#the RE Chronicles

[dumplingsjinson]

List of “how about we get comfy and cozy with each other, in more ways than one?” prompts

(Warning: This list is pretty much an overshare in the form of a prompt list, because it is very much based on my personal experiences. A lot of TMI happens. 

If that makes you uncomfortable, please don’t read the list. If you’re okay with it, proceed on at your own discretion. 

Don’t say I didn’t warn you because… It’s a lot.) 

1. “I hope I’m not being too needy.” “Well, I like it when you’re needy. I like it when you’re like this.” (THE FUCKING AUDACITY OF THIS MAN WLEIFLEKWNKLEWFN) 

2. Character B groping Character A’s ass while they’re making out.

3. Character A moaning and whimpering into Character B’s ear while rubbing themselves against Character B’s thigh, desperate for release.

4. “I… I want you to touch me,” Character A admits, while staring up at the ceiling, cheeks reddening in an increasing show of embarrassment.

5. “Tell me to stop if it becomes too much, okay?” 

6. Character B dry humping Character A; hips thrusting into theirs, picking up with the pace when Character A whimpers in their ear and pulls Character B even closer in response because they don’t want any sort of space left between them; not even a sliver. 

7. Character B getting all sweaty and heated while they’re dry humping Character A.

8. Character B taking off their shirt to get more comfortable with Character A, and Character A subtly admiring their physique. (WHEN HE DID THAT?? THE DISRESPECT??? This guy’s gonna ruin me, I know it sjjsjs)

9. “Don’t be too loud,” Character B murmurs softly, planting a tender kiss on Character A’s face while sliding their thigh against Character A’s crotch, taking in the way Character A lets out a strangled sigh at that. (SIRRRR?? THEN DON’T FUCKING DO THIS TO ME?? WTF LWKENFWEK. Mind you, his fam came home after we were alone for an hour or two, so-)

10. Character A and Character B continuously checking in on each other every now and again to make sure they’re comfortable with the way things are going. 

11. Character B planting soft kisses all over Character A’s face and their neck, reassuring and sweet while things get very, very heated. 

12. “You’re going to make me not want to leave the bed if you keep doing this,” Character A warns in a low moan, as Character B continues to kiss their neck, their body pressing against Character A’s. Character B only chuckles in response, nipping at their skin playfully. 

13. Legs tangling together so they can get closer to each other. 

14. Character B fondling Character A, enjoying the noises they’re eliciting from Character A; enjoying the way they’re making Character A unravel at the seams, coming undone by their touch so easily. 

15. Character A hiding their face into Character B’s shirt because they can’t keep the noises at bay, and hoping to God they’re not being too loud. 

16. Character A and Character B’s hands roaming each other’s bodies, almost like they can’t get enough of each other (and they can’t. They can’t get enough of each other is the fucking problem here).

17. Character A desperately humping Character B’s thigh, chasing their high, shameless noises scraping at the back of their throat. 

18. Character B’s fingers speeding up in response to the sweet sounds falling out of Character A’s mouth. 

19. Character B letting their hands wander all over Character A’s body; slipping under their shirt, their pants, their undergarments, and Character A enjoying having their hands all over them like this even though they’re too shy to admit to that with words. 

20. “Do you want me to straddle you?” 

21. “How am I supposed to think about anything else while fucking myself now?” Character A questions in a rushed gasp as Character B continues to rub their thigh against their crotch.

22. “You’re so adorable,” Character B murmurs as they continue to thrust their hips into Character A’s. “How is me doing this adorable to you?” Character A questions, moaning a little at a particularly hard thrust of Character B’s hips against theirs. 

23. Character B leaving hickeys on Character A’s neck, on spots that make them pretty damn visible to the public.

24. “So… How do you like it on top?” “It’s uh… It’s an interesting experience.”

25. Character B’s body responding to the noises Character A’s making because of what they’re doing with them; to them.

26. Character B’s hand slipping past Character A’s pants to grope their bare ass while they’re dry humping each other.

27. Character B hitching Character A onto their thigh, pressing their thigh firmly against Character A’s crotch to tease them. 

28. Character B caging Character A between their arms while kissing them, and Character A’s arms wrapping around Character B’s neck to pull them closer, fingers carding through their hair; hands sliding down their neck; their shoulders; their arms; slipping under their tank top, palms resting against their bare skin; palms gliding along their spine and their back. 

29. Character B asking for consent whenever they want to do something a little out of the blue, and stopping when Character A isn’t comfortable with it. (BOUNDARY RESPECTING KING, PEOPLE NEED TO BE LIKE HIM!!) 

30. “Sorry if I went too far,” Character B says, and Character A shakes their head. “No, you didn’t go too far. You didn’t go far at all; you didn’t go far enough,” Character A says, flushing at the brazen admission coming out of their own mouth.

31. Character B trailing kisses down Character A’s chest/breasts. 

32. Character B pulling up Character A’s undergarment/shirt and taking Character A’s breast/nipple into their mouth, with Character A arching into them with pleasure at the unexpected gesture, a soft, encouraging gasp leaving them.

33. Character B slipping their hand under Character A’s shirt/undergarments to fondle with their nipples/breasts. 

34. Just Character A being a needy little fuck and needing Character B to be all over them because they’re so fucking addicted to the taste of them and the way their body rocks against theirs. 

35. Character A letting out little obscenities while they’re fooling around, which only fuels Character B further. 

36. “Well, now I’m really wet/hard.” “I see no problem with that.” 

37. Character A rocking back against Character B while they’re spooning and Character B shallowly thrusting against them in response. 

38. Character A biting their bottom lip to try and keep quiet (and failing pretty miserably).

39. “Yeah, you like that?” Character B softly murmurs into Character A’s ear as Character A lets out an involuntary sigh, arching up into Character B in response. 

40. “Well… I do fantasise being restrained by handcuffs.” “We can try that in the future if you’d like.” (WELL FUCK ME I GUESS LWKENFEWLKNF) 

41. Character A moaning into Character B’s mouth while they’re making out, which spurs Character B on, with the way they pull Character A even closer and kisses them harder; with much more fervour than before. 

42. Character B touching, teasing and feeling Character A up. (DID Y’ALL GET THAT WAYV REFERENCE OR WHAT—)

43. Character B caressing the side Character A’s thigh while they’re kissing.

44. “And you’re telling me this is what cuddling is?” “Mhm.” “Bullshit.”

45. Character A fucking themselves on Character B’s fingers, whimpering in a way they’d be embarrassed about if they weren’t so in the moment. 

46. Character A trying so fucking hard to control the soft little whimpers leaving them when Character B rubs against them with their fingers. 

47. “I’m all over the place and it’s all your fault,” Character A whines while Character B chuckles. “Mmm, it’s not all on me, you know,” Character B says, tone teasing. 

48. “It’s just me and you now,” Character B murmurs softly, planting a kiss on Character A’s lips, slowly rocking their hips against Character A. (onrwlfgnrekljng FUCK!! OFF!! ALKFHEWLKNF) 

49. Character B closing the blinds for privacy reasons. (He was struggling to close the blinds and I was giggling and teasing him about that lmfaofenlkfn)

50. Character B slipping their thigh between Character’s A’s legs with the intention of messing with them.

51. Character A grinding against Character B’s thigh and Character B responding by pressing their thigh firmer against Character A. 

