In which Chris learns the meaning of his name, Kai claims hers, and the Hound Wolf Squad has zero boundaries.
Kai stared at the screen until it timed out, plunging them back into the silvery twilight of the beach.
Chris stayed entirely still, his breath catching in his throat. The silence of the Pacific shelf stretched between them, heavy and suffocating. He looked down at his calloused, scarred hands—the hands that had broken bamboo traps, buried friends, and dragged a rogue squad across the globe.
"Damn," Chris muttered, his voice a low, rough growl of total, defeated vulnerability.
“Told you it would say something,” she replied softly.
. . .
You just got a snippet of Chapter 10 of The Surwata Agreement, now officially live on AO3. Things are about to get heavy.
“Chris’s apartment looks like that because he’s depressed!” “Chris’s apartment looks like that because he has PTSD!”
Chris Redfield definitely is both of those things but let us not overlook the fact that according to the games going all the way back to 1998 that he’s just a genuinely messy and disorganized person
Getting down to business with Chris would start innocently. The two of you gently caressing the other, touches filled with love and admiration. But leave it to Chris to let his hands wander deeper across your skin. He’ll be finding creative ways to bypass your clothes just to have his palm surface the most of you that he can.
The next thing you know, your lips are but a fraction of space apart, his fingers already toying with your bra strap.
Chris will lie his body over yours, using his weight to comfort you with warmth and pressure.
In the beginning, his movements would be slow, savouring the tease of stripping you of your garments. All the while, he would be grinding his hips against yours, instinctively allowing you to wrap your legs around him.
The feeling of him hardening above you is truly enough to empty your mind, sending bursts of fire across your body. Needless to say, you’re already soaked.
Once the testosterone has peaked in Chris, he no longer extends this preemptive, prolonged foreplay. His hands are already tracing your body with utmost accuracy, removing any additional clothing barrier with urgency. (#desperate)
He’ll almost always have you with your ankles draped over his neck, positioning your pelvis completely parallel to his hips. This way, with each deep thrust, his tip can kiss your cervix blue.
Speaking of kisses, Chris is always kissing you during sex. Regardless of sweat, hair, or any other confound, his lips and dick are basically two separate entities from his mind. Both are working independently to reach their own goals. His hips automatically slam against you, while his lips swallow your every moan because to him, this is the closest he can get to you. And to be honest, it’s not even enough.
Chris is vocal in bed. Not moaning incessantly like some cheap X-rated film, but he's grunting heavily, accompanied by sharp breaths and long, guttural exhales.
He’ll be talking to you out of reflex, asking if you’re okay, if you feel as good as he does. But at the same time, his concern is more about making you cum rather than chasing his own release. If you’re already babbling and moaning mindlessly, he’ll simply tell you to take it. He’ll be coaxing you, his voice deep and velvety. “Fuck~, you’re squeezing me so tight” or “It’s all you now, princess. Cum on my dick.”
If he’s taking you from behind, he’ll take your hand and place it over your lower abdomen. “Feel that, you’re so full of me,” he’ll say, pushing himself deeper with each thrust. A thick arm will come wrapping around your jaw, his lips brushing against your ear now, breathing hot air through his own groans. When in pronebone, he’s more so grinding himself against you, keeping his entire length compressed within your walls.
Regardless of the position that you two are in, your bodies will always be pressed up against one another. Think pronebone, mating press, etc., etc.
The point is this man needs skin-on-skin contact, end of story.
Loves when you moan his name. It will send his cock into overdrive, and he’ll likely finish in that instant if the session has already been long in motion. That said, this doesn’t mean it’s endgame for everyone. He’ll pull out and immediately go down on you. His mess combined with yours? Doesn’t matter. It’s a pretty sight to watch his fingers disappear inside of you while his tongue circles overtop; he's already rubbing up against the sheets.
Side note, shower sex? Absolutely. Expect to be manhandled and straddled over his dick, your chests heaving together as he pumps you full of himself against the shower wall. You’re completely suspended—completely supported. Since y’all share an apartment, let’s hope that wall isn’t further shared with a neighbour’s kitchen, teehee!
His movements are powerful, but not belittling to you. As a matter of fact, he’d rather you sit back and relax while he does all the heavy lifting. Not only do you feel good without straining a single muscle (except that pelvic floor), but it’s also a way for him to demonstrate his strength. Years of military and S.T.A.R.S training have sculpted his body into the boulder-punching man he is today.
When release hits you both, he’ll collapse his body on yours, skin and crevasses lightly sticking together from the sheen layer of sweat you now share. He’ll keep himself inside you, growing soft between your legs.
Aftercare is incredibly important to him, but he’ll take his time getting there. He’ll wait for the high of the room to die down before he even moves. It’s a primal calculation he engages in, monitoring the rise and fall of your chest, the steadying beat of your heart.
All the while, he’ll be whispering sweet nothings into your ear. xx
Chris reminds me of something one of my bio professors once said. He talked about a bunch of venomous snakes he and his colleagues had on campus for a project of theirs, and he mentioned that no matter how experienced you are, you always have to be careful about handling them. Because no matter how well you know them, the moment you get careless, you will get bitten. In fact, the more used to it you are, the more cautious you should be, because it's easy to let your guard down when it's familiar to you.
While talking to Jill in Death Island, Chris mentions that dying in the line of duty is something they need to be prepared for, but rushing in is dangerous and doesn't just risk their own lives. He admits that he would have probably done the same as Jill, but that's exactly why their job is hard - because they can't. He goes on to say that they've been in this fight for so long that they've grown numb to it, which is why they need to be even more careful now. And, well, you can probably see why I clocked that.
