#universe survival arc

[raiiny-bay]

finally finished cricket's group

[mediumsizedpidegon]

enough of ichigo taking the soul king's place. thematically and power-wise, orihime replacing the corpse on the throne is far funnier and also twice as agonizing for everyone involved.

[fernsnouveau]

Yeah no I didn't come here to watch Adrien date Gabriel 2.0

[t-u-i-t-c]

...

[mugiwara-lucy]

Huh....would've been nice if he kept that mindset in Super 😂

[totaleclipse573]

I think there would be a way to recognize when Doleon hasn’t used any shard energy for a while. Or just hasn’t done anything with it. He probably slows down, looses a lot of his chaotic energy. He’s just TIRED and IN PAIN and HE REALLY SHOULD HAVE SOME OF THAT SHARD ENERGY RIGHT NOW.

[benicebefunny]

We could've had a season-long Nathan/Simi romcom with mistaken identities; candle-lit discussions of leadership styles; mutual recognition of anger as a totally valid respond to oppression and abuse; scenes with Sam ranging from hilariously awkward to achingly heartfelt; and a diorama of Simi's kitchen.

[prismatica-the-strange]

Ok but there is no reason why a Teen Wolf x The Librarians Crossover wouldn't work like... The clippings book knew that Beacon Hills would be saved by the pack so no real reason to send Librarians...

[trueutopian]

Mosco figure done with modelling clay. He's the Universe 3 God of Destruction in Dragón Ball Super.

I fell in love with his design at first sight when it first came out, and the character isnt half bad, I found him entertaining as a huge R2D2 destroyer.

[daydreamerdrew]

anyway it’s so so important to me that Steve immediately loved Bucky. like as soon as Steve actually talked to him he was just so charmed and impressed. Bucky was in awe and eventually that evolved into a real relationship but he never fully got over his hero idealization. meanwhile Bucky was Steve’s favorite person in the whole world. that wasn’t grief-fueled revision after Bucky died. Steve was so happy that this was the guy he was gonna have by his side throughout the war. he was so entertained by Bucky. and Bucky feels that he has to hide parts of himself from Steve. little does he know that his place in Steve’s heart is secure. little does he realize that Steve’s feelings could be called Bucky having a place in Steve’s heart. but it’s complicated because I think that Steve would be genuinely shocked and find it hard to believe that Bucky was a troubled kid. like, he’s aware that Bucky doesn’t want to ever admit any weakness, he’s analytical enough about this to connect it to Bucky being raised in the military, but say if Steve was told that what first got Bucky into consideration to be his partner was that he kept getting into fights with other kids and demonstrated natural skill that way, I think Steve would default to assuming this was a minor thing and not an actual problem. I think that Bucky has some distant awareness of all this in the modern day, because Steve has been more open about his feelings since Bucky died so now this is a thing people know about, but he doesn’t like to think about it and assumes that it’s because of Steve mourning him for all those years and doesn’t realize it started before then. it’s uncomfortable for him. for example he chooses not to listen to Steve’s eulogy for him in Fear Itself (2010) #7.1 where Steve says nice things like that he’s proud of Bucky and that Bucky’s better than him. but significantly Steve would not just recognize this feeling as love immediately, he just strangely feels something so strongly for this kid that’s been selected to be his partner

[surgepricing]

I think about Azula shooters often and their common refrain of "if Azula hadn't had a mental breakdown, she would've won" and I'm here to tell you that no, she wouldn't have.

There is no universe in which Azula was winning that fight with Zuko (or Katara, for that matter).

Azula spent so much of Book 2 being built up as this deadly terrifying force against whom the heroes are badly outmatched that it can be difficult to catch exactly how quickly Zuko is advancing.

Back up a bit to Book One. For the fearsome exiled crown prince of the Fire Nation, Zuko's not that impressive a firebender. He's not bad by any stretch, and he's able to lay the untrained Sokka and Katara flat pretty easily. Then he gets in the ring with Aang, who is an airbending master, and the difference between a regular bender and a master becomes apparent when Aang literally puts his ass to bed:

People have attributed this to the fact that no one's fought an airbender in 100 years, but I think it's also worth noting that Aang (a 12 year old from a pacifist nation) has probably never fought anyone before. Like, ever. And yet the second Aang thinks "okay, I'll attack back", the fight's over.