52. The soft pleas and whimpers slipping out of Character A’s mouth as Character B quickens the thrusts of their fingers. 

53. “How are you feeling?” Character B would ask every now and then to make sure Character A’s comfortable and okay with what they’re doing, and the pace they’re going at. (This is ALWAYS so fucking sexy! Do this with your partner) 

54. Character B unbuttoning/unzipping Character A’s pants, in a tauntingly slow manner; slips their hand past the waist band of Character A’s pants whilst Character A squirms around a little, their heartbeat quickening in anticipation of what’s to come. (Uh, no pun intended???)

55. Taking a break in between each of their little sessions and cuddling with each other, and using those moments to check in on each other.

56. Character B stopping themselves from going further whenever they sense Character A getting a bit overwhelmed with everything that’s happening and making sure that they’re okay. (He just… He’s so caring and it’s so fucking sweet AHHHH) 

57. Character B’s ragged, laboured breathing in Character A’s ear as they fuck themselves against Character A, and Character A squeezing their biceps in encouragement; the soft pants from Character B and the whimpers and moans from Character A intermingling in the air.

58. Character A burying their face in Character B’s chest out of pure embarrassment after doing all of that, and Character B chuckling at them while cuddling them close to their chest, planting several kisses on their face. 

59. Character A’s clothing smelling like Character B’s because of how much they were all over each other, all day and night. 

60. Character A leaving Character B’s room with the messiest hair by the end of the night.

[yyamssoup]

old RE stuff i didnt finish

[luckyraeve]

I was "asked" later to join a top-secret government program. - Leon Kennedy, Resident Evil 4 (2023)

Redraw of the ending scene in Memory of a Lost City from Resident Evil: Darkside Chronicles.

*please reblog to show support. do not re-upload*

[cenorii]

Wesker: personality

This is my psychological analysis of the character, which includes important details of the story, an analysis of the decisions they made and the concept of the phenomenon of «Guiding Fear». Contains spoilers!

Even if you know lore 100%, you will be able to learn something new from my thoughts

I did this to practice analyzing personalities and reliably prescribe my own characters.

[These are all my personal reflections that I have been accumulating and analyzing for six months. You can see the same analysis with Chris here. In Wesker's case, I dispel the myths that he is evil-evil and crazy, it's not that trivial here... Thanks to everyone who reads this, I really appreciate it and it's nice to know that my thoughts are of interest to someone!]

The most difficult subject of all. An attempt to embrace the immensity. He is infantile and the desire to prove this quality forced me to write such a huge article.

Wesker embodies the fear of losing himself, the anxiety of being someone he is not. He knows nothing about himself from the beginning, neither his Spencer-prescribed destiny nor his real name. As he tries to resist and exercise his individuality, he is eventually confronted with the truth that his every move has been pre-planned, never answering the questions: where are his own decisions? Where is he himself? What is really his?

I chose this fear for Wesker for a reason. The fear of losing himself can cause a person to purposely distance himself from others and not allow anyone to get close to him. He strives to shield himself from everyone, and we can observe this in his desire to be alone. Outwardly, such a person may appear indifferent and cold, even indifferent, so as not to give away to others (and to himself) his true feelings and needs. Wesker believes that it is right not to show anyone that something matters to him, otherwise he will develop weaknesses. After all, what people hold dear can be manipulated. And he doesn't want anyone to have control over him. He hates being controlled, so his surroundings know the bare minimum of information about him.

Who's Spencer? One of the founders of Umbrella, to put it succinctly. A man who is obsessed with identical mansions and mysteries and immortality and creating «perfect humanity». Rich and powerful.

But let's get to Wesker's story. A lot of things happened to him in his 48 years of life.

First of all, I want to point out that at an early age he was taken from a family that Spencer believed had a unique combination of intelligence and genes. But he wasn't the only one who was treated this way as part of «project W» (the experiment to create the perfect human). There were hundreds of children who were later given the surname Wesker. Until their adulthood, they received the best education, living in a boarding school (presumably), and were selected to be the best.

The children, being a blank slate, absorbed Spencer's teaching, being brought up according to his ideals. Their lives were pre-scripted, every step of the way. Those who were unremarkable were weeded out. Competition, anxiety. The lack of a normal childhood could breed a fear of losing oneself in every Wesker, for life was controlled. Personal boundaries and choices were absent, Spencer's worldview was pounded into everyone's head. Children were also distorted with notions of right and wrong, forced to be emotionally detached from a non-ideal world. This upbringing has produced people who have no empathy for others, empty machines with no personality of their own, ready to perform perfectly in any job in which they find themselves successful. They see the world through Spencer's eyes, but not their own.

In the end the best were 13 people, where number 12 was Alex Wesker and number 13 was Albert, the one in question. Someone who really always wanted to see the world with his own eyes, wanted to transcend.

The 13 candidates, following Spencer's plan, had to mature before moving on to the final stage of project W - injecting themselves with a special prototype virus. The power that this virus can bestow is so great that an immature individual, according to Spencer, has no right to possess it. In theory, this virus should improve a person, make him perfect, but in fact it turned out to be very selective and killed 11 candidates out of 13. Only Alex and Albert survived. Alex didn't gain any strength, because at the time of the injection she was sick, and the virus cannot improve a weak organism. But her half-brother was lucky, and the virus endowed him with all possible positive properties, changing his body and turning him into an almost immortal creature, looking completely like a human. That is, outwardly, except for the color of his eyes, nothing had changed in him. At the time of the injection, they were both 38.

I don't believe in theory that he lost his «humanity» due to mutation. On the contrary, he was never «human» in the classical sense of the word. He, like the others, was raised not to show empathy for others and was indoctrinated to believe that he was superior. Wesker had not changed, but because of his newfound freedom, he was no longer constrained by the limits Spencer's upbringing had placed on him.

When Wesker was 18, he was sent to the «Umbrella Executive Training School» with his future friend William Birkin, who was 16. They were research associates. As one could guess, the stress didn't end with his childhood, it coexisted with it. Following the text from his report, Wesker continued to feel like a mere toy in the hands of Umbrella, and further in the hands of Spencer, he literally raved in every paragraph about the old man. And to get out of this state was impossible from his words.

He and Birkin were led to Lisa Trevor, a subject who had been physically and psychologically abused in this School for many years. The horrible picture that opened before them, gave Wesker confidence that he could be in her place if he did his job badly. But he had no idea that he'd always been there, that every stage of his life was Spencer's experiment, just not as ugly.

Wesker wrote in his report: «We had two choices: succeed in our research... or lie here and rot like her. Thus we had only one option. This woman tied to a pipe touched something in our minds»

These thoughts are literally a revelation of his subconscious fear that has haunted him since childhood. A manifestation of humanity.

When Wesker entered this School, he felt freedom and saw the horrors of science for the first time. Perhaps a turning point in his life, for in order not to lose that little freedom, and his life, he had to do as he was told. Had to adjust and ignore the rationalism screaming inside. Working there greatly affected Birkin and Wesker, but Wesker had to transfer elsewhere to get more information about Spencer and also because of the realization that he had reached his research limit. When Birkin started studying the G-virus, Wesker realized that it was beyond his knowledge. Although he was good at science, he didn't want to do it all the time, he wasn't looking to improve his skills and knowledge, reaching for something else, as if trying everywhere, trying to find his place.

