t Remember (Hedley)
He had often heard of those tenuous things termed ‘affairs,’ but it had hardly made an impact on him. However, after one party where he had consumed far too much alcohol and had woken up beside a man he didn’t know, he was faced with the unpleasant prospect of explaining it all to Kyouya.
However, Kyouya had seemed more relieved than anything and had told him that as long as it never happened again he would forget it had ever occurred in the first place.
Tamaki, of course, couldn’t remember what had happened that night, but he was thankful nonetheless.
XXVI. Hold Me In Your Arms (The Trews)
Sometimes he hated the façade that they were forced to put up in school: friends for the fact that it benefited the family businesses and not for any deeper reason.
Even during the Club, they were still rather cool and indifferent when it came to each other, at least as far as the ladies were concerned.
How different it was when the rest of the music room cleared out and Kyouya carefully latched the door, laying down on the couch so Tamaki could snuggle peacefully into his arms. They would stay for hours, sometimes; the world those outside never saw.
XXVII. Take My Hand (Simple Plan)
Tamaki could tell when Kyouya had been abused by his father; the younger man would be more closed-off than normal, and he would be nearly as silent as Mori for entire days.
Tamaki used to accept this, but this time he had decided that Yoshio did not have the right to hurt his son, and he bluntly asked Kyouya what had happened.
As expected, the other deigned to answer, but Tamaki looked at him with pleading eyes, saying, “Please, Kaasan. I only want to help you.”
He held out his hand, expecting rejection, but Kyouya surprised him by taking it.
XXVIII. Disenchanted (My Chemical Romance)
Kyouya always seemed as if he had already seen everything the world had thrown at him and accepted it for what it was.
Tamaki, however, made it his goal to see those steely eyes light up with delight and wonder just once, although he was having a hard time making it happen.
After doing everything he could possibly think of, he finally gave up and admitted to Kyouya that he was convinced nothing would ever excite him.
Kyouya had sighed and termed him “idiot,” but Tamaki saw the secret smile hidden behind his eyes. So Tamaki vowed to keep trying.
XXIX. I’m Still Here (John Rzeznik)
Sometimes he wondered if he had made the right choice in staying. Going to France, even if it meant marrying Éclair, also meant seeing his mother.
He brooded on this occasionally, knowing that at the first chance he’d be flying to Paris regardless of what his grandmother thought, but that time was far in the future.
One day, when he was feeling particularly down, he opened the doors of the Music Room to find the whole Club waiting for him. He looked at their faces, saw the love they had for him, and knew instantly that he had chosen right.
XXX. All Messed Up (Breaking Point)
He knew that on the day his father told him he was finally ready to succeed the company and that an heir was required that it was over. Kyouya and he could no longer keep up their charade, no matter how painful it was to admit it.
They spoke no words on the day they last met up in Tamaki’s bedroom. What they did that afternoon needed no words; looks and touches filled the void with truer and purer emotion than words could ever convey. That day, they met in the room as lovers, and left it as merely friends.
Owari
Whew, what a list! They were really fun to do, though, although finding appropriate songs DID take a while! This was done over about four nights, BTW.
Anyway, has ANYONE seen the ATROCITY that is the opening dub for the English version of OHSHC??? (Apparently the voice actors are mostly from FMA, though I’ve never watched that…) Yes, they have DUBBED Sakura Kiss. The horror. (I’m inclined to think they’ll also dub Shissou, although I really HOPE they won’t). There’s a video on YouTube. Watch it. It’ll scare you.
I mean, really: they DUBBED IT????
Okay, end of rant. Thanks for reading, and drop me a comment if you feel like it (tell me which ones you think are the best!) :)
Title: Symphonic
Fandom: Ouran High School Host Club
Pairing: Kyouya/Tamaki (for the most part)
Rating: Overall? PG-13
Warning: Shounen-ai
Wordcount: 3181
Summary: A collection of 30 100-word drabbles based on song titles. Mainly Tamaki-centric and mostly Tamaki/Kyouya
Disclaimer: Neither Ouran High School Host Club (which belongs to Bisco Hatori, BONES, and Funimation) nor the songs (which belong to their respective artists/bands) belong to me. The title song, 'Symphonic,' is by Emm Gryner.