Zuko's got the same genetic predisposition for firebending talent that Azula does, yet it never seems to manifest because of his mental blocks. At the beginning of the series, he's already so beat down that all he really has is conviction, pride, and anger, so even with training from Iroh (the firebending master, thank you very much), he struggles. Yet throughout Book 2, when he has no time to train because he's on the run, he actually seems to advance faster. The fact that his bending is literally tied to his character arc (as his morals become tangled and he has to fight off aforementioned mental blocks) is pretty brilliant. Like, by the time of the Crossroads of Destiny, Zuko getting his ass handed to him by Aang is a pretty consistent feature of the show--he just can't match wits with him.

Hell, at the beginning of the series, he and Iroh (again: the actual firebending master) launch a combined power surface-to-air attack...which Aang casually swats away into a nearby ice wall. Come the Crossroads of Destiny, however, and Zuko by himself launches this bigass fireball that blows through Aang's defenses.

Zuko advances so quickly that it's scary. That prodigious talent is in him even if it doesn't come through as cleanly as with Azula. Who, by the way, was busy about to get flattened by Katara some few dozen feet away, until Zuko took over and then effectively stalemated her himself.

All of this in retrospect makes it abundantly clear why Zuko's firebending seemed to skyrocket so much when he learned true firebending from the Sun Warriors: it was really the only thing left. He's hard a hard road learning how to fight waterbenders, earthbenders, and airbenders, and even if unconsciously, he's applying the philosophy Iroh taught him about augmenting his bending style with aspects of other styles (see also, the waterbending-like fire whips he uses in the above gif). Once he actually understands fire and how it works, he's got it mastered. Hence why any gap between him and Azula effectively disappears as soon as their next fight--before her friends have betrayed her and her stability goes out the window. There's no real sense of urgency to their fight at the Boiling Rock prison. True, Sokka's presence with the sword helps, but Zuko doesn't look remotely worried and he counters Azula's every attack perfectly.

All her life, Azula only ever learned fire. She was taught by the best people the fire nation can employ, so she knows all the cool tricks, but she's still poisoned by the corrupted firebending practiced in the modern ATLA timeline. Unlike Zuko, who managed to get the basics if nothing else from Iroh (fire comes from the breath, and can be used to survive as much as to kill), Azula has always used fire as a weapon and a means to hurt others. She has no true knowledge of the craft, meaning she's got the same weaknesses as Zhao, she's just better disciplined to the point she can make up for it.

Zuko's victory was a given considering Azula's complete loss of control by the time of Sozin's comet, but even had she been in a perfect mental state, she'd have lost, because in many ways Zuko is simply the better firebender.

And that's the truth of it.

[writingwithfolklore]

5 Tips for Creating Intimidating Antagonists

Antagonists, whether people, the world, an object, or something else are integral to giving your story stakes and enough conflict to challenge your character enough to change them. Today I’m just going to focus on people antagonists because they are the easiest to do this with!

1. Your antagonist is still a character

While sure, antagonists exist in the story to combat your MC and make their lives and quest difficult, they are still characters in the story—they are still people in the world.

Antagonists lacking in this humanity may land flat or uninteresting, and it’s more likely they’ll fall into trope territory.

You should treat your antagonists like any other character. They should have goals, objectives, flaws, backstories, etc. (check out my character creation stuff here). They may even go through their own character arc, even if that doesn’t necessarily lead them to the ‘good’ side.

Really effective antagonists are human enough for us to see ourselves in them—in another universe, we could even be them.

2. They’re… antagonistic

There’s two types of antagonist. Type A and Type B. Type A antagonist’s have a goal that is opposite the MC’s. Type B’s goal is the same as the MC’s, but their objectives contradict each other.

For example, in Type A, your MC wants to win the contest, your antagonist wants them to lose.

In Type B, your MC wants to win the contest, and your antagonist wants to win the same contest. They can’t both win, so the way they get to their goal goes against each other.

A is where you get your Draco Malfoy’s, other school bullies, or President Snow’s (they don’t necessarily want what the MC does, they just don’t want them to have it.)

B is where you get the other Hunger Games contestants, or any adventure movie where the villain wants the secret treasure that the MCs are also hunting down. They want the same thing.

3. They have well-formed motivations

While we as the writers know that your antagonist was conceptualized to get in the way of the MC, they don’t know that. To them, they exist separate from the MC, and have their own reasons for doing what they do.