Close to the age of 38, Wesker gets a job in a special police unit as Captain of the S.T.A.R.S. Squad and a double agent. But he was already then pursuing a personal goal and found himself a triple agent. His goal was not simply to test bioweapons on members of his squad, as the assignment stated, but to escape with the results to another organization. The only way to break free from the influence of Umbrella, which is why he gave up his best people so easily.

It's unclear why he planted supplies on Chris in a difficult moment and helped him in every way he could if the trial was supposed to go «natural». Perhaps he wanted Chris to 100% make it to the final trial, but Chris was doing fine without it. Maintained the image of the captain? Game rules? Anything is possible. I'll use the code word «WX» to note this behavior, because I'll come back to this topic a few more times. «WX» stands for Wesker's penchant for actions that do not conform to his basic behavior, including helping others that does not bring him any personal benefit or benefit. In other words, good without any reason.

At the mansion, Chris and Jill get rid of the bioweapons in their path and make their way to the lab, where they catch Wesker off guard. There are 12 endings in the game, but only the one where Wesker is stabbed in the stomach by the Tyrant is canonical, as that is the ending depicted in Umbrella Chronicles, where the story is told on his behalf.

He survives by regenerating from a pre-injected prototype virus, but it's unclear if his death was part of the plan. His first report states that Wesker planned his temporary death from the Tyrant, but in subsequent retellings of this moment, I began to question how relevant this report was. His reaction and facial emotion shown in the re1 remake described surprise. But he couldn't be faking it at that moment, because he already had his back turned to Jill and Chris. Considering the way Wesker in Umbrella Chronicles describes his death, it seems like he really didn't expect this. Something didn't go according to plan. He didn't plan for this kind of trauma to activate the virus within him.

The point about the prototype virus is also worth mentioning. Birkin, on Spencer's orders, misled Wesker by telling him that this substance was developed specifically for him. That is, Wesker did not know the truth and details about having a huge probability of simply dying from the injection. Judging by the information in the notes, if Wesker had not injected it into himself, the virus would have entered his body in some other way, it was inevitable. The remaining 12 Weskers were injected with the virus, some by force, some at the request of a friend, and some under the guise of vaccination.

Let's take it a little further. Wesker was declared dead and moved on to another organization. Now his plan was to get rid of the sinking ship that is Umbrella. But why was he so intent on destroying it? It could have been a personal vendetta, after all, it was Umbrella that had manipulated his life and taken away his freedom. It was also a way to prove to his new organization that he was worth something.

By executing his plan, he inadvertently helped Chris and Jill, who were seeking the same thing. I'd call it «WX», but since he was pursuing a personal goal for his own benefit, it's 50\50.

Then in re4 he gives Ada the task finds the amber with the parasite Plaga. Considering that Wesker moves quietly around the island in the remake, it's odd that he didn't get that amber himself. With the power and speed from the virus, he took it all on the shoulders of one Ada, who was also infected during the mission, which only wasted his time. Didn't want to get his hands dirty? Maybe. But if he had gotten them dirty, the mission would have been completed faster, and isn't that a tactical advantage?

In the remake, he manifests «WX» (DLC Separate Ways) when he shows up at just the right moment for Ada and saves her from the ganados. After likely killing them with a gun, he takes a passed out Ada to Mendez's bedside, where he gives her a temporary recovery shot (or draws her blood?) But you know what's even weirder? He purposely chose a comfortable place for Ada, rather than laying her down on the ground somewhere. He was also there with her the entire time she was lying unconscious. I'd put an exclamation point on that weirdness, because... why? First of all, why did he save her when he could have continued the mission in her place? Recall Code Veronica, there Wesker arrived on the island with his HCF squad, but then we find his soldiers infected. He showed no concern for them and actually continued the mission on his own. Second, why did he keep sitting there? To scold and pathos leave?

He envisioned the option of Ada's possible betrayal and later stole Krauser's body, from which he had already extracted the Plaga sample, but he saved her anyway. Why? All of Ada's subsequent tasks on the island he could also have accomplished on his own and much faster. It's not like he was very busy if he allowed himself to sit with a sleeping Ada. The next meeting with Ada takes place on the elevation. Wesker brings her a case, pointing a gun at her. What is this gesture for? I don't think he sees her as a threat. Maybe it's a way to lend weight to his words, but doesn't he consider his authority absolute? He's a much bigger threat than the gun in his hand, so it's an odd action that makes him seem insecure.

After Ada's betrayal, one of Wesker's allies informs him that her helicopter can be attacked, but he refuses, calling it her "little act of defiance". Thus, he gives someone the Plaga sample she stole, and also spares Ada herself. It's «WX», though he could have gotten rid of two problems at once - the traitor and the competition.

We are now transported to the future, in the DLC for Re5 – «Lost in Nightmares». Here's where the fun begins.

DLC reveals to us that something has been bothering Wesker all his life, and that something is a subconscious manipulation that has been psychologically programmed into every Wesker. The so-called «Spencer's presence». It was a defense mechanism that constantly caused a sense of anxiety and a desire to seek out Spencer, to obey him. But this defense stopped working as soon as the old man met his prodigal son and told him everything. Wesker learned from him the whole truth about himself and about «project W», that his whole life had been manufactured. Then the defenses in his head were destroyed and he quietly killed Spencer, appropriating his dream for himself. He failed to deal with the realization of the truth, taking his dream of becoming God and creating a perfect humanity. An infantile fantasy of an unjust world that needed to be changed to fit his ideals.

In that moment, he faced his fear head-on. There she was - the cause of his fears, the person who had gotten into the depths of his mind, into his innermost being. Spencer. And now this old man was lying bloody on the floor. Perhaps Wesker should have been relieved and finally started living the life he wanted, not this old man. But he had taken Spencer's dream for himself, thus, once again acting against his will. In doing so, he didn't walk away from the problem, but exacerbated it without even realizing it. Wesker must have guessed that he had some problems, but his inflated ego that prevented him from thinking about it, screaming that he couldn't have any flaws. The problem became a hole that he tries to fill with things like this.

Whereas other characters conquer their fears by facing them, Wesker drowned in them, unwilling to change anything. His entire personality was built on the horror of losing himself, and when he found out that he basically had no self all his life, he lost his mind. He decided, since this world was unfair to him, then he needed to completely rewrite it and turn it into his own utopia, in which he would be whoever he wanted, untouchable, whom no one would point out and control.

However, thanks to the re4r (DLC Separate Ways), we now know that similar thoughts haunted Wesker even before he met Spencer. His desire to change people and start a new era he expresses after the credits. With this, the writers patched a few plot holes that appeared after re5. Now Wesker sounds like he didn't assign Spencer's goals to himself, but even before meeting him, he decided on a vision based on his upbringing.

Unfortunately, there is a long known scripting problem re5, because Wesker was not planned as a character who will survive the events of this game, so his motivation sounds stereotypical and stupid, because his plan and should not have been realized. Must be in the remake they will fix this flaw, because the beginning has already been made. His moment of frustration after killing Spencer is interrupted by Chris and Jill coming up. Consumed by rage, Wesker is seriously trying to kill Chris this time, or he was playing with him again, knowing that he would not oppose him. After saving her partner from death, Jill pushes Wesker out the window, falling down onto the rocks with him. After falling off a cliff, Wesker obviously survives, but also saves Jill. Why not just leave her to die? Why treat her and then plan to make her a test subject? Aren't there other healthy people out there? Stupid and empty revenge is not in his character. This is just another manifestation of «WX» and his obsessive desire to cling to the past.