((To the fic!!))
Symphonic
I. When You Were Young (The Killers)
Childhood was full of joys and sorrows. Joy, for France was beautiful, and sorrow, because his mother was often ill. He knew one day he would be forced to leave that idyllic world behind to the life he was born to, but that thought was the farthest thing from his mind on those sunny summer mornings.
When his mother was well enough, she would go out to the garden with him and play soccer, or when she was feeling worse she would watch him as he swung higher and higher on the old worn rope swing, and she would smile.
II. My Heart Is The Worst Kind Of Weapon (Fall Out Boy)
He knew it would betray him. Knew that one day he would be swept out of his perfect world and become captivated by another being; another human would fill his soul and make him yearn.
He had never expected it to be another man, though. And he had never expected that man to be the son of his father’s biggest business rival.
And perhaps that worst was that he knew it would never work out. His heart would get broken. But that didn’t stop him from wanting. Didn’t stop him from hoping. And it certainly didn’t stop him from trying.
III. Time of Dying (Three Days Grace)
When the flowers faded, he thought of his mother. How was she doing, alone in France? Was she even alive? He had had no news for several years by this point, and worry gnawed at him almost every day. The only word he had to go on was that of his grandmother, and that was hardly something that could be trusted.
He knew that, someday, everything wilted and failed like the autumn flowers, but he wanted to remember his mother as she was in the full fruit of spring, and not in the death and decay that winter would bring.
IV. Chariot (Gavin DeGraw)
He had read somewhere that the sun was pulled across the sky by Apollo’s golden chariot; bright horses with manes of flame guided the glowing orb from sunup to sundown and were there again to continue their course the next morning. He thought of Apollo often when he played, too; the sun god was also the god of music, and he tried to imagine what it would be like to play for royalty like the composers of old. He mentioned this once; and only once; to Kyouya, but the younger man had merely cuffed him and proclaimed him an idiot.
V. Starlight (Muse)
It was the only thing that was witness to the nights they spent in each other’s beds; secret trysts that nobody would ever know about. Not their friends. Not their family. Only the high, cold stars would look down and illuminate their bodies; witness the familiar rhythm and sounds of their action and be there when their strength failed and they lay curled up for a time, until one would have to leave and fly swiftly and silently into the night, with no light to lead them back to their own bed but the ever present and all seeing starlight.
VI. Perfect Situation (Weezer)
It was too good to be true, he would often think. He had long ago accepted his love for his best friend, but to have said best friend one day come out and return his sentiments was mind-boggling and enough to make him think that he was still in the middle of one of his daydreams.
By the time school ended, however, he had convinced himself that it had happened, and he knew that he would not have to daydream anymore, because for the first time in a long time his dreams were real, staring him straight in the face.
VII. Somewhere Only We Know (Keane)
The maze in the rose garden was a place that he liked to come to; getting lost offered the best chance to think, and the least chance that anybody would find you while you were doing that thinking. One time, he had thought to bring Kyouya with him, but after wandering around for nearly an hour, the other man had stopped him and forcefully asked where they were going. Tamaki had merely smiled, reached to kiss his friend on the lips, and replied with a strangely bright and radiant light in his oddly hued violet eyes, “Somewhere only we know.”
VIII. The End Of The Innocence (Don Henley)
Tamaki was convinced he still had it, although Kyouya had said that he himself had lost it a long time ago. There was no room for innocence when trying to beat his brothers as he always was.
Tamaki swore that he would always maintain it, no matter how ruthless or cruel the world demanded him to be, but Kyouya merely stared at him with those grey eyes; eyes filled with loneliness and hurt, with everything Tamaki himself had rarely experienced. And in that moment, Tamaki knew that being with Kyouya meant losing his innocence. And he was alright with that.
