barbarian!bakugo + buying apples. you’ll notice I didn’t put any work into this making it more … fantasy-like. And that’s bc… I still couldn’t figure out how😞
(warning: misogyny, you are described as a maiden / dress wearing, you have a pa, world building sucks, bakugo … doesn’t talk)
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Being the only maiden on one of barbarian!Bakugo’s cross country journeys. I’m not sure yet how or why you’re there, but I’d say he’s traveling and one of his fellow clansmen took you as a prize, or maybe you just hitched a ride on their cart yourself.
But they stop in a small village one day, parking their horses at the edge of a town square of cobblestone and brick, merchant booths surrounding the small shops: of butchers and farmers and fishermen and traders, all rowdy and beaming as they show off their wares.
The men split up (the one with green hair in a leather vest declaring he needs a blacksmith, the lanky one with dark bangs in the direction of new snare wire), though the bulky blonde one (the one in thick furs and pelts who’s never really spoken to you) stays around, picking at the shiny, pink apples of a booth quite close to where the cart you sit on in boredom is parked.
“Five gold for a sack, sir” the man behind the creaky, wooden stand says. He’s stout, thin-haired and wrinkly, all his years in the sun selling fruit showing proudly on his tanned skin. He gestures to the wide array of fruits, each like a piece of candy he wants to show off.
Bakugo (you think his name his, or rather, that’s how he was introduced to you by the redhead with unnaturally sharp teeth, biggest of the group) glances up, frown thin and tense and blood red eyes narrowed. His shoulders shift, the muscles of his exposed stomach rippling as he breathes, the smooth skin of his forehead pinching as if he’s calculating a sale just as he would any other battle or raid.
The sign next to both the men clearly states that apples are two gold a sack. Pears are three, plums are one. “But I’ll give you a deal for four gold,” the man continues.
The blonde ponders, inspecting the apples diligently as if they could be poison, or a waste of a trade. His eyes narrow slightly, lips pursing, and you realize, in his reaching for coin, the intuition he so usually takes pride in (saving the men once from a brutal hound attack, and you, too, another time when a swamp dweller caught the hem of your trousers) is not there… and that they don’t use the same alphabet. Maybe he can’t even… read.
“For two gold,” you call.
Both parties look to you. One set of eyes in an suspicious glare, the other in a tart and angry bitterness. The merchant’s leathery face sinks into a melted frown, his fists clenching as your own hand shields your eyes from the bright sun and hides a protective squint.
“Didn’t your pa ever tell you not to meddle in grown men’s business?” he half-shouts back, the laugh in his voice now tangled with a snarl, downright and plain rude.
“The sign says two,” swinging off your seat, you smooth down your simple frock as you point to the wooden board stained with charcoal that’s hung up next to him. “One sack of apples for two gold.”
Bakugo’s eyebrows raise for the briefest of seconds, then fall in another glare as his hand drops from where he holds his coin (in small, canvas bag tied to his belt with thin, leather cord. It sags against his hip, his pants dipping and uncovering a v-line that descends further into a region you’ve only seen once; at a bathing river in the hills, the bare curve and marks of your own hips exposed—)
“Don’t know where you picked up letters, missy,” the merchant scoffs. “Reading is men’s work.”
You approach the barbarian’s side, his head (messy with hair) tilted towards you as he watches on in silence. From the pocket of your dress, you take out two gold of your own and flick them on the table before you.
“My pa taught me how.”
Then you take Bakugo’s hand (thick and rough and hard to hold) in one of yours and march right back to the horses and cart. Bag of sweet, pink apples in the other.