I don't have much to say about re5, because Wesker died there, or we were made to think so. The only thing I will mention is his unhealthy attitude towards Chris. He displays it at every chance he gets. The notes about Wesker in Umbrella Chronicles state «As a spy he held the concurrent post of S.T.A.R.S. Captain and has been impressed by Chris' combat abilities since then», and during the events of Umbrella Chronicles, Wesker said the phrase «Chris, it appears our fates are forever intertwined». In the re1 remake and Code Veronica, he openly stated that Chris was «his best man» in a sort of unobtrusive admiration. It's no longer possible to perceive Redfield as separate from Wesker.

Each time he points a gun at him, Wesker never takes a shot on target. In the battle on the airplane, he points the gun at Chris without even putting his finger on the trigger. Such a good opportunity to kill him, to get rid of the enemy for good, and he just stands there holding a gun he's not even going to use. Just take the shot and it's over, but no, he's standing there babbling on as if it's actually that much more important to him. It's like Wesker was looking for an opportunity to vent to the very person from his past. It's reminiscent of the moment he pointed the gun at Ada. It's like he was trying to add weight to his words, to show the importance of what he was doing.

In Code Veronica, he decided to play with Chris instead of killing him. So many opportunities were missed, as if he couldn't physically hurt «his best man». Chris is Wesker's only drop of common sense. If he was sure of what he was doing, and also sure of himself, he wouldn't have left Chris any chance of survival. He would have killed Redfield at the first opportunity, but he stands there every time and doubts what he's doing. Chris is a kind of controlling element to him that constantly makes him hesitate.

And this strange hatred for Chris also raises questions. Maybe he hates him because he was jealous of what he owned? Something that cannot be obtained with money. Support, understanding, the love of a sister and close people, trust. Wesker compulsively convinced himself that he was not made for such things, for even having a sister, they did not possess affection. From the beginning he had no friends and his only companion was Birkin, though their relationship could hardly be called a normal friendship. He had no family or loved ones, and the only support he received came from «patrons» who were actually agents of Spencer and Umbrella. Seeing the Redfields supporting each other in difficult moments, being heroic, Wesker truly realized that he would never do the same. He has no people he holds dear, nor does he have those who hold him dear. There are no irreplaceable people in his worldview, but this connection between Redfields is probably beyond his comprehension. It's a simple human problem, which is why he's so fixated on himself, because if he loses the only thing he has, he'll have nothing left. He's miserable and drowning in his own despair.

While interacting with Chris on the volcano, Wesker first reveals his idealistic, infantile nature, naively dreaming of a better world without war and disease. Losing control of his powers and realizing that he will not defeat Chris in such a state, he decides to overdose himself with Ouroboros, which in the end does not make him stronger at all, but only slows him down, making him drown not only in weakness, but also in his own uncontrollable anger and frustration. Events are moving too quickly and so it can be assumed that his words here are not addressed to Chris, but to himself. After all, in the last battle he claimed to be «saving the world» and now he wonders «is it worth saving?» He dies without knowing the answer.

«However, there is no point in power if it consumes itself» his phrase, well suited to the situation at hand.

Btw, in the original idea, the moment before he died, his eye color would become natural, showing despair and horror. An interesting idea that was discarded.

I would also like to parse his phrases: «Only those with superior DNA will be chosen by Uroboros. Only those fit for survival will be allowed to carry their genes into a new age!» Also, «I don't need anyone else. I have Uroboros!»

Wesker is more aware of how the world works than anyone else. Corruption, betrayal, human vice and filth. He had to participate in it to achieve his goal, had to go through a lot of disgusting people for the sake of getting benefits, himself to sink to their level. Seeing this, he has become disillusioned with people, so he wishes they would disappear, giving way to someone more «worthy» of life. He also renounces everyone, entrusting his fate to his creation, desperate to gain understanding.

His life was cut short at the age of 48 (2009) in a volcano, but that's according to official reports. In theory Wesker and his possible clone are alive now, which we could learn from Umbrella Corps. But I'm not going to tell you about it here.

I failed to mention that at 32, Wesker had a relationship with a woman named Muller. Strangely, she was still alive afterward and had a good opinion of him. Although it would seem that with such a personality it should be the other way around.

She ended up pregnant, and now, as of 2021 in the re8 storyline, their son is 29 years old. I can understand why she might not have informed Wesker about the son, because first of all he might not have approved and made her get rid of him, and secondly she might have lost the ability to contact him, since he was working in secret. But the fact that she kept the baby speaks volumes. That the man she broke up with is genuinely pleasant to her. I mean, if he'd been the way he was at the time of his death, it's unlikely she would have kept the baby. Often victims of violence/abuse get rid of their children, no one wants a child from a tyrant. That's the side of this character that we don't know anything about.

It's hard to imagine how a person who has a fear of losing himself and who distances himself from others has managed to find a short-term relationship at all.

What about his personality? There's a double bottom here.

It's ambiguous. At first you see a stereotypical villain and then a psycho who wants to «save the world» by destroying it, a standard hackneyed scheme, nothing interesting.

But if you look closely, we see a simple man on the verge of despair. With his past behind him, he cannot give up everything and live the way he likes, because he is superfluous in this world. Because of his own fears, he has developed a belief that he has to strive for something in order not to lose himself. All Weskers have been raised to believe that they have a great destiny, which builds an unhealthy and extremely vulnerable self-esteem.

With his fear of losing his identity, Wesker isolates himself from others, creating psychological walls that even he is afraid to penetrate. This may be the reason he broke up with Ms. Muller. She risked getting into places where even his foot had not set foot, so it became necessary to distance himself from her in order to avoid unpredictable consequences.

His dream, adopted from Spencer, actually echoes his deeply buried problem. «Infect people with a virus that will only improve and not kill a select few like him» That is, Wesker dreamed of making people like himself. Isn't it loneliness and desperation that makes people do such things? It didn't seem that he was hungry for «power» specifically, because he already had it in the traditional sense. All the more, based on his words, he did not wish for evil with this gesture, he wished to «save» humanity, knowing that millions would die. For the sake of finding a company «worthy of him», he was willing to risk killing everyone and being alone. Desperate and lost, he began to make bad decisions.

You know, it's been unusually hard for me to see beyond the obvious. I feel like I did the wrong thing by taking it upon myself to judge him without knowing almost anything about him. I originally had a biased and negative opinion of the character. But now I've gone neutral.

What do I see in front of me now? A character disconnected from his own lore. We read about one thing and see something else entirely. And also an unhappy man. Wesker is famous for his reports. They were always interesting to read because of their informative and judicious tone, so it was much more interesting to watch him when he acted in accordance with his reasoning.

Judging from the story, he is able to evoke compassion and empathy in the viewer, but does he evoke it in action? In action, he evokes nothing. He is not even annoying, although a well-written character should evoke an emotional response, but he evokes it only with his story.

