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Young Anarka

I dunno… Like

Her past intrigued me the most out of all the adult characters, and I can't understand her mix with Jagged. Like, he cheated on her and she got pregnant? They had an open relationship? Or did they only share intimacy? Why did she never tell her kids about their father? And why didn't their father pay child support lmao…

so gay

I started watching ouran highschool host club and im confused. Is it gay, is it straight? Why did I end up watching it from a scene where a girl calls the club ‘a reverse harem’. Please tell me the twins are just trolling the fujoshis that request them. Please tell me nothing weird goes on with Honey. Also, I prefer Haruni’s (might have gotten her name wrong) design in the first episode more lolz.

thank you for the tag bestieboo <33

𝑇ℎ𝑒 𝑟𝑢𝑙𝑒𝑠 𝑎𝑟𝑒 𝑠𝑖𝑚𝑝𝑙𝑒: 𝑔𝑜 𝑡𝑜 𝑝𝑖𝑛𝑡𝑒𝑟𝑒𝑠𝑡, 𝑠𝑒𝑎𝑟𝑐ℎ "𝑦𝑜𝑢𝑟 𝑛𝑎𝑚𝑒 + 𝑐𝑜𝑟𝑒," 𝑝𝑜𝑠𝑡 𝑠𝑖𝑥 𝑝𝑖𝑐𝑡𝑢𝑟𝑒𝑠. 𝑇ℎ𝑒𝑛 𝑡𝑎𝑔 𝑠𝑖𝑥 𝑝𝑒𝑜𝑝𝑙𝑒.

thanks @ghosts-and-blue-sweaters and @cbuttonduo for the tag!! <3

wow i’m obsessed with this and i feel it’s fairly accurate!!

tags (no pressure): @thewildballyntynesgrow @bronzetomatoes @cloverstellar @clingyduoapologist @seeking-elsewhither @thoughts-of-caly

a small part of my soul dies every time i hear someone say it should have been mori senpai

I always assumed Kyoya had implied feelings for Haruhi after finishing OHSHC but then I saw a Tiktok comment saying "I always thought he was in love with Tamaki actually" and my brain fucking exploded

I reached what you would call enlightenment when all their scenes together played like a movie in my head in one moment

That makes so much more damn sense I was like oh my god of course he does

Thoughts on Kyoya's development in the manga? It's nice to see him have more expressions and being unhinged towards the later chapters.

Manga kyoya is the food i was raised on

Where i really REALLY think the manga shines in the characterization of Kyoya is that it drives home that Kyoya is an important, complex, sympathetic character who is well liked by his peers for exactly who he is and has always been. There is not some secretly kind and sweet Kyoya hiding under the ambition and temper, in fact what is under there is even MORE ambition and at times a rage he physically cannot contain. And he is loved for it.

And I think this is a great creative choice with his character and one we know from the very beginning is intentional because of Renge. Her introduction serves to show who these characters aren’t going to be. In most stories, a character like Kyoya can only be liked by other characters (and the audience) if he is secretly sweet in some ways. Kyoya shatters this fantasy with a rock. There is no hidden sweetness.

This is not to say he doesn’t care, just that there is no gentleness to his care. As you say Kyoya becomes much more expressive and unhinged in some chapters of the manga because his emotions are finally so big he cannot keep them restrained at all- and it is very consistent that this is almost exclusively caused by or about Tamaki (there is only one instance I can think of where he gets particularly genuine and expressive and it’s entirely for himself, from the final chapter). But there is also a kind of care that Kyoya is consistently expressing through his work, because he is constantly putting in an extraordinary amount of work in service of the club and its members. And it takes him a while, almost to the very end of the series, to admit that he is doing this not because it will benefit his future career or the Ootori family, but because the club has become precious to him and he will do anything for it and its members.

And not only does Kyoya realize this, but even more progress for our beloved boy, he says so explicitly to Kaoru. (and Honey seems to psychically get the message too???) This I think is also one of the great strong suits of the manga over the anime: the anime really focuses in on just the relationships of characters to Haruhi or to Tamaki because of how much of the series had come out and because of needing to streamline things. The manga is much, much more about the relationships between all members of the club. Tamaki brought the pairs together, but these boys have spent two years getting to know and become friends with each other and they ALL see Kyoya for who he is and love him for it. They don’t match him and understand him as fundamentally as Tamaki does (the boys come in pairs for a reason), but they do get him better than he thinks they do and there are multiple scenes of characters other than Haruhi stunning him with how well they see through his shell.