I don't envy Chris, tho! Telling Jill to not rush in feels a lot like trying to tell Leon not to rush in and, well.
I feel like Jill and Leon would either be the best or the worst team - mostly I think they'd split up pretty early on and just do their own thing till they meet up again. They're too similar in a way that doesn't make them meet in the middle, if that makes sense?
But I gotta respect Chris for holding onto that principle. He's both the guy who drops in solo if needed but also sticks to his squad and it's the perfect blend of, well, game protagonist who kicks ass in a way ordinary soldiers can't and won't, and a guy who's deeply aware of his role in the world - and what he isn't, in turn. Experience doesn't make him invincible, and relaxing into familiarity will get his teammates killed.
It sucks that he's lost so many men, but it's cool to see how it shaped the way he operates, which differs pretty hard from all the other protagonists of the series. If he's gonna be the protagonist in future games again, I wonder how they'll handle that aspect of him.
summary : you have a new nickname for chris and it kinda confuses him, its cute though.
notes : another chris imagine for the heart <3 i have another one coming up too so stay tuned ehehe i need a big man who just feels mushy, warm and giddy around me pls
credits to the owner of the divider!
"goodnight, pookie bear". you sleepily said as you press a small kiss on chris's bare chest before laying and nuzzling close on it.
chris furrowed his brows when he suddenly realized what you just called him. he's used to you by calling him in so many nicknames, either its a silly or a cute one but this is the first time he heard you calling that. hell, its even the first time he heard about that name or word.
pookie bear?
bear he gets, because you always call him that in a silly or cute mood but pookie? where did that came from?
he glanced down at you and his heart melted at the cute sight, you look absolutely comfortable against his chest with your cheeks mushed on it. he inhaled softly, your scent passing through his nose before he leaned and pressed a kiss on your soft hair.
the next thing he knew, pookie bear was a constant name for him.
"hey, im home". chris called after he passed through the threshold of the house while his duffel bag hung loosely on his shoulder.
"pookie bear, hi". you excitedly called at him in the kitchen.
he followed your voice and he found you against the stove while stirring something in the pot. he smiled softly as you tip-toed a little to see the inside of the it better before you turned to look at him with a grin.
"i tried new recipe, change quickly". you told him as the aroma of the food filled the kitchen causing chris's stomach to grumble. "cant have my pookie bear be hungry, yeah?".
he laughed at your girly giggle with a shake of his head, he walked towards you and grabbed your waist causing you to let out a small surprise sound.
"missed you today". he hummed as he buried his face on your vanilla scented skin and nuzzled his stubbled cheek on it.
"i missed you more". you sighed in delight as you enjoy his strong arms around you. you could stay here forever and not just go out, he just gives you so much warmth and comfort.
but unfortunately, the stew that youre making couldnt wait as it bubbles up more.
"go change, i'll set the table". you squeezed his big arms before nudging his hip away.
"yes, ma'am". he saluted at you before walking towards the stairs now.
also chris knows that he's always easily embarrassed, his little sister always makes sure to always mention it. she'll always tease him about his ears going red and the smile that he couldnt contain.
he always doesnt know if its always because he's embarrassed or amused.
so when you first called him pookie bear in a public setting, he didnt know what to react to it. he knows you love nicknames, not just in private or public but he didnt know that pookie bear will be going out too.
"pookie bear, can you get me a cola? i kinda dont want to have any alcohol tonight". you smiled sweetly at him, completely oblivious to the effect that you have on him.
chris glanced at his friends who have their eyes wide and lips purse to contain their laughter as they notice how red his ears are going, he could feel heat on his neck too.
"y-yeah, princess". chris cleared his throat as he stood up.
you beamed at him in thanks before going back to rebecca to talk about a new cafe that you would love to go with her.
"dont even think about it". chris hissed as he passed by jill and claire who are giggling softly.
both women just raised their hands in surrender while still trying to keep their laughs in causing chris to just sigh before moving away to get your coke.
—
"what exactly is a pookie bear?". chris finally asked as both of you are cuddled up in the bed while youre resting against his chest and also watching tiktoks in your phone.
you hummed mindlessly as his hand that is running up on your arm suddenly stopped and gripped your hips gently.
"pookie bear". he said in emphasis before looking down at you.
"its a nickname". you furrowed your brows after laying your phone on his abdomen.
"where did it come from?". he curiously asked with his brows scrunched up together.
you blinked as you looked up at him, chris never once asks about your nicknames for him cause he always thought its adorable and he feels giddy hearing your nicknames for him so its a new thing that he's asking you about it now.
"its a cute endearment that is spreading in the internet, and i thought it suits you". you explained to him as your hand rubbed soothingly against his chest.
chris always liked having your hands on his chest, makes him warm and fuzzy.
"suits me?". he echoed.
"yeah, pookie bear". you grinned at him but it just made him more confused causing you to laugh. "dont worry your head about it, pookie bear is really just a cute nickname".
you patted his chest softly before leaning up to nuzzle against his stubble like a cat and you tangled one of your legs around his.
"my pookie bear". you sighed in content as you try to incase his huge figure in your arms.
you feel like youre exactly hugging a huge teddy bear and you cant help but squeeze him tightly despite the comical size difference.
chris just lets you with your antics before he sighed too cause feeling your arms around him genuinely feels good.
"youre very cute, you know that?". chris mumbled against your hair as he pats your hip warmly.