Creating something unambiguously negative is not a bad thing. But such a thing should be presented wisely, and it should have a certain kind of backstory, which will only deepen our belief that this object is evil.

But in Wesker's case, things went wrong from the start. Having created a story that resonates in you with an atmosphere of hopelessness, lack of choice, and fear of losing yourself, we see a character that doesn't match that. It's the events of the personal story that create the character, but if the character feels pulled from it, something went wrong in the writing.

If you are creating a character who is supposed to be compassion, the story should help with that, make you feel his problem. The same is true if you're writing someone who is negative and should be disgusting. Murder isn't enough to make a character a villain, the story is the main key. And our victim's story isn't about becoming evil at all, it's about fighting fear, where fear wins in the end, which doesn't fit with the concept of evil evil at all. That's why the player/reader/viewer can't always decide who he is: antagonist? Anti-villain? Who the hell is he?

[The beginning of an optional fragment]

By the way, there aren't enough facts in this analysis, so now we're going to break down the prototype virus that was injected into 13 Weskers. If you're not interested in that, skip to the next section. I haven't previously mentioned the Progenitor, from which many viruses in this universe originated, so the prototype is an unstable strain of the Progenitor, weakened dozens of times so as not to be too toxic. This virus either gives a person immense strength or kills them altogether. Alex stayed somewhere in the middle, because nothing happened to her, but her brother changed a lot.

Wesker has special genes, as well as immunity, that made the prototype fused with him. But activation, according to Birkin's report, requires a stressful situation. That means the hormones released as a result of stress dramatically amplify the influence of the virus, helping the body to initiate the fusion. It's all about hormones, we'll come back to that.

When Wesker received an injury incompatible with life from Tyrant, the hormones produced at that moment triggered the V-ACT process. He went into anabiosis, transforming all the cellular tissue in his body as well as repairing the damage he had sustained.

But having gained strength through a complete reorganization of his body, he was not yet aware of the instability of the virus inside. He didn't know that the prototype doesn't «fix» in his body. Therefore, the strength provided by the virus is not eternal, weakening with time.

So Wesker has to take PG67A/W regularly to re-secure the virus inside and stay strong. An insufficient dose of PG67A/W can cause malaise, and a large dose becomes poison. Which is what happened in re5 when Chris and Sheva injected him with the substance an extra two times. He experienced pain, and then presumably his powers escalated to the point where he no longer had control over them and they lost usefulness.

His son, Jake, also inherited genes and special immunity, which is why most viruses are harmless to him, but also do not give any advantages.

The fact that the forces of an overdose are not lost, proves the moment when Wesker easily damages the rocket with his bare hand.

Now back to the subject of hormones. Not only do they provoke viral activation, but they are a completely controlling element. Wesker, when provoking his emotions, can change the density of his own body, which also causes bioluminescence in his eyes. I noticed this when rewatching the re5 cutscenes. Always when he is about to strike, his eyes start to glow. Glow is emotion, and emotion is hormones.

This is why Excella can free pierce his skin with a needle and inject the drug, because at this point Wesker is calm and his body density is close to that of a human. In battle, his body is like a stone, it hurts Chris to hit him and this can be seen in his animations.

[The end of an optional fragment]

The injections are another painful element that robs Wesker of his sense of self-worth and freedom. Therefore, coupled with the fear of losing himself, he has an inferiority complex. This complex manifests itself outwardly in a superiority complex - in arrogance, an inflated ego, which we see in his behavior. This is the answer to the question of many people, why he behaves this way. Not considering himself a full member of society, not considering himself suitable for ordinary life, Wesker begins to believe that he is above «all that» and calls himself God, in other words self-deception.

An inflated ego is the result of psychological defense, a sign of hidden fears (loss of self). It also indicates the presence of insecurity, which he tries to hide by creating a strong image for the outside world. However, like many people with large egos, Wesker has a fragile self-esteem, which is why he hates so much the rude Chris who initially discerned his weak side. His self-esteem is closely tied to his ego, so with the image he has created, Wesker protects a side of himself that he never shows to others. He hides it even from himself, as I mentioned earlier.

I thought Jake's AI words would be perfect here:

This is the only fragment where I decided to have fun with AI, but it gave me something that really makes sense.

I would like to summarize, because the analysis turned out to be long, and something towards the end may have already slipped the reader's mind. So... What do we know?

Because of his nonstandard childhood and obsessive upbringing, Wesker has an unhealthy and extremely vulnerable self-esteem. By deceiving himself, he began to consider himself superior to everything ordinary, and to believe that he is simply not made for this cruel and unfair world with wars and diseases, so he dreams of creating «his own world», where there will be «equal» people, so that he will no longer feel superfluous.

Also, because of his childhood, he is withdrawn to the point where he hides his true feelings and needs even from himself. He feels safe as long as no one knows what he cares about. If you don't know what a person cares about, you can't manipulate him. And if he doesn't care about anything, he is invulnerable. He is afraid to be himself and express it. He himself doesn't know what «he» is really like. Judging by his phrases in the game, Wesker would like acceptance, but would never admit it openly.

It is also an echo of an effect he has been under the influence of all his life - the «fear of losing himself». This fear has become a convenient pattern of behavior in his life: pretending not to care about anything and believing it. People with this fear need to appear indifferent, not letting anyone know that anything matters to them.

But what is «fear of losing yourself»? It is the phobia that someone more powerful can manipulate you and take away your sense of security, of reliability, whereupon you no longer consider yourself strong and confident. Wesker felt for years that he was under Spencer's strong influence, his puppet, which cemented the «fear of losing himself» even deeper. Every step in his life was not his personal choice but Spencer's, Wesker was only made to think that he was acting on his own free will.

Loneliness and lack of empathy were also his eternal companions. Never having friends, never having family and support, and never having anyone that Wesker could cherish. And no one who would have treasured him. That's why he's so fixated on himself, because if he loses the only thing he has, he'll have nothing left at all. That's why he prioritizes pragmatism over emotion, easily betraying anyone and replacing one with another. But he also tends to cling to the past, sometimes betraying his pragmatism.

-------------------

Due to a misunderstanding, I would like to supplement my text. This analysis is only my personal interpretation and my personal view of the character and his story. I do not claim that it is 100% canon, because canon is so vague and disjointed that it is impossible to fully assemble it objectively. Everyone is entitled to have an interpretation different from mine. Best wishes to all!