The relationships to Honey and Kaoru are given the most attention and are the most interesting to me, but I will just discuss Kaoru for now because this is already long enough. Kaoru and Kyoya become each other’s default partner when their normal companion isn’t an option and they are really good at it. Kyoya recognizes capability and drive in Kaoru, which Kaoru always rises up to meet. And Kaoru is very vocal about complimenting Kyoya in such a way that clearly points out he sees Kyoya’s actual motives, which embarrasses Kyoya in exactly the same way that Tamaki and Haruhi are good at doing when they see right through him too. Kaoru respects Kyoya and also understands that everything he is doing is from an enormous amount of care for his friends. And unlike the way most people see the twins, Kyoya sees Kaoru as reliable and just as dedicated to their club/family as he is.

me sitting by you, sitting without seeing me 

summary: when tamaki gets to japan, this is his first mistake: greeting his father. prompt: music recs, any human friend (album), for @selkiecoded pairings: tamaki suoh/kyoya ootori words: 1877 warnings: homophobia, mentions of canon-typical abuse and racism notes: a mix of manga and anime canon is used! i mostly used inspiration from the song "i'm not where you are" off of this album. ty for the rec i really enjoyed it!!

When Tamaki gets to Japan, this is his first mistake: greeting his father. 

It’s a stupid mistake. He knows it’s a stupid mistake. He knows better than to say what he did. He didn’t use the correct level of formality when he spoke to his father in Japanese, and it got him first a slightly disapproving frown from his father and then, from his grandmother, a scoff and a dismissal. She waves her hand at him and says, “You’ll know better than to address me, at least, so informally, I expect.” 

The shame colors his cheeks, heats up his insides, sending him spiraling back to France. He’s been in Japan and with his family for five minutes and already fucked up. He takes a deep breath and says, “Yes, Grandmother. It’s good to see you,” as formally as he remembers how, and then bows. 

She scoffs again, and then turns around and walks away. This is the first of many times that he will disappoint her. Or, this is just the latest of times in the string of times he’s disappointed her just by virtue of being born. Which wasn’t his fault, but it’s hard to feel like it isn’t his problem. 

Tamaki is led to his room in the second Suoh mansion, where he unpacks his few things, sets his photo of his mother on a shelf, and then lies down in the bed and stares up at the ceiling. He doesn’t hate Japan. He doesn’t. It’s just that he doesn’t fit. 

This is not the last time he will feel like this. The next time is when he goes to dinner, and he greets the maid on his way to the dining room in search of the meal. He just says hello, and he bows, because he’s pretty sure that’s what you’re supposed to do when you meet people for the first time, and she stutters something that sounds like “Oh, oh, oh, oh,” and then she stumbles around a corner and turns away. 

It’s a little strange, but maybe she was just nervous meeting someone new, and so he doesn’t think much of it until he greets the cook who serves him and he does the same thing. It’s not until he talks to the head of the servants that he’s finally told that that’s just not how things work around here. The servants are not his friends. They are to be treated with respect, but they aren’t there to talk to him or spend time around him. 

Oh, is all that he can think. He doesn’t know how he feels about that. On one hand, he knows that that’s the nature of their job and of his position. On the other hand, he believes every human being deserves a hello and a good morning and a note of respect in his voice. 

But he’ll go with this for now. He’s desperate to be what he’s expected to be. He’s been set adrift in Japan and he’s clinging to every lifeline he can grasp at; he’s clinging tight to the things he knows to be true and the things he’s told he’s wrong about. The problem is just that it seems that he’s wrong about everything. 

As he comes to understand the world and culture and language and customs a little better, it becomes quickly apparent that his father hasn’t told the truth about everything. In all their conversations about Japan, there are so many things he hadn’t mentioned and even more things that he said that are outright untrue. The fact that his father lied to him about so many things doesn’t sit well in his stomach. But he’s also not brave enough to confront him about it, to ask why he would do that to him, to wonder aloud if he meant so little as to lie about his own heritage, and so he just lives with his new and corrected knowledge.

It’s Kyoya, really, who tells him the truth. Kyoya, who never fails to tell him when he’s wrong. Kyoya, who doesn’t hold back anymore. Kyoya, who reminds him to sleep before dreaming but then builds his dreams anyways.

But even with Kyoya, there’s a disconnect that bothers Tamaki. There’s a kind of broken piece between them: if they were each one half of a puzzle, there would be a single piece in the middle that had fallen by the wayside, never to be found again. There’s a kind of crack in the floor they stand on that represents a canyon that he cannot cross, but that he must leap over before he fully understands what it means to live in Japan, to be Japanese, to be half, to be everything that he is and wants to be and is supposed to be. 

“I could be a preschool teacher,” he tells Kyoya once. 

“As if your father would let that happen,” Kyoya replied. 

He’s right, he’s always right, but it’s still a wake up call that Tamaki didn’t really want. He knows that there are things expected of him. He knows that who he is now is not enough for anyone—for his family. 

He knows that who he will be is a shape molded years upon years ago, when it became clear he was the only heir and the weight of the Suoh family was put on his shoulders. Or, when it became clear he was the only heir and the weight of being good enough to call himself Suoh was made into a quest, an obstacle, a fight to the death. 