In Type A antagonists, whatever the MC wants would be bad for them in some way—so they can’t let them have it. For example, your MC wants to destroy Amazon, Jeff Bezos wants them not to do that. Why not? He wants to continue making money. To him, the MC getting what they want would take away something he has.

Other motivations could be: MC’s success would take away an opportunity they want, lose them power or fame or money or love, it could reveal something harmful about them—harming their reputation. It could even, in some cases, cause them physical harm.

This doesn’t necessarily have to be true, but the antagonist has to believe it’s true. Such as, if MC wins the competition, my wife will leave me for them. Maybe she absolutely wouldn’t, but your antagonist isn’t going to take that chance anyway.

In Type B antagonists, they want the same thing as the MC. In this case, their motivations could be literally anything. They want to win the competition to have enough money to save their family farm, or to prove to their family that they can succeed at something, or to bring them fame so that they won’t die a ‘nobody’.

They have a motivation separate from the MC, but that pesky protagonist keeps getting in their way.

4. They have power over the MC

Antagonists that aren’t able to combat the MC very well aren’t very interesting. Their job is to set the MC back, so they should be able to impact their journey and lives. They need some sort of advantage, privilege, or power over the MC.

President Snow has armies and the force of his system to squash Katniss. She’s able to survive through political tension and her own army of rebels, but he looms an incredibly formidable foe.

Your antagonist may be more wealthy, powerful, influential, intelligent, or skilled. They may have more people on their side. They are superior in some way to the protagonist.

5. And sometimes they win

Leading from the last point, your antagonists need wins. They need to get their way sometimes, which means your protagonist has to lose. You can do a bit of a trade off that allows your protagonist to lose enough to make a formidable foe out of their antagonist, but still allows them some progress using Fortunately, Unfortunately.

It goes like… Fortunately, MC gets accepted into the competition. Unfortunately, the antagonist convinces the rest of the competitors to hate them. Fortunately, they make one friend. Unfortunately, their first entry into the competition gets sabotaged. Fortunately, they make it through the first round anyway, etc. etc.

An antagonist that doesn’t do any antagonizing isn’t very interesting, and is completely pointless in their purpose to heighten stakes and create conflict for your protagonist to overcome. We’ll probably be talking about antagonists more soon!

Anything I missed?

[avocado-writing]

being the worst wolverine’s wife and one day you get zapped by the TVA for whatever reason, and it looks like you completely disappeared, this is what leads logan to become depressed, start drinking and ultimately ignore the x men when they die etc etc

he goes with wade purely bc he would if you were alive- he couldn’t give less of a shit about wade’s universe but he can feel you over his shoulder like an angel telling him he needs to do this (i imagine it’s like the jean hallucinations he had in the wolverine movie)

what if you’re in the void and he finds you with the rest of the group, like being unable to believe you’re really here?

hehe i love angst and ily avo <3

I already did a “Logan meets you in the void” fic here so I didn’t wanna make this too long or I’d just end up hitting the same beats!

1.4k. rated m for excessive use of the word “fuck”

The day you disappeared you took his fucking soul with him. 

You had been out shopping. Nothing weird about that, he wasn’t some overbearing husband who demanded to know your location every single hour. But then afternoon had turned into evening had turned into night and nobody had heard from you. The unfamiliar sensation of panic had risen, queasy, from his stomach into his chest. They sent out a search party and looked for days. Not a trace of you to be found. Logan couldn’t smell you. Fuck, he’d never not been able to smell you before.

He would hunt for you every day, hoping to find you alive but trying to level with the idea of you being cold and dead because at least then he’d have closure; he’d stay awake for hours on end until he collapsed from exhaustion… then he’d wake up and repeat the whole horrible affair. Nothing. After weeks of searching, Charles had laid a hand on his arm. Logan can still remember the look of pity on his face, like a bomb to the gut. 

“I’m so sorry, Logan.”

They had to assume you were abducted and killed. Your body never turned up. And Logan just had to… keep going. How was he meant to keep going? You were his entire fucking life and then you were just…

Gone. 

To say he was left empty was the biggest understatement of his fucking life. He was a shell of the man he once was. He never laughed any more, never smiled, always trying to plug the hole your absence left in him with whatever alcohol he could get his hands on. Drink himself to a place where he could forget you.

It never really worked. At least it made him numb to the pain though. 