[sillyfudgemonkeys]

Kavik: Nooooo, she didn't! Rangi: She did! She stuck me in the ground and pranced off to do spirits no what! Kavik: Ugh, they really don't appreciate us do they? Rangi: She thinks I can't handle it! I'm her bodyguard, and a lieutenant in the military! I can do anything! But what I can't do is guard a body that's not there! And, she keeps losing pieces of it! I won't have a body to guard at this rate! Kavik: Does she have trouble sleeping too? Rangi: Sleeping. Eating. Functioning! Everything! I have to have Jinpa keep an eye on her for me! But she doesn't listen to him! Kavik: At least she listens to you sometimes! Yangchen doesn't like being told what to do. It's sooooo hard to convince her to do anything! I have to beg her to sleep! She's like a toddler! Rangi: They're both overgrown toddlers! Ugh, they are just the worst I tell you! Kavik: I know! E-especially when they get too-ahem- friendly. *starts to blush* Rangi, blushing too: I don't really mind them taking the lead tbh, just not when my face is busted up! Kavik, blushing harder: I just don't want it to be in the middle of an assembly! Rangi: Same! Kinda, we- Yangchen and Kyoshi, barging in:

[tru-daddy]

every day i think about how genius the symbolism was in wesker's rebirth scene from the umbrella chronicles game of him taking off the sunglasses and the inside said "PROPERTY OF UMBRELLA" and stepping on them as he had finally slipped their leash

[artsyaprilmr]

Nat's mirror scene for @nsewell! Thank you <333

[i-am-trying-my-best-okay]

(Tentatively) 484 days till The Wicked Powers (Until Further Notice)

[h20milk]

put me in a room with six leons and we're all coming out different

[commandant8]

[haldora]

"I ran to him. He lifted me in both hands, clutching my arms ever so gently, and tucked his face against my neck. From the soles of my feet up my back through my arms and my neck and scalp, I felt it. Where he flung me I didn't know. Was it our bed or some hasty cushions he found in another closer salon? "Give it to me," I said sleepily, and when it came into my mouth, I was gone."

[trixdraws]

My second attempt at drawing f!UB

Also sharing some versions that are less of an eye cancer since my gf asked for wallpaper versions!

[witchlingcirce]

Kit herondale YOU are an outfit repeater!!

My hopes for TWP: Someone burns this jacket

[fennecphoebe]

In my mind Wesker started to think about Lisa a lot after he found out he was "manufactured." I love Lisa and I love Wesker and I want them to be friends.

[queenie-ofthe-void]

The Babysitter Chronicles - Byers

Steve POV 5+1 (immediately follows s2) || wc: 3.9k || cws: check tags || full fic ao3

Henderson || Mayfield pt 1 / Mayfield pt 2 || Sinclair || Wheeler || Byers || +1 Hopper