It’s strange. He loves who he is. He wants to love who he will be. He doesn’t know how. 

He also doesn’t know how to get there—to the future. He doesn’t know how to become what he needs to be. There are too many things in his childlike wonder that Tamaki doesn’t want to let go of. Love is a tool, a weapon, a shield, and he wields it strong and careful with both hands. 

Love is also unwelcome. This is something he learns early on in his life in Japan. 

This is something he learns when his grandmother calls him a disgraceful bastard. This is something he learns when a girl at school gives him a strange look and then calls him a halfer; just a brief, throwaway comment to her, but to Tamaki it is a prick of a needle popping his heart. This is also something he learns later, when he kisses Kyoya, and he gets caught. 

They are seventeen. They are sitting in Music Room 3, and everyone is supposed to be gone for the day. They were supposed to be alone for hours, talking about the club and life and the future and all of the things that they speak about when no one else is there to listen. 

But Haruhi forgot her phone—she’s ridiculously lax about the care and upkeep of the thing, mostly because she didn’t want it in the first place—and she had come back for it. She had hesitated at the door when she saw how close they were sitting to each other. Maybe she was curious. Maybe something in her gut just told her to stop, to stand at a crack in the door that neither had noticed, and wait. 

Either way, she stands there and watches as Tamaki puts his hand to Kyoya’s cheek and presses a tender kiss to his lips and then pulls away with a smile. Kyoya has that light pink color at his cheeks that he gets when they kiss, something Tamaki has teased him to no end about, and he looks so eiderdown-soft and rose-red-in-love that Tamaki kisses him again. 

They were supposed to be alone. 

And here’s the thing: they know that none of their close friends would care if they were together. Most of them probably have some kind of inkling that they’re together already, and none of them have ever once made a comment about it. 

They’ve been dating for almost a year now, and while they’re not blatantly obvious or advertising their relationship status, it’s also clear in the way they look at each other. Tamaki has always been expressive in everything he does, and loving Kyoya is no different. He doesn’t say it out loud to anyone else, but if you look closely at his searching eyes, you’ll notice that they always come back to Kyoya eventually. 

Still, it’s not something that they’re allowed to have. This—in love—is not who they are supposed to be. This—together—is not who they are expected to be. There is something evil in Tamaki that wants Kyoya and doesn’t care what his father thinks. There is something disgusting in Tamaki that craves Kyoya’s touch and doesn’t give a shit that his grandmother might disown him for real this time. There is something horrible and terrible and brave in Tamaki that chooses to love Kyoya in spite of the world. 

But there is also something scared in him that is not ready for the rest of the world to see it. There is something in him that does not want Haruhi to understand this part of them. There is something in him that doesn’t want to share. 

Because, really, at the end of the day, here is what it comes down to: there is the world and the universe and everyone in it, and then there is Tamaki. There is Tamaki, on the other side of the glass, reading DO NOT TAP GLASS backwards. There is Tamaki, distant and drifting and untethered from the rest of the world. From Haruhi and the hosts and even, sometimes, from Kyoya. 

There is something in him that is still a fourteen year old child messing up the grammar of his second language and reeling from his grandmother’s hatred. There is something in him that is still a fifteen year old boy falling in love and terrified of the consequences for having a feeling. There is something in him that is still a sixteen year old watching his best friend, slapped by his father because of a dream they shared. 

There is the world and its intricacies, and then there is Tamaki and his eccentricities. There is the world and its beauty, and then there is Tamaki and his monstrosity. As the earth spins forward, advancing around the sun, instead of being carried along with it, he’s left behind in the riptide: losing his family, losing his first love, losing his mind, losing his heart. 

“Haruhi,” Kyoya says, staring at her. 

“Hi,” she says. 

“Please—” Tamaki starts, then cuts himself off. 

Haruhi just nods. Maybe she understands. Maybe she doesn’t. Maybe Tamaki’s side of Tamaki vs. The World is expanding. Maybe it’s not. Maybe she just doesn’t know what else there is to say. Maybe she’s just letting this slip through her fingers without making a big deal out of it, in the same way as she lets go of so many things. 

But maybe it doesn’t matter either way, if she cares or doesn’t care. Maybe it doesn’t matter if the fight is him against the world or him and Kyoya and his friends against the world. Maybe what matters is that there’s a fight in the first place, and that he is losing it. 

blue lock objectively is insane and probably bad. but the thing about blue lock is that once you watch it youre like holy shit this is peak. its a disease.

other powerpoints ive made (including bllk part 2)

haruhi said in a world where you can be anything, be kind

Atsumu: You're to me, what dumpsters are to raccoon.

Sakusa: Did you just call me fucking trash?

Atsumu: No! I'm trying to say you're my home.

Sakusa: THEN WHY WOULD YOU SAY IT LIKE THAT?