When he staggers home one evening, eyes bleary and head spinning, and finds the whole mansion torched? Everyone left that he loved fucking dead? Well, it takes the last vestiges of his existence and crushes them into dust. 

Oh, Logan, he hears in the back of his mind. Your voice. It breaks him. He falls to his knees, hands buried in the burning timbers, and wails. 

He survives. He does not live. Thinking about everyone he’s lost, with you haunting the corners of his consciousness, always reaching out to comfort him - but when he goes to nuzzle into the warmth of your palm he is overcome with rage and bitterness to find it’s just his own imagination playing tricks on him. 

Then a fucking idiot in red dragged him away from the shambles which was his life and forced him to be functional again, if only barely. He’s angry, so angry all of the goddamn time, even when in the back of his mind he can hear you speaking sweet, calming words to him. 

And then he hears your voice for real. 

Sees you standing across the base this pathetic resistance has made. You look older, sure, he does too - but there’s no mistaking the fire in those eyes. You’re even wearing the same fucking shirt you went missing in, he remembers it, it has a picture of your favourite band. 

His heart stops dead in his chest as you whisper his name. 

“Logan?”

“Oh shit!” says Wade, and Logan has never wanted to kill him more, “Oh shit! Is this your refrigeratored wife, coming back to throw in a third act character arc?”

Logan finishes the bourbon bottle and throws the empty at Wade’s head, where it shatters and knocks him flat. You wince at the violence and he feels like pure shit. 

“I’m fine,” Wade calls from the ground, sticking a thumbs-up into the air. 

“Logan, I…” you clearly want to say something, but you have not been met with the Logan you knew. That Logan would have spent no time running to pick you up and hold you in his arms. This one half-snarls at the man he bloodied on the floor. 

There is an agonising silence, both of you wanting to speak but not being sure how. You take a hesitant step forward. 

“I never thought I’d…”

“How do I know it’s you?”

You recoil like he’s stabbed you with his claws, confusion and hurt flooding your face. Goddamn. He is the worst man alive. He’s not sure if he’s saying it because he just wants to lash out at the nearest person, or…

… or if, because he gets his hopes up, it might just kill him to have them crash down again. 

“What?”

“All these fuckin’ timelines. How do I know? How can I be sure that you’re you?”

The sadness in your face melts away into anger. When you step forward this time, you’re on the warpath. He sees the others in the room cringe, trapped now in this caustic reunion. 

“How can you be sure it’s me? Fuck, Logan, I knew it was you, didn’t I? What do you want? You want me to show you the shitty tattoo I got after we first started dating and we were both drunk?” You lift your sleeve to reveal a little design on your shoulder. “Want me to tell you how an eighteen-year-old Marie was my bridesmaid and she cried because she didn’t think anyone would ever be that kind to her after living as a mutant again? Want me to fucking remind you that in my vows I said I would be by your side, for fucking ever, no matter what - and how when that TVA agent zapped me when I was out for the day and I ended up here, it was only the thought of fulfilling those vows which kept me going? How about all that, or do I fucking need to humiliate myself more?” At this, you gesture to the others who have lined up at the side of the room, trying to look scarce but utterly failing. 

Your shoulders are heaving with emotions, tears hot and heavy in your eyes but not yet spilling over. Logan grits his jaw. Yeah. It’s you. 

“I…” he starts, but trails off when he realises there’s nothing he can say. You shake your head, numb. 

“Fuck you, Logan Howlett,” you spit, words you’ve never ever thrown his way before, and run out of the room. 

“Wow. Aced that one, peanut,” says Wade, and Logan rips off one of his legs. 

He finds you several hours later at a campfire outside the rundown building which makes up headquarters. LeBeau has clearly been kind enough to part with some of his liquor, because you’re gulping down whiskey like it’s air. You stare at him, embers dancing in bitter eyes. 

“What do you want?” you snap. He grunts as he sits down opposite you, either from age or exertion. Stares into the flames. 

“I never stopped looking,” he manages. 

You blink. 

“What?”

“I never…” he shifts uncomfortably. It’s been a long time since he bared this much of his soul. “I never stopped. Even when the others told me to give up, that I would only make it worse for myself, I’d still search. Couldn’t face the idea you weren’t there any more.”

It’s true. If he was twelve bottles deep he’d be looking, if he was hungover as a dog he’d be looking. When the rest of the X-Men were still there and even after they weren’t. If he wasn’t sitting at a bar he was on the streets, ever a bloodhound trying to catch your scent again. 

