#or onto something? projection mapping has been in my orbit but I have never afforded a fancy projector

[zytes]

buzzmind

[yaku-soba]

i’ve seen this film before (this is an old story)

༶•┈┈ oikawa tooru x gn!reader | angst

༶•┈┈ general m.list

tags/warnings: angst (with an okay ending), swear words, oikawa doesn’t become a pro, kinda college au, author was listening to the folklore album and also mother mother while writing this, i think that’s warning enough

word count: 1.48k

a/n: this was originally supposed to be some sort of prose poetry for my poetry sideblog but it didn’t work out so </3 also, trying out a somewhat new writing style hehe :3

“someone has to leave first. this is a very old story. there is no other version of this story.”

― richard siken, war of the foxes

»»————- ————- ————- ¤ ————- ————- ————-««

it goes like this: you fight over something small (it's never just something small), and after a while with whom the fault lies doesn't matter anymore (a double-edged sword: the fighting and the screaming and the shouting and the mocking).

it goes like this: radio silence, no missed calls, no unopened texts. oikawa, a character study: lover becomes roommate becomes a shadow you see slipping out the door if you wake up early enough. take-out ordered for one, a bed too large and cold. blankets that swamp you. 

it ends like this: you cave first (you always cave first). oikawa is too proud to apologize and you are too tired and it is easier to brush all the broken pieces of each other under the rug (it's old, you don't remember where it came from, only that it's the colour of mold and smells like mothballs, despite your best efforts) and pretend the we are fucked up, we are fucking this up away. you hate the way this story ends, there is no other ending to this story.

»»————- ————- ————- ¤ ————- ————- ————-««

"tooru," you say, and the click of the door as he shuts it behind him rings like a gunshot. "do you know what day it is?"

oikawa is breathtaking, as always. "no," he says, casting his eyes to the moldy rug at your feet and then away, off to the side, "what day is it?" oikawa is breathtaking, and as always, he's a bad liar.

you smile, make no effort to pull it to your eyes. "it's pasta day," you answer, and it's as hollow as the ring-pop he gave you as a promise when you were younger (when you had thought you were in love; when you were in love).

he nods. "thanks for cooking dinner." he chucks off his shoes and socks in an act of practiced nonchalance.

there is no pasta day.

"welcome home," you tell him belatedly. he hums, says nothing in return.

(stilted conversation: the second stage of a terminal relationship.)

»»————- ————- ————- ¤ ————- ————- ————-««

once, you were young and in love.

it's been proven: youth and love makes one foolish.

the story, or the prologue - it goes like this: you meet oikawa at an impressionable age (the boy next door, the golden boy, the boy the coaches eye in a game, the boy all the girls talk about, the boy). he proceeds to make quite an impression on you (a burn from sparklers on a beach at a festival, a failed ollie that left a scar on your knee, bruised wrists from volleyball, the - invisible, but you know it’s there, just as oikawa knows - stitch over the exit wound in your chest). you grow up beside him and along the way, convince yourself that sticking with him is a natural progression (cherry blossoms bloom for only two weeks). 

you and oikawa, him and you. it has always been the two of you. this story is very old, this story always ends the same way.

»»————- ————- ————- ¤ ————- ————- ————-««

you’re fucked up. you and oikawa, him and you - somewhere, along the way, you’d gotten fucked up. you don’t know who fucked it up first, it doesn’t matter anymore. (nothing matters but the brush of oikawa’s lips on your lips and the delicate flutter of his lashes and the rent that you cannot afford without a roommate). 

oikawa is waiting on the couch when you come home (you came home later than usual - you’d seen him talking to a girl who had batted her lashes at him prettily the way he used to do to you). you shut the door behind you like a judge’s hammer, you slip out of your shoes and socks like water through earnest, cupped palms. 

“late night?” he asks (no welcome home). 

“yeah,” you reply (no i’m home). “i wanted to finish more of my project.” 

oikawa hums, looks at you from beneath those damned lashes. “that essay?” he shifts, lifts his feet from the moldy-looking rug to sit cross-legged. 

“yeah,” you say again. (you’d submitted the essay a month ago. you’re working on a presentation due in a week now).