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can i be honest for a second? i think it's weird how quickly and avidly a lot of people in this fandom turn down the idea that will is gnc, even though he... literally is? lol.
will is described in canon as being sweet, sensitive, gentle, highly empathetic, emotional, soft-spoken, and artistic. these traits are not inherently gendered, but instead traditionally stereotyped to be "feminine," especially within the era that this show is set. they're likely the main reason why everyone assumes he's gay to begin with.
in the st pitch he's described as wearing colorful clothes, and in the show joyce tells us that other kids are mean, laugh at him, and make fun of him for them, right before she calls him sensitive and says that lonnie used to call him queer, thus linking this all together and driving the point home to hopper.
we also know that people of all age groups—his peers, teenagers, and even adults—call him all sorts of gay slurs, some of which are aimed at and describing feminine, androgynous, or cross-dressing homosexual men—aka, "fairy."
everyone in hawkins wasn't calling will gay and making his life difficult because he did anything with other boys. they did this because he never fit the societal expectation for how a boy "should" act—especially not at the height of the aids crisis in reagan's midwestern america, might i remind you—which, to them, meant he had to be gay.
it's him not conforming to the "acceptable" or expected gender presentation for boys that damns him. will is visibly gay by their standards. will is gender nonconforming in the context within which he exists, and even now because the aforementioned traits are still stereotyped as being "feminine" and considered aspects of male gender nonconformity. we know better now than to assume a man is gay because he's nice and soft-spoken, but we cannot erase the context of the show, the canon material it presents, or the real homophobia of that era that still exists today.
it's also a big part of will's character, because it further proves that he doesn't have a chance of conforming even if he would ever want to, because he would have to change everything about himself in order to do so. it wouldn't be as simple as changing his clothes or picking up a new hobby. he'd have to harden himself, to become tougher, to not feel as much as he does. and that's just not will. will is sweet, gentle, and sensitive—no matter what consequences it all brings. he can't change and he hasn't ever expressed any interest in doing so. literally not even life-altering trauma was able to take that from him. it's just who will is.
if you erase that HUGE part of his character, literally the second thing we're taught about him in the first fifteen minutes of 1x01, then you're erasing a big part of his lore, characterization, motives, and the representation he provides to those with similar experiences.
like... this isn't offensive characterization / writing. we've seen will on our screen for years now—we know he's not a one-dimensional stereotype, and that he's obviously more than the rumors that circulate about him. accepting what the duffers put forth doesn't diminish anything about him, and this... aversion people have to accepting that makes other gay people who have shared a similar experience as will feel othered in a community where they're supposed to feel welcome in.
this is something that happens to millions of people around the globe. this is an important story and an important character that have both been treated with extreme care by the writers and the actor that plays him. why would you want to erase any of that? what issue do you have with gay people like will? because it says a lot more about you than it does him or the duffers.
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finished in the miso soup.... i've never read anything from this author before (though i have seen the audition movie) but i'm kinda disappointed that the back blurb on the book literally tells you exactly what happens. i was expecting this to be a bit more of a thriller i suppose with at least some mystery but it's much more of a philosophical book. which is fine, just not what i was expecting 😭 readjusting my thoughts about it tho, i do like the cultural comparisons as well as the kind of... unraveling of it in the 2nd and 3rd chapter where the similarities are revealed as well, and i think the use of the gore and graphic violence really nails the point home. the 3rd chapter gets a little heavy handed with it and was the weakest part of the book but overall i think it's an interesting exploration of this strange kind of.. obsession and intertwining of cultures. as an american i definitely felt myself agreeing with kenji's observations of his american clients and i also liked how kenji goes from "americans are a unique kind of lonely" to recognizing a similar kind of loneliness in the locals and himself as well, only realized after an extreme act of violence peels back the layers for him.
the Scene in chapter 2 is very graphic, so i can't really recommend it unless you're already familiar with extreme horror literature, but it is contained to that single scene (for maximum impact). the author is very patient and builds up a good bit of suspense through the first chapter before springing it on you. the third chapter kinda fumbles it a little in my opinion, the tension is gone and it gets a bit repetitive and tiresome. it definitely has a dream-like quality after ch2 compared to the fast pace of the first chapter, even kenji starts to wonder if it was just a bad dream (which makes me think it was potentially done purposefully). the beginning is also a little sleazy, but nothing totally offensive or that you won't normally find in this genre, especially from a book published in the 90s. overall 3/5 i tore through it pretty quick and appreciated the (unexpected for me) philosophical & cultural musings.
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