HC Preferences: Resident Evil Boys x Reader Having A Panic Attack
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Request from @arlo-maintenanceman:
"have you done anything like re boys helping a reader who’s having a panic attack? Love me some hurt/comfort angst"
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♂️Male Characters:
Leon S. Kennedy
Chris Redfield
Albert Wesker
Carlos Oliveira
Piers Nivans
Jake Muller
Jack Krauser
Luis Sera
HUNK
Karl Heisenberg
The Merchant
Glenn Arias
Billy Coen
Zeno Wesker
Victor Gideon
------------------------------------
Leon S. Kennedy
The instant Leon realizes something isn’t right, his demeanor instantly becomes gentler, lowering his voice to one of calm softness when he tries to anchor you by asking simple questions like “Hey, look at me… can you tell me where you are?”
He instinctively guides your breathing, counting quietly with you, his hand hovering before slowly resting on yours, only if you don’t pull away.
He uses light humor in small doses to ease tension, not to dismiss; just enough to remind you that you’re safe.
Leon stays physically close, positioning himself between you and anything overwhelming, creating a sense of protection without making it obvious.
Afterward, he doesn’t make a big deal of it; just offers you water, maybe a quiet “You did good,” and stays nearby longer than necessary.
Chris Redfield
Chris goes into protective mode instantly, scanning the environment before focusing entirely on you, grounding you with firm, reassuring presence.
His voice is steady and commanding but gentle, he gives you clear instructions like “Breathe with me. In… out. You’ve got this.”
He isn’t afraid of physical reassurance; holding your shoulders or letting you grip his hand tightly, anchoring you.
Chris reassures you repeatedly that you’re safe, that nothing is going to hurt you, and he means every word.
After the panic subsides, he checks in seriously; asking what triggered it and how he can help prevent it next time.
Albert Wesker
Carlos Oliveira
Wesker notices immediately but doesn’t react outwardly at first, he observes, then approaches with calculated calm.
His voice is low, controlled, and oddly soothing; he gives precise instructions to regulate your breathing and posture.
He doesn’t overwhelm you with touch, but if you allow it, his hand on your wrist or chin is grounding and deliberate.
Wesker reframes your panic as something manageable, almost clinical “Your body is reacting, nothing more. You are in control.”
Once you calm down, he doesn’t coddle; but he ensures you’re stable and subtly keeps a closer watch on you afterward.
Piers Nivans
Carlos reacts immediately with concern, dropping everything to focus on you, “Hey, hey, I got you, what’s going on?”
He’s very physically reassuring; offering hugs, holding your hands, rubbing your back in slow, comforting motions.
He talks you through it constantly, filling the silence so you’re not alone in your head.
Carlos uses warmth and encouragement, “You’re okay, I promise. Just stay with me.”
After that, he sticks around, cracking gentle jokes or distracting you until you’re fully back to yourself.
Jake Muller
Piers stays calm and composed, quickly recognizing what’s happening and adjusting his approach to you specifically.
He kneels or lowers himself to your level, making sure you don’t feel overwhelmed or looked down on.
His voice is soft but structured; he guides your breathing like a trained professional, counting steadily.
Piers is careful with touch, asking quietly before making contact, respecting your space completely.
Later on after what happened, he checks in gently, offering quiet reassurance and staying close without hovering, making sure you feel secure.
Jack Krauser
Jake notices faster than he lets on, his usual attitude dropping as he quietly shifts closer, eyes sharp with concern.
He’s not overly verbal at first, but he grounds you through presence, “Hey… stay with me, yeah?” spoken low and steady.
If you’re okay with it, he’ll take your hand or steady your shoulders, his grip firm but reassuring.
Jake keeps things simple, guiding your breathing without overcomplicating it, matching his rhythm to yours.
Afterwards, he acts like it’s no big deal; but sticks nearby, keeping a subtle, protective watch over you.
Luis Sera
Krauser reacts immediately but with controlled intensity, locking his focus entirely on you as he assesses the situation.
His voice is firm and commanding, cutting through the panic, “Focus. Breathe. You’re not dying.”
He uses grounding through structure, giving you something to latch onto; counting, eye contact, direct instructions.
Physical contact is deliberate, gripping your arm or steadying you to keep you anchored in the moment.
Later, he doesn’t sugarcoat, but his quieter tone and lingering presence show he’s making sure you’re stable.
HUNK
Luis immediately softens, concern written all over him as he gently tries to get your attention without overwhelming you.
He talks you through it in a calm, almost soothing rhythm, mixing reassurance with light warmth, “Easy now, cariño… you’re safe.”
He’s very attentive to your comfort, offering touch only when you lean into it, like a gentle hand on your back.
Luis uses distraction subtly; small, comforting words to keep your mind from spiraling further.
A while later, he stays close, checking in with a soft smile and making sure you don’t feel embarrassed or alone.
Karl Heisenberg
HUNK notices instantly, his movements precise as he positions himself to block out external stressors.
He doesn’t waste words; short, clear instructions guide you through breathing and grounding.
His presence alone is stabilizing, solid and unshakable, giving you something to anchor yourself to.
If necessary, he uses minimal but effective touch; steadying your arm or shoulder to keep you focused.
Afterward, he silently ensures you’re okay, staying nearby until your breathing fully evens out.
Heisenberg picks up on it quickly, his usual sarcasm dropping as his tone shifts to something unexpectedly serious.
He tries to keep you grounded with blunt but reassuring words, “Hey, hey, don’t go drifting off on me now.”
His approach is a mix of distraction and grounding, keeping your attention on him through voice and presence.
He’s careful with touch, but if you grab onto him, he doesn’t pull away; letting you anchor yourself.
After, he brushes it off verbally, but sticks around, quieter than usual and keeping a close eye on you.