Can be read as a standalone

~~~

Steve’s filled with dread, standing in front of the Byers’ front door at 6:30am on a Saturday morning. Out of all the kids’ parents, he’s pushed Joyce off as long as he could manage. But he’d promised Mike he’d try, and according to Jonathan, this is the best time to catch her.

That doesn’t change the fact it’s not even light out, and a boy she probably hates is about to knock on her door. Hell of a way to start the day.

He knocks anyway.

Joyce opens the door in a soft grey t-shirt and baggy black sweats. Her hair is brushed through, mascara coats her long lashes, and the smell of fresh coffee wafts through the open door. At least he can find small consolation in the fact she’s been up for a while.

“Hi Joyce, I mean Ms. Byers,” he stumbles, off to a great start. “Sorry to catch you so early but–” 

“No,” Joyce interrupts, voice firm. 

Steve stands there, mouth hanging open around an unfinished sentence. He watches as her eyes harden. She squares her shoulders and stands straight-backed and tall, only reaching about Steve’s shoulder. Joyce Byers in all her fury still makes him feel small, like maybe this was a bad idea.

“I’m sorry, Steve,” Joyce says. “But I know why you’re here. And the answer is no.”

“Oh,” he responds lamely, deflating even further. 

Her voice is soft, but she’s unyielding. “The kids like you, and I know their parents are ok with you watching them. Which is fine, for their kids.”

She pauses, and Steve knows what’s coming. Mentally prepared himself for the worst-case scenario. All of Dustin’s logical arguments and Lucas’ hype talks couldn’t prepare him for how thoroughly Joyce flays him open.

“But, Steve, I would never trust you with my kids.”

Even though he's desperate to run, he plants himself like a tree on her front stoop. He's trying not to be that guy. The kids deserve the best version of him, and on some level, he knows cutting out the bad parts of himself includes letting Joyce Byers drag him through the mud.

He tries to hold her gaze, really he does. Her dark eyes are filled with conviction, but he can see the gentleness to them as well. Almost sad, like he’s making her do this to him. 

Joyce grips the door, knuckles white with tension. She takes a step out onto the front stoop, forcing Steve to take a measured step back. The door stays cracked and the smell of burning toast reaches his nose. Nausea rises in his throat.

“They shouldn’t have even been in those tunnels in the first place,” she says, voice growing louder as she gains momentum. “We asked you to watch them, we trusted you with them, and they still almost got killed! And I know, I know, you helped Jonathan and Nancy last year– saved them from that, that thing crawling out of our walls.”

Her eyes flicker over her shoulder, like the demogorgon’s still haunting her house. He follows her gaze, like Billy could still be standing in her living room with a blood-stained, toothy smile.

She sighs, exasperated. At her wits end for being pushed into a conversation she’s probably been dreading for weeks, since it seems she knew what he wanted. “But you’d be with my baby, my Will, everyday. He’s had bullies since kindergarten, and it’s only gotten worse since everything.

“He doesn’t deserve more bullies. And from what I’ve heard, you’re no different. Just like your father.”

Steve flinches– can’t help himself– the sentence ringing through his head.

Just like your father.

“No, no I’m not, I swear,” he chokes on the words as she steam rolls his pathetic lamentations.

“You’ve pushed my boys– and kids just like them– around your whole life, making them feel small for having less money, less friends, less stuff. Every time Jonathan came home with a new bruise or bloodied knees, how do I know that wasn’t you?”

Steve’s watering eyes are fixated on the small, furious woman before him, flushed with a rage familiar to any decent mother protecting her kids. He’s trying so hard to hear her, but his head is filled with static and his mouth feels stuffed with cotton. Steve wipes his hands down the front of his pants, then shoves them in his pockets.

“You called my boy queer! Something I’m sure you heard from your father. I saved for months to get him that camera for his birthday and you just smashed it, like it was nothing. Like we’re nothing.”

Neither of them notice the pair of shadows moving beyond the door frame in the living room. 

“I cannot allow someone like you around my boys,” she hammers home. This is what Nance meant by a thesis statement he thinks deliriously. “Sue and Karen might be alright with it, but my answer is no.”

Steve sniffles and nods stiffly as turns to leave, hoping to at least make it to his car before the tears start. He knows he deserves what she’s said, knows the truth of it in his gut, but he’s stood here long enough. Now it’s time to run and hide, like his mind’s been screaming to since she set her sights on him.

“Mom,” Jonathan says, out of breath like he ran here from his bedroom. He’s appeared over Ms. Byers’ shoulder like a ghost, or a ninja– silent and on the attack. “What’s going on?”

He’s a sleep-rumpled version of his mom, wearing a plain, soft t-shirt, and grey sweatpants scattered with light bleach stains. Steve notices he still has pillow creases on his left cheek. His gaze follows the red indent down to Jonathan’s jawline where a small, purpling bruise is haloed by faded red lipstick.

All of the air in Steve’s lungs is punched out of him, hard and fast. A feeling he should be used to from Jonathan Byers. 

Steve thinks he sees a flash of pastels in his periphery, dashing through the trees to the road. Or maybe it’s his imagination. It doesn’t matter, because he can’t look away from the uncomfortably familiar mark on Jonathan’s neck.

Jonathan must notice. His hand flies up to his neck, wiping the mark and finding a smear of red on his fingers. The spell holding Steve breaks, and he can breathe again. 

Their eyes meet, and Jonathan’s cheeks now match the stain on his fingers. It’s awkward and Steve doesn’t know how to fix it or how to make this easier. Because Steve never knows how to fix things, only how to break them. Something Joyce seems well aware of.

Distracted, Steve’s just now noticing the small shadow creeping up behind Jonathan. He sees the young boy poke his head out from behind his brother’s back as he takes a small step towards the commotion.

“Steve was just leaving, sweetie,” Joyce answers, voice soft and sweet as she turns away from him to go back inside.

“Wait, no that’s not what I meant,” Jonathan continues. He shakes his head and roughly pushes his unruly bangs from his eyes. “Steve, why are you here?”

Jonathan’s looking at him like he knows the answer. And he should really, considering the only reason Mike agreed to have Steve as his babysitter was because Jonathan promised he’d talk to Will about it, and then they’d talk to Joyce. 

A long train of telephone Steve was relying on to get a head start at Joyce’s good will. Which, apparently, never happened.

Steve plays along into Jonathan’s prompting. She’s already said no, so what’s one more try with a little back-up.

“I was asking if I could babysit Will, since I watch the rest of the gang too. Can’t leave any party members behind,” Steve says, parroting Dustin.

“And I was just telling him–” Joyce starts, before she’s interrupted.

“I think Steve would be a great babysitter,” Will says. His hair’s a mess, and he’s straightening out his matching Star Wars pajama set as he steps further into view.

Joyce rushes over to him, squatting down to meet his eyes. “Will, honey, you don’t need a new babysitter. You can still spend time with your friends at their houses, when their parents are home.” Jonathan takes the distraction to wave Steve into the house, silently closing the door behind them.

“But the other parents don’t know about– you know,” Will hesitates, before mustering up the courage to say “about what actually happened to me.”

“Baby,” she says, gently running her hands up and down his small arms. “You know we can’t tell them. We went over this.”

“It’s not about them knowing the truth,” Will says. Steve watches as the boy tries to make himself bigger, taller, even with the slight shake in his voice. “They just look at me like I’m broken. They’re sad when I’m around and they just think I was kidnapped or lost or– whatever the story is. That I was sick or something.”

Steve can’t help but imagine Will Byers, always the shy, quiet kid in the Party, having to constantly withstand the severely misguided pitying glances from adults who aren’t read-in on vast government conspiracies and alternate dimensions. Steve’s almost nineteen and can barely manage alone.

Her brows are knitted tight and her lips downturned the more Will confesses. “Well, Jonathan can–”

“I don’t want Jonathan to watch me anymore.”

Joyce’s eyes widen, confusion painted across her face as her mouth drops open. Steve turns to glance at Jonathan to find that, unlike his mother, he’s not surprised at all. In fact, there’s a light shining in his eyes and a small uptick to the corner of his mouth.

The tension is thick but familial, leaving Steve unwelcome and gawking at a private conversation. Which he supposes he is: both unwelcome and gawking.

“Go on, Will, it’s ok,” Jonathan encourages. He shines with a proud smile, like he’s watching his little brother walk for the first time. 

Will’s hesitant, his eyes downcast as he shuffles side-to-side. Waiting for him to continue, Joyce stays quiet. Steve can’t help but feel envious of Will and Jonathan at having a mom patient enough to hear her son outright, even when she doesn’t agree with him. She saved him from an alternate dimension, but sometimes the little things are just as important.

“When Jonathan dropped me off at Steve’s for DnD last week, it was fine… at first.”

“You both told me that was at Mike’s,” Joyce interrupts, turning a motherly glare at Jonathan who sheepishly avoids eye contact. She rounds on Steve again, closing the distance between them in three long strides to get in his face. “This is exactly what I’m talking about, Steve. What if something had happened and I didn’t know where to find him because of you?”

“Mom,” Jonathan interrupts, irritated. “That’s not fair. We are the ones who said it was at Mike’s– Will and I. I knew you wouldn’t let him go if you knew it was at Harrington’s place, so I told Will to lie.”

“You’re damn right I wouldn’t have let him go,” Joyce argues, turning back to Jonathan. “He’s not safe there! I know Steve Harrington and I know his parents. What if they had been home?”

“They haven’t been home in weeks,” Steve mumbles. He doesn’t mean to say it out loud, catching himself off guard. Years of practicing the lie, and he slips in front of the last three people on earth he’d want to know about his home life. He’d never complain, not to them. 

She shoots him a confused glance, an emotion behind her eyes Steve refuses to consider. But it seems she’s the only one whose noticed he said anything at all as Jonathan speaks up again. Shaking her head, she shifts her attention back to her son. In the midst of the chaos, Steve breathes a small sigh of relief.

