#what is it about fathers and daughters

[skoulsons]

“oh baby girl”

this scene is so… I cannot watch it, any part of it, without getting choked up. Their story never fails to get me. Baby girl was a coined term. Sarah’s coined term. By him. His daughter. The most important person in his life. It was her nickname. And we only hear him say it once, but we know how special it is to the both of them. Probably called her it the second he held her for the first time. It holds weight and emotion and depth. That word is one of the last things he has as a connection to Sarah. Besides his watch or the cut on his nose.

And so here comes winter. He and Ellie are stuck with each other. I believe Fall and Joel taking Ellie back from Tommy above Jackson is *their* point. The point of Joel saying he’s going through with this completely and that, once they reach the fireflies, they aren’t going their separate ways. He’s going all in. He’s risking getting attached. He’s letting himself have this second chance at fatherhood.

And so they go through fall for and winter and Joel gets injured and Ellie meets David and Joel wakes up and…Ellie’s gone. Who even knows what he remembers. If the last thing was him getting stabbed through the abdomen with rebar, or if he had a moment in this old, cold house basement where he was aware. Either way, Ellie is gone. Maybe she’s out getting food or scrounging for supplies. Maybe she’s tending to Callus. Maybe she’s just sitting upstairs on a couch to be a little comfier. But, obviously, those are all shut down when Joel starts taking fire. And so he runs through this town, roughly stitched up, probably starving, thirsty, and hasn’t properly moved or stretched in who knows how long, trying to find Ellie. Because now, something’s happened to her.

And so he runs through this town and tortures and brutally kills men to find her. And eventually he finds her in a burning restaurant, kneeling over a man and hacking his face off with a machete. He runs over and pulls her off the man and tries to comfort her and Ellie immediately starts pushing him away (mini headcanon plug. Definitely believe prior to this, he’s comforted her with a hug. It just…I don’t know. Him repeating “it’s me” just gives me that feeling. Also the fact that my love language is physical touch and will find a way to say they hugged at x point in the game whenever I can bc I love hugs ☹️ also the fact that he just hugs her so easily and has his head against her head and how she just falls in to his shoulder and-). He desperately tries to get to get her to look at him and she’s using as much strength as she has left to push him away because she thinks he’s one of them. And so eventually he grabs her face and makes sure that she sees him. She sees who it is and knows that she’s safe. And immediately she collapses in to him and he brings her as close as he can.

He doesn’t know what happened. He doesn’t know why she was slicing this guy up with a machete, why she’s sobbing, why she’s fighting against him so hard, why there were so many men outside trying to keep Joel away. But he can guess. He did find meat ledgers and people (it was people right???) hanging upside down. He at least knew a little of what they were all about.

And so he calls her babygirl. That term that was Sarah exclusive? Ellie has become that now. That new daughter. That thing that kept him fighting. Is keeping him fighting. The person who gave him a second chance at fatherhood after it got cut so short. The most important person in his life now. All he knows right now is she’s hurting and scared. Something happened here. And while Joel would probably love to continue to beat this already very dead man to a place even further than death, she matters first. Their safety, her safety, matter more.

And when they get out, he’s gentler. More soft spoken. After closing herself off more due to trauma, he opens up more. Maybe to try and get her to open a bit and get her back to the spunky Ellie she used to be. Which is a bit of helpless hoping (get it) on his part, but he has to try. He tells her he’ll teach her guitar because it’s something he thinks she’ll like. A piece of dialogue I always found interesting is when she tells him about her dream about the plane crash. He says “why don’t you tell me about it?”(I think, could have that a bit wrong). Way earlier on in their trip, guarantee he would not have cared about this or what she had to say. But her talking about this dream could’ve been the most she talked in a week. Or more.

I totally forgot where I was going with this at ALL. It’s 2am when I’m writing this which means it’s joelellie depression hours which means USELESS rambling and overthinking their scenes and their relationship and everything about them because my hyperfixation over them won’t leave me alone and I’m nearly incapable of not thinking or talking or associating anything and everything with them. Props if anyone got through, this has been sitting in my drafts for 3 months and I didn’t check it at all so if it’s terrible grammatically, I apologize 😭

[chloesimaginationthings]

FNAF movie Vanessa’s thoughts when meeting Abby..

[ryllen]

Older Sylus as actual dad 😭👌✨

[greghatecrimes]

We always want to give our children what we never got for ourselves.

[ghouljams]

I think some of you faux-cest writers aren't going far enough. "Daddy" is overdone, doesn't have the raw gut-punch power of "Dad"

Because hearing John Price say "let Dad have a look" while bending you over and tugging your panties down???? Got me shaking in my boots.