The Merchant
The Merchant notices in his own quiet way, tilting his head as his usual tone softens, “Ah… something troubling you, stranger?”
He keeps his voice low and steady, guiding you gently without overwhelming you, giving you space while still being present.
His movements are slow and non-threatening, offering grounding through calm repetition of simple, reassuring phrases.
If you reach for him, he allows it without hesitation, surprisingly gentle as he lets you steady yourself.
A while later, he makes sure you’re settled, lingering nearby with a quiet watchfulness that feels oddly comforting.
Glenn Arias
Glenn immediately picks up on the shift, his sharp awareness turning fully toward you as his demeanor softens.
His voice is smooth and controlled, guiding you through the panic with quiet authority and calm reassurance, "Deep breaths, honey. Just like that. You're doing so well".
He maintains steady eye contact, giving you something to focus on while subtly grounding you in the present.
Physical contact is minimal but intentional, a light touch to keep you anchored if needed.
Afterward, he ensures your composure returns fully, staying close and unusually attentive to your state.
Billy Coen
Billy reacts quickly but gently, concern clear as he steps in without overwhelming you.
His voice is low and reassuring, guiding your breathing with simple, steady instructions.
“Hey… it’s alright, I’m right here; just breathe with me, nice and slow.”
He offers grounding through quiet presence, staying close and letting you set the pace of interaction.
If you need it, he provides firm but comforting contact, like holding your hand or steadying your shoulders.
Later on, he checks on you in a soft, no-pressure way, sticking around to make sure you’re okay.
Zeno Wesker
Zeno notices immediately, his expression tightening slightly as his focus shifts entirely to you.
His tone is controlled but softer than usual, guiding you through the panic with careful, measured words.
He keeps things structured, helping you regain control through steady breathing and grounding techniques.
Touch is used sparingly but effectively, offering stability without overwhelming your senses.
“Focus on my voice… regulate your breathing, you’re still in control.”
Some minutes later, he remains nearby, quietly observant and ensuring you’re fully steady before stepping back.
Victor Gideon
Victor quickly senses something is wrong, his attention sharpening as he moves closer with quiet urgency.
“Easy now, dear. Stay with me. You’re safe, just keep your eyes on me.”
His voice is calm and grounding, guiding you gently through the panic without rushing you.
He focuses on keeping you present, offering simple cues and steady reassurance to anchor you.
If needed, he provides supportive contact, careful and steady to help you feel secure.
Soon after, he stays with you a while longer, making sure your breathing settles and you feel safe again.
Jill Valentine + Chris Redfield - Post RC apartments (RE3R/Veronica)
Jill's unsent letter (for Brad) from RE3R - "I'll be moving out at night. Five days. Wish me luck."
Concierge in Veronica trailer - "He's made such a mess again. Think, I just cleaned it up a week ago! It's like a boulder rolled through here!"
RE Universe's reasoning for Chris:
The RE Veronica trailer already had me THRILLED by ONE thing, right off the bat, that I wanted firmly established from a potential CV remake or new Jill game—Jill moved into her OWN new place post RE3R. This is what the game was establishing from the opening section. Of course I wanted to see them continue to show the living spaces of more characters, but It was tiring seeing people literally trying to make the ending scene NOT about Jill, when NOTHING suggested ANYTHING else. Jill said, and it was shown in perfectly clear detail (for those who actually paid attention and LOOKED at her apartment and understood the lore establishing what she was doing and even what her immediate INTENTIONS were), that she was moving out of RC. She NEVER said she was leaving the country in RE3R.
Jill was NOT said or even suggested to be following OLD LORE, nor were Chris and Barry. Chris already established in RE2R that old "canon" was not valid in this new/current timeline, so it was weird to see people clinging to some things so hard. Chris was doing his OWN investigation somewhere in Europe, and later wrote to Jill and Barry in CODED language, he didn't plan on coming back to RC for at least another 6 months possibly. NONE of the stuff Jill said in her old diary, was ever acknowledged as still being valid either. BARRY NEVER RETURNED to RC for Jill in the current timeline of events. Chris told Barry not to think of following him, and BECAUSE Jill was going to continue her OWN SOLO investigation in RC, all he asked of her was to let Claire know he was okay, IF she reached out to her. None of this suggests an idea of them all going to Europe.
Jill was CLEARLY packing up her stuff to try and move out of RC, due to having her investigation put to a halt, thanks to Irons putting her under house arrest for obvious reasons, and we SAW all of the investigative work JILL did BY HERSELF in her apartment. She even has her CAMERA on her desk where she woke up from!
You know, just like CHRIS is shown having been doing HIMSELF in the CV remake trailer!
Naturally it did make me think of the man Jill had a photo of in TWO places in her apartment (by her desk and on her refrigerator)
Could just be a coincidence, and I also can't say it's OFFICIALLY meant to be Chris, but I'm just saying it gave 90s Chris vibes, and Capcom has shown they do deliberately drop hints with easter eggs in the form of assets. They even reused some assets in RE9 for a locker filled with Jill's things (they also moved Chris's desk to be beside Jill's and replaced the photo of the man on her desk, for her old dog). Someone even recently showed that the "daily report" easter egg asset you find in her apartment was named as Chris's Diary.
Yes, Jill originally had an unlockable diary with the same design, but as you can see in the current timeline, that diary doesn't exist, so this is an interesting choice (despite us not having any text for what he would've written). Likewise, this also would suggest, that whatever Chris would've had in his diary, would NOT be the same as it was originally. I'm not saying Jill did not possibly still leave where ever she went to (following the events of RE3R) to find him at some point, but the OLD lore is NOT valid with what they have been establishing in the CURRENT timeline. Even REV2 RETCONNED Barry having any involvement post RC. So all of the plans to have Chris, Jill and Barry all agreeing to go to Europe was changed YEARS AGO!