For the first time you soften. 

“Oh.”

“So… when I asked if it was you… ah, fuck. I didn’t mean to come off as an asshole. Just couldn’t live with it if it wasn't true. Wasn’t real.”

When you stand he expects a slap. He deserves it. What he doesn’t count on is you sitting down - not on the log next to him, but in his lap. He hasn’t felt you do that for so long, and it’s so good. Your warmth on his thigh. You grab one of his hands, still larger than yours, and press it to your chest so he can feel your beating heart. 

“I’m real, Logan. I’m right here, baby,” you whisper, eyes dewy. Fuck. His are as well; he can’t help it. He’s overwhelmed by you, your feel, your gaze, your smell. He’d forgotten how much he loved it. 

Logan noses upwards against you, searching for your lips, and you let him find them. When you stroke his hair he can feel the wedding ring on your left hand. The kiss is desperate, longing, and the best one he’s ever had. 

“Right here,” you repeat, forehead against his. He grips you so tightly that it’s possible he’ll never let go again. 

[orphiclovers]

The first scenario of ORV has always fascinated me. "Kill another person to survive." It might be the most common plot point in apocalyptic stories.. Pretty much all of them feature some discussion of morality and how to define it, good and evil, played out by deeply morally grey characters who have to make a choice to kill.

But ORV is a story about stories.

The Star Stream is trying to tell 'the story of an apocalypse' and it does! But in the most crude and unpolished way.

It's almost cynical. 'We are telling an apocalypse story, what's a common plot beat in apocalypse stories? 'No one is innocent and everyone has killed to survive'. Okay, let's make it a literal requirement for everyone to have killed someone to proceed.'

It's robotic, taking a story beat and stripping it down to it's bare essentials, then forcing the incarnations to adapt to it or die.

But the thing is. That's what all writing is. ORV just pulls back the curtain, exposing the internal circutry that makes a story work. Orv doesn't lie to you about the inherent artifice of it all.

The scenarios are perfect little plot arcs, designed to test the limits and reveal the strenghs and weaknesses of incarnations - 'the characters' of the story. It's not some cruel torture, it's literally just the act of storytelling. Writing 101 is put characters through hardship to reveal certain qualities in them or to make them go through character development.

Only difference is that writers usually camouflage the 'scenarios' they give their characters until the circumstances seem 'realistic' and like they happened on their own, like the author isn't forcing their reality to bend this way at all.

Oh, one character didn't lock the door in time due and got bitten by a zombie. And so inevitably this other character has to make the choice to kill them or not. There's as many explanaitions as the author can cook up as to what lead the characters to this moment. How the zombies got there, why these two were in the same vicinity, etc etc.

But, it's all set dressing the author has added to make the audience forget that this is too a 'scenario' given to the characters to test them. There's a time limit and a description and a reward and a penalty for failure, but all of these are cleverly hidden. The time limit can be until the last helicopter leaves in 10 minutes. The unspoken penalty is death. The author arranged how the characters find out some or all of this information in convienient ways.

Star Stream just lays it all out in front you you, straight up. States 'Kill another incarnation or have them kill you' and doesn't attempt to justify the circumstances, because of course, the real reason all this is happening is because the story demands it.

It's a universe that does not hide the author's hand in every tiny little event that happens.

So this too is the question "What if the characters knew they were in a story?" asked yet again. Every single being in the ORV universe knows they are in a story. The system itself makes it obvious - you can look at your own character sheet, you obtain 'stories' when you do something impressive but are constrained by 'probability' and what the audience finds interesting. You're body is literally made up of words written about you're life!

That's why the worldbuilding is so cohesive and so so good. All of it is telling you 'the world is a novel.'

[twilightkitkat]

I think that when it comes to characterizing Worst Wolverine as opposed to his other variants, the most important thing to remember is that Worst Wolverine is tired.

Almost every version of Wolverine has experienced loss in some way. He's lost lovers, friends, and his memory from before the procedure that nailed adamantium to his bones. But normally, the story depicts him as being angry, lost, and confused. He's still in the stage of grief where he tries to seek answers, make it right, and enact vengeance. The grief is fresh, like an open wound that keeps being scratched open even when it tries to scab over.