[shorthaltsjester]

watching the sdcc panel and i am just very :) about how sweet their answers to “what are some of the micro moments from the game that have stuck with you the most over the years?” are. taliesin saying what the fuck is up with that which was the first like The Party Gets To Know Each Other moments of c3. travis saying asking his wife if he could kiss her in campaign. marisha going way back to the cannonball competition in campaign one. ashley choosing the beauyasha date but also just the silly goat noise matt made. liam adding onto that to compliment matt roleplaying grass so well and then saying his favourite moment was writing a story for laura and reading it to her as caleb for jester. and then matt saying that was his answer, and that his favourite moments of the game are when they find ways to give gifts to each other whether tangible or not. and sam saying his favourite moments have less to do with the story and is more so when he can just. see his friends across the table from him. when marisha perches and when laura and ashley are (badly) drawing dicks and liam saying he loves when sam sneezes and ashley tells him to stop it and just. yeah. they Are an extremely popular online powerhouse, but i’m so happy that they’re also friends building a world together out of gifts to and love for one another.

like i Am so enamoured with the characters and the world of exandria but the moments when you can feel the love that those people have for each other reach out from behind the stained glass of their performances (to steal a metaphor from brennan lee mulligan) are so extremely special and i am endlessly grateful that they decided to share their silly little home game with the world.

[flight0fthenavigat0r]

the father and the son, but the daughter is destroyed.

morai has followed ahsoka to desolate peridea.

mortis returns.

[fumifooms]

Dad always said I was like him

Meijack and Chilchuck Tims Dungeon Meshi, Ryoko Kui

^ 1: Moony moonless sky, Fatima Aamer Bilal / 2: Bug like an angel, Mitski / 3: Woodtangle, Mary Ruefle / 4: The Third Hour of the Night, Frank Bidart / 5 & 6: FROM THE MAKERS OF "TWO-MOM ENERGY DRINK," IT'S "LET YOUR FATHER DIE ENERGY DRINK,", Daniel Lavery & Cecilia Corrigan / 7: Batman: Year Three (1989) / 8 & 9 : FROM THE MAKERS OF […], Daniel Lavery & Cecilia Corrigan / 10: Wilt, CJ the X / 11: How Do We Forgive Our Fathers, Dick Lourie / 12: Milk and honey, Rupi Kaur / 13: And My Father's Love Was Nothing Next To God's Will, Amatullah Bourdon / 14: Moony moonless sky, Fatima Aamer Bilal / 15: Someday I’ll Love Ocean Vuong, Ocean Vuong / 16: untitled, Joan Tierney v 17: Drunk, The Living Tombstone / 18: unknown

When your father tried his best to provide for you but he worked all the time and even when he was home he was either tired or stressed and he’s always liked to get drunk to relax and cheer up. When you know he values work ethics and respectability so you grew up to be capable and quiet. And when he says you’re like him you’re sort of puzzled, does he really know you so little, or does he know himself so little? But you like the feeling of your father ruffling your hair so you accept it, and still you stand next to your mother just as silent and just as stoic as her during family gatherings. He leaves again and again and when your mother leaves him nothing changes, really. You wonder if it’s more telling that you know him better than he seems to himself or that you don’t know him as much as you wish you did, or that you don’t think about him all that much these days. Out of sight, out of mind. And he’s never really been there, even when he was there, after all.

[mroddmod]

"everybody loved contractors."

"nice."

[jadecantcreate]

i need to physically restrain myself from eating any more jalapeño chips bc i want them to last more than an hour but also theyre so damn good slkdfslsk i understand how hootsie feels like when gricko tells her no more rat snacks

[chappellrroan]

[jichanxo]

Help me, Lord, from these fantasies in my head / They ain't ever been safe ones

[chloesimaginationthings]

The tragedy of being William Afton’s daughter in FNAF..

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[ms-crowhead]

Random things

Keiko listening to Jei say a thousand and one insults to Usagi

Lie, Jei wouldn't say rude things in front of Keiko

He and his baby

Oh, and I also made this.

Eh... when I started doing this figure I wanted to make it as close to the comic design as possible, but I realized that I am unable to do Keiko's hair correctly, so I made it with my headcanon design xd

silly cat

[natjennie]

cap and kitty's little improv scene... the way they gossip about 90s bands together... the fairy godmother.... that winning smile of yours, now where is it... now our song about clouds is doooooone... the wizard of oz.... when he turns the attention on himself so she doesn't have to talk about eleanor... she pictures her father as him in the flashbacks... agh ants! no, no, they can't hurt you... why would you want to kill time it's meant to be enjoyed.. ah what's the rush, we've got forever... kitty thinks her baby kicked and calls cap over to feel... father christmas is not reallllll-ly in the habit.... no one wants to listen to this old walrus... hang on you made me do something horrible. yes but they're staying... maybe they'll decide to stay. they won't, kitty.