Jill's original RE3 epilogue took place a couple of months after RE3 (so during the events of CV's time) anyway, and look at WHERE she ended up.
A messy apartment with Chris's knife and blood found. NONE of that has ANYTHING to do with RE3R's ending.
Jill was NOT depicted as LOOKING for Chris in RE3R. NONE of her focus was on Chris! The woman just found out an entity outside of UB that had it IN for UB even, made sure the city was bombed/was thwarting her efforts, and thus destroyed her efforts to save what was left of the city she called home and was trying to protect, and some people legit think Jill's focus was on CHRIS!
The letter she was writing to someone (that was left unsent), was a RESPONSE letter to Brad. It's right across from his letter, and she literally addresses what he brought up in his RECENTLY sent message he had a pizza delivery person pass on to her, which is why Jill gave him a TIMELINE on how soon she planned on leaving RC. That is Jill responding to Brad, inquiring about hearing she planned on leaving RC. HER request was for HIM to pick up with where she left off investigating UB IN RC, IF he found out something happened to her, since neither seemed to think Brad would be a "someone like her" that UB would come after directly, especially since he wasn't doing anything against them like she and Chris were. NO ONE else could check up on Jill anytime soon besides him.
I'll post this again, but it's like people REALLY were missing the point IMO. Jill was packing TOILET PAPER and DISHES even, to go to EUROPE to find Chris?!!!
Like, Jill was packing up all of this stuff and having it SHIPPED overseas, with NOTHING even suggesting she KNEW exactly where Chris was, let alone anything suggesting she planned to meet up with him? He didn't even send anything directly to her or Barry from all we know. He only sent them a coded message to the RPD. I wouldn't doubt they had discussed some things before he left, but Jill didn't even have anything from Rebecca or Barry. HER focus in the entire game was on what happened in RC, and even her failure to stop the bombing and holding those responsible ACCOUNTABLE. She dealt with some fears she had as well. She literally even tried to recruit Kendo during the story!
Jill even having this happen is a RETCON! Leon being able to find her letter for Kendo is a retcon! HER MIND was on her FUTURE BATTLES! Her last WORDS were about HER OWN DESTINY and choices THEN AND THERE! Jill NEVER suggested the stuff she had lined up for herself (for when she had planned to leave) changed.
AS JILL TOLD CHRIS herself in her LASTEST canon appearance:
"I'm not waiting for backup when there's a chance someone's in danger."
Jill HAS ALWAYS been portrayed as someone WILLING to take action ON HER OWN! Even in RE1, even without needing Wesker to give her an order to investigate, she was willing to take action ALONE, even for CHRIS! Jill NOT going to Europe with Chris (because Claire got Jill's lead role position in CV in the end), literally cemented Jill as her own character. They have a meaningful bond that will keep them connected, but she's NOT just Chris's FORMER partner, or even just a love interest. Chris and Leon are who Capcom claim are the "main characters" of RE, but Jill still exists as her OWN character. I'm GLAD, that currently she's NOT just some canon fodder foot soldier/nobody following Chris's lead. RE5 already screwed her over.
I love seeing them work together, etc, but I also want to see Jill actually allowed to do something OUTSIDE of just one relationship. She's already been WASTED for nearly two WHOLE DECADES now, thanks to RE5, the same game where Jill being "dead" for Chris's story was ALWAYS part of the plot. Jill didn't even have DIALOGUE with WESKER! Now look at the state of the BSAA in the current events, and the FACT JILL has been COMPLETELY irrelevant in ALL OF IT so far.
"I decided then and there: the ashes of Raccoon City would be Umbrella's ashes too. I would end them once and for all." - Jill's closing statement in RE3R.
Jill said "I" not WE. This was Jill LITERALLY DECLARING WAR on Umbrella, and really whomever else (RE9 confirms the Connections involvement as well). It was ANNOYING AS HELL to see "fans" of Jill even LITERALLY thinking so little of Jill IMO. Seeing comments like, "Oh it must be Rebecca, because the figure has on a green shirt, (as if that makes any sense), stuff about shacking up with Carlos, despite his irrelevance and absence no less, or like, "She went to find Chris, and since the shirt is green IT MUST be Chris's (even though his clothing would NOT fit Jill the same, and it's LITERALLY a re-skin of the same top she had on in her nightmare!).
The apartment shown at the end establishes a few things THEMATICALLY, and established a DIFFERENT TONE for Jill's story. That's intentional, just as much as her being shown ALONE. There was a calmer environment (birds chirping even), it was a bright sunny day, a gentle breeze outside. There's some similar things that Jill had in her apartment in RC shown, a punching bag seemingly indicating that SHE is spending her time PREPARING for what's to come. The broken capsule for the vaccine Nikolai destroyed (which was in the foreground), that she grabs, IS the main focus. Jill is not finding a knife of Chris's and thinking about him. NOTHING about ANY OF THAT was about Chris based on what they established. Bad enough seeing people defend the choice to have Leon go back to RC over someone like Jill, by saying she didn't really care about RC as much as Leon did, so it made more sense for HIM to be used. Like EXCUSE ME!!!!!!!!?