IX. Am I Ever Gonna Find Out (Lifehouse)
He often wondered if Kyouya loved him. He was sure that the other man conveyed his feelings through actions, but just once he wanted…no, he needed…to hear those three little words. To hear that Kyouya cared about him just as much as he cared about Kyouya.
Once, when they were sitting in the music room after club; Tamaki playing piano and Kyouya jotting notes; the younger man had looked up with a strange gleam in his dark eyes and Tamaki was sure it was about to happen.
But it didn’t. And so, he would wait until the day it did.
X. No More Sad Songs (Clay Aiken)
Whenever Kyouya asked Tamaki to play for him, it was one of two things: nocturnes and requiems. Funeral songs and songs of the twilight. Tamaki himself preferred preludes and serenades; songs of beginning and love. Perhaps this highlighted the difference between them in the most obvious way, and Tamaki made a conscious note of this, choosing more nocturnes himself in an effort to get Kyouya to change.
One day, Kyouya walked up and asked him to play Mozart’s Sonatina in Eb Major, and Tamaki had to smile. It wasn’t quite a prelude or a serenade. But it was a start.
XI. It Ends Tonight (The All-American Rejects)
Tamaki could feel the tension between them as one could feel distant thunder approaching. They had been disagreeing more and more recently; silently feuding to the point where the rest of the club had begun to notice something wrong between ‘mommy’ and ‘daddy.’
One day, they began to be civil again, and Tamaki knew that this was the proverbial calm before the storm.
He hated being right, especially when Kyouya came to him that afternoon and told him that they could no longer be together in that way. Tamaki had nodded and walked away, freely allowing the tears to fall.
XII. Made of Steel (Our Lady Peace)
Sometimes he thought Kyouya was. The man was entirely too unemotional and shrewd for his own good; at least when it came to Club matters. Tamaki was determined to break him out of his shell in whatever way it took, and if it meant going to drastic measures, he was willing to do that, too.
All of his efforts proved futile, however, until the day when he had led Kyouya home, to a bed made with white linen sheets and covered in red rose petals.
Tamaki discovered that afternoon that perhaps steel wasn’t as unbreakable as he had once thought.
XIII. Afflicted (Age of Daze)
It truly was an affliction. In class, he found his eyes drawn more often to the dark-haired man than to whatever his teacher was demonstrating. During Club hours, the words he said with complete honesty to the princesses were never directed at them, but rather to the cool and collected Host sitting in the corner. When his grandmother called him out for being the son of a mistress, he only had to imagine Kyouya’s face and he could force a smile onto his own.
Yes, being in love certainly was an affliction. And Tamaki didn’t want to ever be cured.
XIV. Give Me Novacaine (Green Day)
He knew that sometimes Kyouya needed him to take away the pain and frustration of being the third son. Tamaki was like a drug; being with him numbed the sensation to a point where it was bearable and he could find the strength to make it through another day, or another meeting, or even just another meal with his family.
Tamaki knew this better than anyone, and he knew that the only thing he could do for Kyouya in those times was to be there for him. Tamaki would be his drug, and he would do it whenever Kyouya asked.
XV. Insensitive (Jann Arden)
He had once asked Kyouya to teach him how to be so indifferent, and Kyouya had looked at him with scorn and replied that it wasn’t something that could be taught. He had explained; with the odd way of speaking as if he were talking to a child; that insensitivity was something that was bred into a person at a young age due to the kind of family environment they had.
Tamaki didn’t believe it, and honed his attitude on his own. Upon showing Kyouya his new-found ‘cool’ characteristics, Kyouya had grudgingly smiled, and Tamaki knew he’d scored a point.
XVI. Gomenasai (TATU)
“I’m sorry, Kyouya. But Haruhi asked me to be her boyfriend, and I can’t say no to her.”
The words had stung, but not as much as the shocked look that briefly crossed Kyouya’s handsome face before he put up his stony mask again. Tamaki was torn between turning and walking away and rushing to the other man; taking him in his arms and kissing him until all the hurt went away.