“i ordered pizza,” oikawa says after a pause, “it should be arriving soon.”

you nod, step over the genkan and into the one-bedroom apartment. “thanks,” you tell him, “i’ll be right out.”

the bell rings while you’re changing into loungewear. you step out of the room just in time to see oikawa take the pizza out of the delivery girl’s hands - the same girl you’d seen touch his arm and smile (there is no home).

»»————- ————- ————- ¤ ————- ————- ————-««

oikawa’s working part-time at a local diner that keeps long hours. you’re working on a degree. 

here’s the thing: he could probably afford a one-bedroom apartment of his own if he’s smart about his money. 

here’s the thing: you can’t. 

»»————- ————- ————- ¤ ————- ————- ————-««

“someone has to leave first,” wakatoshi tells you over lunch, “richard siken said so.”

“who?” there’s a tear right down the middle of your carrot-heart. 

“someone who left first, or someone who was left. does it really matter?” 

»»————- ————- ————- ¤ ————- ————- ————-««

here’s the point: oikawa with his long lashes and bedhead. oikawa’s sleepy smile in the mornings (you remember more than you know), the exact dip of his smile, the map you have of the lines of his palms. 

the point is: oikawa staying out and not coming home (you stopped counting after the first month, but your heart still knows), waking up to a cold bed because oikawa started leaving earlier (to go the gym, he says). hesitancy in hands where there once was security, the subtle fall of a satellite out of orbit, the gradual fall out of the childhood familiarity of being young and in love. the point is -

the point is always oikawa. 

»»————- ————- ————- ¤ ————- ————- ————-««

oikawa gets a new, better, actual job. he’s a volleyball coach at a high school, now. 

you find out almost a month later, through takahiro and issei. 

“oikawa’s confident they’ll make it to nationals this year,” issei says conversationally, sawing into his steak, “says his kids are promising.” 

“what?” (you’ve seen this film before.)

“you know,” takahiro says, “the volleyball kids he’s coaching.” you did not know.

“ah,” you say anyway, fingers slipping around the fork in your hands and grasping onto the far edge of a cliff, “how could i forget.”

»»————- ————- ————- ¤ ————- ————- ————-««

you finish your degree. you get a (relatively) stable job at a nearby design office.

here’s the thing: they pay you well for a fresh graduate. here’s the thing: you can probably afford a one-bedroom apartment of your own if you’re smart about your money.

»»————- ————- ————- ¤ ————- ————- ————-««

“i’m moving out,” you say the moment oikawa opens the door, “thank you for everything.” (despite everything, you mean it. he’s taught you so many things.)

he smiles (it looks the same as what you imagine you’d smiled like the day of your first anniversary). “okay,” he says, and you think that that’s that.

“i’m sorry,” he says after a moment. 

“yeah,” you say, “i am too.” 

“thank you,” he continues, eyes almost the same shade as the day he’d brought you on a picnic, “i’ll always love you, you know that, right?”

you do (you feel the same, it is not the same love as when you had been fourteen and sixteen and seventeen and eighteen and nineteen, but it is still love). 

“me too,” you say because there is nothing else to say, “you’re important to me. you’ll always be important to me.” it’s true: he was your first kiss and your first love and your first best friend and the first person you’re leaving first. 

oikawa smiles, and disappears into the bathroom. 

you stare at the ugly rug at your feet. 

“is this okay?” you ask the broken pieces of you and him (curled around the jagged edges of each other, thorn to petal, bruise to open wound), “this is an okay ending, right?”

»»————- ————- ————- ¤ ————- ————- ————-««

here’s the point: oikawa as the boy you loved, oikawa as your youth, oikawa as a part of the past you will always hold close but not be held behind by. 

a study in relationships: someone will always leave first, it is a very old story. 

introspection and a universal truth: youth and love makes one foolish, being foolish is not always a bad thing. 

the point is: someone will always leave first, sometimes people fall out of love, sometimes familiarity is not enough to hold them together. 

an old story, another universal truth: someone will always leave first, it is not always a bad ending. 

»»————- ————- ————- ¤ ————- ————- ————-««

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