Leon had a knife from Marvin he kept in the current timeline, JILL kept the capsule that represented a MUCH larger loss for the city she LIVED IN, formed connections in, and SUFFERED for! BARELY making it out of RC even. THE VISUALS were also representing a CHANGE! Jill came from the military, and had on a military green tank top (kind of like her REmake alt skin). She just declared WAR in her final thoughts. Heck often undershirts come in variety packs anyway, and Jill did have other colors of clothing in her old apartment.
Jill overcame the STORM from her nightmare and was vaccinated (this would allow her to abandon that fear of becoming a zombie).
She LIVED through the HELL erupting outside of her home.
And THEN she MOVED (though not how she planned for obvious reasons). She was beginning anew. She had to start over after what happened, but her resolve and determination grew in the process, she dedicated her life to something bigger, and that's what always seemed to be what the post credits scene was about to me. She lost everything she had in RC, but again she had already been preparing for her move! Things did not go as planned, but she ESCAPED in the end, and established herself elsewhere, and she was moving forward with her mission. She said she felt EMPTY seeing RC destroyed all for greed, and she was now FUELED (more passionately) by her desire to END this evil in the world.
Jill CLEARLY had plans following her move out of RC (before the events in the game unfold). I've shown this before, but again..
She HANDWROTE a calendar for the final days of September, all the way up to Oct 10th! Homegirl CLEARLY had things LINED up. The aftermath of what happened in and to RC, would impact her profoundly, and the ending was only focused in on HER!
I'm so GLAD this Veronica trailer put that stuff to bed it seems.
I love Chris has a tape recorder, a camera, pills, documents, etc. Showing he's been doing some investigating, and seemingly crashes right there on the couch. I love that the concierge is complaining about how messy he is, and how she just cleaned up after him a week prior to Claire's arrival. His furnishings are different from Jill's. Jill had a punching bag, Chris has adjustable dumbbells.
Yeah, I laughed my butt off, because it was annoying how people would just automatically write off the idea of Jill TRAINING in her OWN place, and some even bringing up a NON-CANON RE5 viral ad where Chris had a punching bag, to try to use that as some "fact" to TAKE AWAY from what is visually established for Jill's own narrative, and make it about CHRIS! TWO adjustable dumbbells, and that's it (thus far)! LMAO!!! THANK YOU CAPCOM!!! LET JILL have her damn punching bag OKAY!!!
I'm loving we are seeing more and more visits to places these characters live in since Rev2! Chris was snacking on treats, smoking, has pills, a walkie/radio, some clothes are on the couch and floor, even his belt is on the floor, and you see that disorganized aspect of him.
^They literally reused some of Jill's pills even LOL!
Jill's RC apartment was messier than it normally would've been, and she also was taking pills and having trouble getting good rest (especially with the spies watching her), but this does make me curious to see what notes or audio Claire might be able to find pointing out what was going on with Chris.
Like I can't wait to see more. I already like this is changing the intro from CV, and doing something more believable for Claire, and I hope they actually explore CLAIRE herself this time around. I wonder how much more they will change, as everything since this RE engine era came about, has been bringing about both big and small changes. Making usually more solid connections, etc. Hell, the RPD in RE2R ACTUALLY has restrooms, and the STARS office accounts for fitting ALL of them!
Anyway, just felt like bringing this up. I enjoy Jill and Chris's dynamic, and all of that, but Jill can and DOES have things that are just for her, just like Chris has had his own journey without her. Not everything is about Chris, or a "relationship," nor should it be. I suppose it's possible this game could throw in some surprises about STARS's former members beyond Chris and Wesker (I'm still loving the lore RE9 gave to Barry tied to both of Chris and JIll, and even Leon), but still, it just felt nice to see Chris had his own apartment that is NOT Jill's new place from RE3R's ending established.
Who do you think has the louder dad sneeze: Chris or Leon?
i feel like it's definitely chris. he's just so large and his voice is so deep.... bro is waking up the entire neighborhood with one sneeze. he does one of those yell sneezes that makes you question if they even sneezed or if they just decided to scream
ik claire was not mentioned but i feel like shes the opposite. her sneeze is so cute and like quiet "achoo" like a mf kitten. meanwhile her tank of a brother is like AAHAAHHHHHHHHHHHCHHH then returns to talking like nothing happened and it scares the shit out of people in his vicinity every time
Ok. So I’m rereading the quiet DSO reader fic, cause I wanted to read it in its full glory, and I just got to the part where we see Chris.
Curiosity killed the cat (the cat be me), I wonder if we could get his perspective saving the young reader. Or just that mission in general.
I’m just very curious about that whole thing, and want me details.
Assuming you’re up for it
Lol had to break out the ol' Quiet Reader taglist for this! Hope you like it! (Yes, this is also me soft launching trying to write for Chris cuz I'm less familiar with him and I'm not sure if I'm writing this right lol)
Summary: Set the evening after Chapter 27, Chris recounts on the past.
Masterlist | Playlist | AO3 Link
Rays of Sunlight - Quiet Reader Extra Content #1
Chris tries not to think about past missions too often.
It’s generally not a good idea to dwell on them for more than he has to. There’s been too many people he’s lost. Too many horrors he’s seen. The only times he can truly think back to it all clearly is when he’s lost in a bottle or too tired to stop himself.
But, still, even then, the mission he’s currently thinking about is one that he borderline forgot.
Not that it was forgettable, not at all. None of them were. But this one was part of a string of deployments that tended to all blur together into a mix of trauma and regrets.
This particular mission came back to haunt him today.
He thinks back to the hospital quarantine room, following Leon inside and expecting to see a broken husk of a woman. Someone barely functioning, held together only by scar tissue and spite. But reality often differed from expectations. Today was no exception.