But he had to be strong. It was better this way. He walked away down the hall; only looking back long enough to whisper one simple word: “Gomenasai.”
XVII. Taking Over Me (Evanescence)
Sometimes Tamaki thought he was losing his mind. The thought came most often when he was in the throes of ecstasy, the only sensation running through him being absolute pleasure and he couldn’t even remember his own name.
Hands and lips everywhere, touching as much exposed flesh as they could and surrounding it all a glorious heat that was all-encompassing and pushed him farther and farther into madness.
He decided once, laying in the afterglow, that if going crazy meant surrendering himself to a dark-haired, stormy-eyed shadow lord named Kyouya Ootori, he might not hesitate to do it after all.
XVIII. Days of the Week (Stone Temple Pilots)
Tamaki is convinced that Kyouya purposely plans out days on his calendar in order to be “Tease Tamaki” days. Like Monday. He had practically given the blonde ‘bedroom eyes’ the entire day, only to tell him that he had to go home and finish budgeting.
Or Wednesday, when he demonstrated to Kaoru how he wanted the twins’ act to go the next day, pulling the younger man into his lap and bringing their lips within inches of touching.
But on Friday, when Kyouya shoved him into the bedroom, he decided he’d endure all the teasing if this was the reward.
XIX. Surrender (Billy Talent)
He knew that this was something Kyouya hardly knew how to do. He knew it when he had first met the young Ootori, and through the years his desire to always appear strong and to never concede anything to anybody had only grown more prevalent.
But Tamaki also knew that sometimes in love one needed to give their partner the upper hand, and he hoped that one day Kyouya would understand this, too.
Until then, however, he would let the other man win, because only then could he teach Kyouya that sometimes losing was the only way to achieve victory.
XX. Sex and Candy (Marcy Playground)
They knew the rest of the Host Club could never find out, because they had no idea whether they would be accepted.
So their activities were done after club hours when nobody would be around to disturb them or accidentally walk in, and they had never been concerned that even the most careful plans can go horribly awry.
It happened on the day they had neglected to lock the door, and Kaoru strode in. He froze, blinked, made an offhand comment about the room smelling of ‘sex and candy,’ and walked out.
To Kyouya and Tamaki, it was strangely reassuring.
XXI. Flawed Design (Stabilo)
Tamaki knew that, when it came to Kyouya, he could be a little bit of a pushover. No matter what the other man required of him, he would find a way to get it done; usually without so much as raising a complaint. Thus was the power the vide-president had over the Host Club, and every single one of them knew who truly ran the show, although they would rarely dare to say it aloud. But Tamaki didn’t mind. As long as he was being useful to Kyouya, he knew that he would remain happy. That was enough for him.
XXII. So Far So Good (Thornley)
Every morning when he woke up, he would thank whomever was looking out for him that his relationship with Kyouya was progressing as smoothly as it was.
Of course they bickered; but then, what couple didn’t? The most affectionate term Kyouya seemed to know was ‘baka,’ but Tamaki hardly let it affect him anymore.
And of course they sometimes had misunderstandings, but Tamaki merely had to use his inherent charm to smooth it all over. Kyouya was certainly not an easy man to placate, but Tamaki seemingly had found a way to do it. At the moment, life was good.
XXIII. Tangled (Maroon 5)
It was a complicated web, he often thought. The threads that tied them together were weak and at the same time incredibly strong. Threads of friendship were overlaid with deeper ones that Tamaki often labelled as `family’…at least, to himself.
Because the Host Club was a family, no matter what anyone else might say. They had come together as lost souls and had found something that they needed in the relationships that they had formed with each other.
And because Tamaki had only truly known his ailing mother, this, to him, was about as perfect as a family could get.
XXIV. Semicharmed Life (Third Eye Blind)
Despite having almost anything a normal teenage boy could wish for, there was one very big obstacle standing in the way of Tamaki Suou and happiness: his grandmother.