Normally, Wolverine is still somewhat in shock, or the intense wave of emotions that follow. His story is about his immediate reaction to grief and his action to combat it. He follows his impulses—he gnashes and snarls and claws until he murders whichever villain took what mattered from him. And only then does he start to grieve. But the story cuts off just right as he begins to sort through the emotions, not when he's in the midst of it.

Worst Wolverine has already been angry. He's been lost. He's been confused. He lashed out against the world in a fit of impulsivity that cost the X-men their reputation. He already sought revenge against a world that murdered his family and he had to live with the aftermath. For over a decade.

His story didn't end when he avenged his family, nor did it begin again when a new distracting plotline started. No. He had to sit quietly with his grief. Learn to live with it.

He wasn't just a character built on intense, conflicting emotions, because he had to keep surviving even after they died out. He didn't just have to live through his immediate reaction to grief, but live through the solitude of waking up every uneventful day with nothing to live for.

Worst Wolverine is tired. Unlike his other versions, he didn't have anything left that tethered him to reality. He had to come to terms with the fact that he lost everyone before he even let them know how much he cared. He had to confront his own feigned indifference, his gruffness, and all of his flaws while knowing he could never go back and fix it. He had to live with his own spiraling mind, thinking over the what-ifs and the could-have-beens and the if-onlys.

And he eventually reached a state of complete apathy. Where his only solace was drinking enough to drown out the voices in his head, to blur the images seared into the backs of his eyelids. (But even that didn't help. Not really. Not when everyone looked at him with scorn and reminded him of what he'd done. What he'd lost. What he'd ruined.)

It was in this state of exhaustion that Wade found him. Not the first person to approach him (to hook up, to sneer at him, but always with an ulterior motive) but the first to want something more. And when Wade pointed his gun at him, he laughed. Death was just a daydream to him. Something he wanted but could never truly attain. (A mercy he didn't deserve.)

But he went with him. And eventually helped him save the world. The one "good" thing he feels like he's ever done. The one thing he didn't fuck up.

And Logan is still exhausted. It's in his bones. It's in the wrinkles around his eyes. It's in his posture. But Wade helped him push past that for the hope of something greater. His entire arc in the movie was working past the fact that he's exhausted and grieving to finally let someone reach him. Move him.

And it didn't go away completely. Not with how he resigned himself to a life of isolation even in a new universe with a fresh start. But Wade called out to him. Pulled him back. Looked at an exhausted old dog that couldn't learn new tricks and still wanted to take him home.

Logan is exhausted. But now he can curl up next to Wade on the couch with the warmth and weight of someone next to him and finally sleep without waking up to another nightmare.

[princesssarisa]

As I've read different people's views on Little Women, I've realized that for different readers, it's a fundamentally different book.

When I see someone describe the "universal" experiences of identifying with Jo, wanting her to marry Laurie, and disliking Amy, I remember all the proof I've seen that these are far from universal. The latter two weren't even my experiences: identifying with Jo, yes, but shipping her with Laurie and disliking Amy, no!

Even people with equal amounts of knowledge of the historical context and of Louisa May Alcott's life seem to come away with vastly different feelings about the story and characters.

I suppose there are a wide variety of reasons for this. First and foremost, which of the four March sisters you personally admire or relate to the most. Then there are other factors like your gender, your age when you first read the book, your relationship (good or bad) with traditional femininity, whether you read Parts I and II as a single novel or as Little Women and Good Wives, your relationships with your own family members, your religion and ethical values...

The list goes on.

That post from @theevilanonblog that I reblogged recently about the different interpretations of Frankenstein makes me want to write out a similar list of ten different views I've read of Little Women. Here it is:

Little Women is about the March sisters learning to be proper virtuous women of their time and place. With Marmee as their role model (a role later shared by Beth as she becomes increasingly angelic in her illness), they learn to conquer their flaws, give up their wild ambitions, and settle down as good wives and mothers. This is especially true for Jo, whose character arc is a slow taming from a rough tomboy to a gentle nurturer. It's a conformist and anti-feminist message, which Alcott probably disliked, but she wrote it to cater to public tastes. (This reading seems mainly to come from critics who dislike the book.)