He remembers that girl from 20 years ago. He remembers typing up the report and sending it in. He can recall the clinical language he used to explain to his superiors what he had seen.
Recovered juvenile female. Non-verbal at time of extraction. Severe malnutrition. Extensive scarring. Multiple viral exposures.
The words didn’t do justice to what he had really seen.
A child. A little girl. Thin, barely holding herself together in a blanket too small to mean anything. Eyes hollow, in a way that didn’t even come from fear anymore. Just hollow like someone who didn’t expect anything else. No tears. No screaming. Just existing like any alternative to her current situation was impossible.
He can feel something cold settle into his ribs at the memory.
.
.
.
“Captain.” One of his men is beside him, gesturing towards the room they had just searched. “We found something.”
Chris isn’t sure what he was expecting, but it wasn’t this.
The smell hits first.
Antiseptic, blood, something chemical and burned into the tile like it’s been there too long to ever come out again. The lighting is too bright. Surgical. Intentional. Designed to make everything visible and still somehow hide what it’s doing.
Then he sees the table. Metal. Bolted down. Clean in the way that only means it wasn’t clean for long. Then, the corner. Something small. Still. A figure, half shrouded under a scrap of fabric. Chris doesn’t lower his weapon at first. He moves in slowly, boots careful against tile.
The figure doesn’t react.
Fuck. It’s a child.
She’s small enough that the room feels too large around her. Curled slightly into herself like she’s trying to take up less space than her body allows. A thin blanket is draped over her shoulders, clenched in both hands. It’s not for warmth, not really. For something closer to certainty, probably. Her arms are wrapped in bandages, but they're sloppy. Some are too tight. Some are practically falling off of her.
He feels his jaw tighten before he even fully processes what he’s seeing.
She doesn’t look up. That’s the second wrong detail. Most people look up when a door opens. Even trained subjects. Even hostile ones. But she doesn’t. Like she already decided a long time ago that whatever comes through that door is not worth acknowledging.
Chris lowers himself slowly. Not fully kneeling. Not yet. Just enough to bring himself closer to her level.
“Hey.”
No response. Her eyes stay down. Fixed somewhere near the floor. Not focused. Not unfocused. Just… absent in a way that feels practiced.
His hand shifts slightly. A small movement. Just barely inching towards her.
Her head finally lifts, though her eyes don’t meet his. As if on cue, her arm raises, wrist pointing towards him, inner arm exposed.
His breath catches.
What exposed skin there is is littered in pinpricks. Dozens, if he had to guess. Each one is swollen and bruised, droplets of blood dried onto the surface. Still, she holds out her arm like she’s fully prepared to receive another one.
He glances past her for half a second, then back to her arms. The room tells him the rest of the story in fragments.
Restraint marks. Old. Repeated. Injection sites layered over injection sites. Medical equipment arranged too neatly to be anything but routine. Paperwork scattered like someone stopped mid-thought and never came back to finish it.
He’s seen this before. Too many times. Test subjects that have been reduced to scraps of who they used to be. People who are more experiments than living beings. But not like this. Not this… quiet.
One of his men speaks behind him, low. “Captain…?”
Chris doesn’t answer. He’s watching her breathing instead. Too controlled. Too shallow. Like she’s learned exactly how much air she’s allowed to take without attracting attention.
He shifts his stance slightly, angling himself so the doorway behind her is visible. Giving her a clear exit path, so she knows she’s not trapped. Not cornered. It’s the smallest adjustment he can offer without words.
“I’m going to get you out of here,” he murmurs.
Her fingers tighten around the blanket, arm finally dropping back to her side. That’s all. She makes no other movements, just still staring blankly towards the floor.
He gestures towards one of his men. “Go request medical support.”
A nod. “What do I tell them?”
He thinks for a moment. “Juvenile female. Malnourished. Dehydrated. Possible infected wounds.”
The man nods again, and disappears.
Chris returns his attention to the girl.
“What’s your name?”
Her head tilts inquisitively, like she’s not used to being asked things directly. Instead of answering, she just gives a small hum.
Chris waits. Not because he expects an answer. More because he doesn't know what else to do.
The hum hangs in the air between them. It isn't really a response. Just noise. The kind people make when words don't come naturally anymore. His stomach twists.
"Your name," he repeats, softer this time. "What do people call you?"
Her brow furrows. Like it's a difficult question. Like she's sorting through possible answers and none of them feel correct. For a second, he wonders if she even remembers.
He speaks again. “... That’s okay. We can figure that out later. Can you stand?”
Again, her brow furrows. One of her legs moves, uncurling from her chest, but the movement is sloppy and uncoordinated. He can see the way her muscles tremble at the use.
“... I’ll take that as a no.”
From behind him, there’s footsteps.
“Captain,” The soldier is back, “I got that medic.”
Chris nods, stepping aside. He doesn’t miss the way the girl stiffens again, legs drawing a little closer to her chest. The medic slows as soon as he enters the room.
He has worked with enough field medics to recognize the look. The quick assessment. The mental checklist. The immediate calculation of how bad things are. This one takes a single glance at the girl and goes still.
"...Jesus."
The curse slips out before he can stop it. The girl's shoulders immediately draw tighter. The medic notices too.
"Sorry." His voice softens considerably as he crouches a few feet away. "Sorry. Didn't mean that."
No response. He reaches for his bag instead, moving deliberately. Slow enough that every motion is visible.
The girl watches his hands. Her eyes briefly look over the tools he pulls out, the medications, the bandages, but she almost exclusively watches the way his fingers move over items.
He hates what that might imply.