True, he had money; good looks; musicianship skills; was quite smart; and had great friends, but his future dreams could be taken away if his grandmother so much as said the word.
However, he had one thing that his grandmother could never take out of his life: love.
He had Kyouya, and if it all was taken away from him, as long as he still had Kyouya, he would always be content.
XXV. For The Nights I Can’t Remember (Hedley)
He had often heard of those tenuous things termed ‘affairs,’ but it had hardly made an impact on him. However, after one party where he had consumed far too much alcohol and had woken up beside a man he didn’t know, he was faced with the unpleasant prospect of explaining it all to Kyouya.
However, Kyouya had seemed more relieved than anything and had told him that as long as it never happened again he would forget it had ever occurred in the first place.
Tamaki, of course, couldn’t remember what had happened that night, but he was thankful nonetheless.
XXVI. Hold Me In Your Arms (The Trews)
Sometimes he hated the façade that they were forced to put up in school: friends for the fact that it benefited the family businesses and not for any deeper reason.
Even during the Club, they were still rather cool and indifferent when it came to each other, at least as far as the ladies were concerned.
How different it was when the rest of the music room cleared out and Kyouya carefully latched the door, laying down on the couch so Tamaki could snuggle peacefully into his arms. They would stay for hours, sometimes; the world those outside never saw.
XXVII. Take My Hand (Simple Plan)
Tamaki could tell when Kyouya had been abused by his father; the younger man would be more closed-off than normal, and he would be nearly as silent as Mori for entire days.
Tamaki used to accept this, but this time he had decided that Yoshio did not have the right to hurt his son, and he bluntly asked Kyouya what had happened.
As expected, the other deigned to answer, but Tamaki looked at him with pleading eyes, saying, “Please, Kaasan. I only want to help you.”
He held out his hand, expecting rejection, but Kyouya surprised him by taking it.
XXVIII. Disenchanted (My Chemical Romance)
Kyouya always seemed as if he had already seen everything the world had thrown at him and accepted it for what it was.
Tamaki, however, made it his goal to see those steely eyes light up with delight and wonder just once, although he was having a hard time making it happen.
After doing everything he could possibly think of, he finally gave up and admitted to Kyouya that he was convinced nothing would ever excite him.
Kyouya had sighed and termed him “idiot,” but Tamaki saw the secret smile hidden behind his eyes. So Tamaki vowed to keep trying.
XXIX. I’m Still Here (John Rzeznik)
Sometimes he wondered if he had made the right choice in staying. Going to France, even if it meant marrying Éclair, also meant seeing his mother.
He brooded on this occasionally, knowing that at the first chance he’d be flying to Paris regardless of what his grandmother thought, but that time was far in the future.
One day, when he was feeling particularly down, he opened the doors of the Music Room to find the whole Club waiting for him. He looked at their faces, saw the love they had for him, and knew instantly that he had chosen right.
XXX. All Messed Up (Breaking Point)
He knew that on the day his father told him he was finally ready to succeed the company and that an heir was required that it was over. Kyouya and he could no longer keep up their charade, no matter how painful it was to admit it.
They spoke no words on the day they last met up in Tamaki’s bedroom. What they did that afternoon needed no words; looks and touches filled the void with truer and purer emotion than words could ever convey. That day, they met in the room as lovers, and left it as merely friends.
Owari
Whew, what a list! They were really fun to do, though, although finding appropriate songs DID take a while! This was done over about four nights, BTW.
Anyway, has ANYONE seen the ATROCITY that is the opening dub for the English version of OHSHC??? (Apparently the voice actors are mostly from FMA, though I’ve never watched that…) Yes, they have DUBBED Sakura Kiss. The horror. (I’m inclined to think they’ll also dub Shissou, although I really HOPE they won’t). There’s a video on YouTube. Watch it. It’ll scare you.
I mean, really: they DUBBED IT????
Okay, end of rant. Thanks for reading, and drop me a comment if you feel like it (tell me which ones you think are the best!) :)