“Mom, it was fine– everything was fine. Just–” Jonathan stops. He gestures to Will to keep going.

Will puffs his chest up, holding his mom’s gaze as he barrels on. “I liked having it at Steve’s. It smells nice, like candles, not like farts and laundry detergent like Mike’s basement. He had all the snacks we like, and he’s got a huge table that can fit all our stuff.”

The kid’s smiling now, and goddamn if it doesn’t melt his heart. Steve’ll be disappointed if Joyce says no, but at least he knows for a fact Will felt comfortable around Steve and liked being at his house.

“But after Jonathan picked me up, Lucas said they stayed up and watched movies all night. That Steve even made an ice cream sundae bar and there were a million toppings.” Will’s arguing is starting to sound like a petulant child, a slight whine to his tone, and Steve can tell Joyce is losing her patience.

“Will, that’s something you and Jonathan can do. We’d love to do sleepover nights with your friends.”

“No, Mom,” Jonathan states, strong in a way Steve’s never seen from him before. His only tell is the waver behind his voice. Steve’s willing to bet Jonathan would rather face down another demogorgon than take on his own mother. Yet here he is, sticking his neck on the line for Will.

“What do you mean, no?” It’s barely a question.

“I don’t want to babysit Will anymore.” He quickly closes his eyes and shakes his head, like an etch-a-sketch. “No, wait– I’m not babysitting Will anymore.”

The room falls deadly silent. Joyce’s lips flatten into a thin, white line, matching the color of her knuckles. She looks ready to explode, like how his father used to look before the first blow. 

Steve flinches when she takes a step towards Jonathan, and she clocks his reaction just like before, but ignores him to glare at her oldest son.

“I want to spend more time with Nancy.” Jonathan’s eyes are wide, like he forgot Steve was there, and he can see an embarrassed flush painting his ears. Steve just shrugs. It is what it is, he’ll get over it like he always does. Jonathan relaxes a bit. “I want to get a job so I can take her on dates that are more than just driving out to the quarry.” 

“Jonathan,” Joyce jumps in, “you can’t get a job. You’re grades are slipping as it is and you don’t have time–”

“Exactly! I don’t have time for a job right now. But if Steve starts watching Will after school and some weekends, I can get a job and keep my grades up and spend time with Nancy.”

She’s shaking her head, but Jonathan plows on before she can jump back into the fray.

“Billy Hargrove is a goddamn monster, Mom. He almost killed Steve! And we all know the kids would’ve found a way to get to the tunnels no matter what. Steve was beat to hell and still went with them.” Jonathan points at Steve’s face in emphasis, like a fucked up version of a pretty model showboating a new car. Except the model is the guy who stole his girlfriend, and the car is a has-been with a fucked up brain and no future.

“And last year,” Jonathan continues, “Nancy and I would be dead if he didn’t come back for us. After everything that happened between us, he had no reason to turn around. Hell, I’m not sure I would’ve.”

He doesn’t know Jonathan Byers well, but Steve knows for a fact Jonathan would’ve faced death to save him– to save anyone. It’s not even a question.

Joyce still doesn’t seem convinced. “Everything that happened last year is exactly what I’m worried about, Jonathan.”

“It’s my fault, not his!” Jonathan shouts. “It’s my fault he got sucked into this mess, it’s my fault Nancy left him, and it’s my fault he broke the camera!” Color drains from his face. Steve freezes, staring at him. 

Steve still hasn’t told anyone why he broke the camera– none of them have talked about it, and he never planned to bring it up. Ultimately he’s thankful that the pictures exist, since it provided the only clue to Barb’s death and the Upside-Down. 

But he doesn’t understand why Jonathan took the pictures. And it doesn’t change the fact Steve closes his blinds every night.

“What do you mean, your fault?” Joyce asks, out of sorts. 

He stammers a bit, looking to Steve for help. Steve doesn’t want to have this conversation at all, let alone in front of Jonathan’s entire family. He glares back at Jonathan, tersely shaking his head once.

Lie.

He gets the gist, relief stark on Jonathan’s face. 

“Steve caught Nancy and I sneaking around when we were looking for Barb and Will,” Jonathan quickly recovers. “We didn’t want him poking around, so we let him think we were flirting. But some pictures I had taken of Nancy fell out of my bag, and Steve saw them. That’s why he broke my camera.

“We ran into him and his friends later while they were spraying up The Hawk. I didn’t know it was all Tommy Hagen’s idea, so I got in Steve’s face and I hit him first. He called me queer, and that’s shitty. But he apologized, saved our lives, and bought me a new camera. So–”

Jonathan turns to him and holds out his hand. It reminds Steve of his father, but also of Hopper, which he decides is a more apt comparison.

He reaches out and Jonathan grasps his hand firmly, shaking it up and down just once, yet continues to hold on. Forging a new pact for the future.

“Steve, I’m sorry about everything.” He seems genuine– eyes wet, shoulders set, and back straight. Steve tries to match his posture. He might not be as good with words as Jonathan, but he can at least show this moment is just as important to him. “But you helped protect the kids so we could save Will. And you saved Nancy and me. So– I trust you.”

Steve can’t handle this. It’s too early in the morning for heavy emotions and deep confessions, but Jonathan’s searching for forgiveness in the face of a former bully. Steve steps up to the plate and meets him halfway.

“I shouldn’t have broken your camera, I know how expensive they are and how much it meant to you. I was angry and I wasn’t thinking. And I, I umm–” 

Steve realizes he’s never really had to apologize to someone before. Sure he’s apologized to Nancy, but it seemed like a normal thing for guys to always apologize to their girlfriends. He’s apologized to Dustin, but that’s more like placating a rowdy toddler. 

This feels different, somehow bigger. Maybe it’s because Jonathan’s his own age, or someone his parents have programmed him to think is lesser than himself. Maybe it’s the deep regret that’s made itself a home in Steve’s stomach, rotting away at the memory of a vicious word spat haphazardly at a stranger.

“I’m sorry I called you queer. That’s fuc– I mean messed– up, and I’m sorry.” Steve sighs, running a nervous hand through his hair, less painful with the stitches removed. He almost misses the stinging sensation. “It’s something my dad says all the time and it was the first thing I thought of, and I hate that. I’m not my dad, I never want to be like him.”

Jonathan nods and pulls Steve forward into a hug, and when they separate Steve feels lighter. A heavy weight he hadn’t known about, removed from his shoulders with Jonathan’s help. If he didn’t know any better, he’d think Jonathan felt the same way by the smile on his face.

“Yeah!” Will shouts, unprompted and overly excited for the tone of this entire conversation. There’s a wide grin on his face when he holds up his hand to high-five Steve and cheers “welcome to the Bad Dads Club!”

Steve scoffs, shocked but completely delighted and confused at Will’s eager declaration. Joyce smacks her hand to her forehead and mutters something like jesus christ under her breath, while Jonathan barks out a laugh. 

He grabs his little brother by the shoulder and shakes him like a rag doll until Will breaks out into giggles. “Will,” Jonathan says, failing to keep a straight face, “remember when I explained the difference between family jokes and not-family jokes?”

Will’s smile fades slightly, red embarrassment splashing his cheeks as he quickly glances between Jonathan and Steve, realizing his social blunder. Jonathan squeezes his shoulder and gives him a sad, reassuring smile. But Steve won’t be the reason for the small frown tugging on Will’s lower lip.

Steve holds out his hand, palm up. He smiles at the kid, eyes alight with mischief. “Bad Dad’s Club,” Steve says, like it’s more than just a fucked up childhood and is instead forging a pact, binding them through one shitty commonality. 

Will returns his smile and high fives him, who then turns to his brother. Jonathan laughs again when he pulls Will in for a hug instead, shrugging at Steve.

Joyce’s gaze travels between the three boys standing in front of her, and Steve can see the moment she cracks.

Her stance has softened. Her lips are still pursed, her eyebrows only slightly furrowed, but her arms hang relaxed at her sides and she’s looking at Steve less like she wants to throw him out and more like she doesn’t know what to do with him.

“You get one week,” Joyce says sternly, pointing a finger in Steve’s face. He goes cross-eyed looking at it, but he can still see Will and Jonathan high-five. “One week of picking him up after school. I get done at Melvald’s at six, so you can bring him home at six-thirty.”

Before Steve can wholeheartedly agree, she rounds on Will and Jonathan next, who stand at attention, trying to stay serious through their own excitement. 

“You,” she points at Jonathan, “better keep your grades up if you’re getting a job.”

“And you,” she gestures to Will, “better have all of your homework done when you get home. If you can’t get it done at Steve’s house, then you don’t get to go.”

She backs away from them, taking a deep breath in and exhaling loudly. “Is all of that clear?”

Waves of yes’s pour from their mouths. Will wraps his arms around his mom’s waist and Jonathan lightly punches Steve’s shoulder. 

“Thank you, Ms. Byers,” Steve says as he turns to leave, “I’ll make sure you don’t regret this. Any of you.”

She sighs, a small sad smile on her face. “I really hope that’s true, Steve.”

On the drive home, he realizes she never mentioned the slip-up about his parents’ absence. He’s grateful for it. Talking with adults has never been his strong suit, and his conversations with each of the kids’ parents are starting to weigh on him. 

The Byers’ might not have as much money or means as the Harrington’s, but that doesn’t stop Joyce Byers from being a damn great mom. So he’s not surprised she took note of his own small mishaps. Maybe she’ll bring it up one day, maybe she won’t. All Steve cares about is that he finally has the opportunity to earn the trust of the fiercest parent he knows.

~~~

[carelessflower]

the most unrealistic part of cohf was how little (almost to none) interaction we had between izzy and alec post malec breakup and make up era. she's his ride or die, don't forget she fully concocted a plan and drag people to annoy magnus with voicemails and also storm the loft of a 600 years old experienced warlock with nothing but her whip, heels, good hair and an alec lightwood supremacy banner so why wouldn't she have some qualm after they get back together