Little Women is about Jo's struggle to stay true to herself in a world that wants to change her. She struggles with whether to stay a tomboy or become a proper lady, whether or not to marry Laurie despite not loving him romantically, and as an author, whether to write what she wants, write what earns the most money, or give up her writing altogether. In the end, she changes only in ways that make her happy, e.g. by learning to control her temper, and later by embracing romantic love. But in more important ways, she stays true to herself: always remaining slightly rugged, clumsy and "masculine," finding success as a writer, and marrying Friedrich, a man just as plain and "unromantic" as herself, but whom she loves and who respects her as an equal.

Little Women is about learning to "live for others." That phrase is used often and could well be the arc words. Beth is the only March sister to whom a selfless life comes naturally, but the other three master it by the end of the story (as does Laurie). They learn to conquer their moments of pettiness and selfishness, to live in better harmony with each other and with their friends and love interests, and to give up their self-centered dreams of fame and wealth, building lives that focus on service instead.

Little Women is about growing up. The first half is mainly about the March girls' maturing by surviving hard times and learning to be better people, while the second half is about reaching adulthood and bittersweetly parting ways to start new lives. At the beginning, Jo is a girl who doesn't want to grow up: she wants to always be a wild young tomboy with her family (and Laurie) by her side forever. But of course, she can't stop time or womanhood, and is eventually forced to accept the loss of Meg, Amy, and Laurie to marriage and Beth to death. After grieving for a while, she lets go of her old life and willingly builds a new one with Friedrich.

Little Women is about family bonds and the fear of losing them. We meet and become attached to the wonderfully close, cozy March family, which gradually expands through friendships, marriage, and new babies. But throughout the story, the family is in danger of breaking apart, whether due to conflict (Jo and Amy's sibling rivalry, Meg and John's marital problems), or separation by distance (Father going away to war, Amy going to Europe, Jo to New York), or death (the danger of losing Father and Beth in Part I, and the ultimate loss of Beth in Part II). But in the end – unlike in reading #4 above – the family doesn't break apart and never will. Conflicts are resolved, travelers eventually come home, the surviving family members always live near each other and stay as close as ever, and even Beth isn't really gone, because her memory and influence live on.

Little Women is about femininity and each March sister's relationship with it. Meg and Amy happily conform in different ways: Meg to "domestic femininity" as a housewife, Amy to "ornamental femininity" as a society lady. Beth pressures herself to conform to self-effacing domestic femininity, until sadly, it kills her – either because she's too selfless and nurturing when she cares for the fever-infected Hummels, or because she has anorexia, as Lizzie Alcott might have had. But Jo strikes a successful balance in the end, conforming just enough to fit into society, but only on her own terms, and otherwise living a happily unconventional life as a writer and schoolmistress.

Little Women is about Jo's unlearning of internalized misogyny. At the beginning, she's a "Not Like Other Girls" tomboy, who wishes she were male, disdains feminine girls (especially her sister Amy), doesn't care enough when "her boy" Laurie behaves badly toward women, and is afraid to be vulnerable. But gradually, and without losing her strength of character, she learns to embrace the sweeter and more tender aspects of herself, sees that Amy's ladylike manners have practical benefits, and learns to say "no" to Laurie when he turns his childish, unhealthy romantic attentions to her. Then after Beth dies, she realizes how precious Beth's utterly domestic, feminine life was, and embraces a more domestic life herself. Yet by doing so, she becomes a true feminist, as she enters an egalitarian marriage and devotes her life to teaching boys to be good, respectful men.

Little Women is only what US Americans know as the first half. It's just about the March sisters getting by and learning moral lessons over the course of the year their father is away at war. Nobody gets married and nobody dies. Everything else is in Good Wives, which is a sequel with different character arcs and different themes, and which should be published separately, as it originally was and still is outside the US. Trying to tie them together into one narrative never feels quite right.

Little Women is Alcott's idealized version of her own life and family, where no one suffers quite as much as they did in real life, everyone is slightly less flawed, and Jo ends up happily married to a man very much like Alcott's lost love Henry David Thoreau. She wrote the life she wished she had.

Little Women is just a semi-autobiographical slice-of-life that Alcott wrote quickly for money.

Which is the truest to Alcott's intent? I don't know. But while some of these readings I like better than others – and some of them I despise – I'd say they're all understandable and reasonably valid. Some aren't even mutually exclusive, but can be used together... although of course, other readings are mutually exclusive, like whether the story is feminist or anti-feminist, or whether the March family ultimately breaks apart or holds together. And they're all worth using as springboards for discussion.

Alcott wrote more books than she ever realized she did, because Little Women can be many different books to different people.

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