"Can you tell me what happened here?" the medic asks gently.
Nothing. The girl continues staring.
The medic tries again. "Do you know where you're hurt?"
Silence.
"Do you know your name?"
Another hum.
Chris sees the medic glance toward him. A silent exchange. This is worse than they thought.
The medic inches closer. "I'm going to look at your arm, alright?"
No acknowledgement. No resistance either. The girl's arm lifts automatically. As if she doesn’t have a choice but to comply. Her arm flips to where her wrist is presented upwards, just like earlier.
The medic freezes, hands stuck hovering over her skin. Even through his black facial coverings, Chris can see the man’s eyes widening.
The arm is covered in bruising. Fresh puncture marks layered over older ones. Some yellowing with age, others angry and red.
The medic carefully turns her wrist, observing the patterns of scars. The girl doesn't react. Not even when he presses against skin that should hurt.
"How long has she been here?" he asks quietly.
Chris looks around the room. The table. The restraints. The stacks of paperwork. The discarded syringes. He gives the only answer he has.
"I don't know."
The answer feels inadequate. The medic exhales slowly through his nose.
"She needs a hospital."
"No argument there."
"No, Captain." The medic's expression hardens. "A real hospital."
Chris understands immediately. Not a field tent. Not a temporary treatment station. Not somewhere they stabilize her and move on. No, she needs full medical custody. Somewhere with specialists. Psychologists. Long-term care. Somewhere that has people that can handle all of this.
The girl shifts.
The movement is so small Chris almost misses it.
Her eyes have drifted from the floor, toward the open doorway. Toward the sunlight filtering in from the hall. Her eyes widen ever so slightly, staring at the light. Like she's trying to remember what it is. He follows her gaze.
The light looks ordinary enough. A patch of afternoon sun across cracked concrete. Nothing special. Yet she watches it with quiet concentration. After several seconds, the girl slowly extends a hand toward the brightness.
Chris exhales a heavy breath. “... Do you want to go out there?”
Finally, finally, the girl meets his eyes. The motion looks unsure, like she’s not convinced that looking at him is safe yet.
Slowly, her head bows into a nod.
He offers a small smile. “We can do that.” He turns his head towards the medic, “Do you think she’s stable to be transported?”
The man thinks for a moment, before nodding.
“Okay,” Chris starts reaching out his hands, “Let’s go.”
The girl stays still. For a moment, he studies her posture the way he would a battlefield; weight distribution, tension points, where she might flinch if he moved wrong. She doesn’t move at all.
“Alright,” he says quietly. “I’m going to pick you up.”
A pause. No reaction.
He tries again, softer. “Is that okay?”
The girl tilts her head slightly. It’s not confusion exactly. More like she’s trying to locate the meaning of the words in a place she hasn’t used in a long time.For a moment, it reminds him of Claire, when they were little. The way she would tilt her head when she was working on something, tongue peeking out from between her lips in frustration.
The realization makes his body feel heavy.
The girl gives a small, uncertain nod. Chris exhales once through his nose.
“Okay.”
One arm slides behind her shoulders first, the other under her knees, giving her time to pull away if she wants to. She doesn’t. But the moment his hands make contact, she goes rigid. Like she’s waiting for something to follow. Pain. Punishment. A correction that never comes.
He notices the way her breath catches and then holds. It makes him adjust his grip immediately, looser than instinct tells him to.
“Hey,” he murmurs, barely audible. “You’re fine.”
Then, he lifts her. She’s lighter than he expects. That thought hits him harder than it should.
For a second, the room tilts; not physically, just in his perception of it. Too small. Too sterile. Too many things in it that explain too much without saying anything at all. Behind him, the medic shifts but doesn’t speak.
He turns toward the doorway. The sunlight is still there. Waiting.
He carries her toward it slowly, deliberately, letting her see it approach instead of suddenly placing her in it. Her head turns slightly in his arms, towards the golden light.
The closer they get, the more her grip tightens on the edge of the thin blanket still clutched against her chest.
He tries to keep his voice low and steady as he speaks again, ignoring the way her body starts to shake in his arms.
“It’s over now, okay? We’re taking you somewhere safe.”
She looks up towards his face. His eyes meet hers. For a second, he can almost see one corner of her lips twitch upwards into a relieved smile.
The light finally hits her face. For a moment, it makes his heart sink. The light is highlighting her sunken cheeks, hollow face looking pale in the glow. But, even then, her eyes close, basking in the warmth of it.
His mind flashes to Claire again. When she was about 12, and he had carried her home after she had snuck out to go to the arcade with her friends. It was in the early hours of the morning, the sun just barely peeking up from the horizon. She had been just starting to close her eyes, drifting off as the sun shined down onto them both.
He smiles faintly, releasing a breath he didn’t know he’d been holding.
“...It’s over now.”
.
.
.
You are not the woman he’d been expecting, no. Not at all.
But, when he thinks back to today, in that cold quarantine room, he knows you’re the same person as that little girl he saved all those years ago. You have the same eyes, even if there’s more light in them than he remembers. You have the same hair, even if it’s fuller and more maintained. It’s still you, even if you’re bigger and better and happier than that test subject that he only ever met once before.
His brain flashes to Leon. The genuine smile on his face, unlike anything Chris has ever seen before. The way you held his hand like you were more than happy to bring that smile to his face. How you had looked at him like he had hung the stars in your sky, and you his.
I desperately need a comic or manga or movie scene or hell even a flashback in the games about Chris and Claire's childhood 'cause I need vindication, I can feel eldest daughter Chris Redfield in my bones you don't understand-
Alternative title for this post is "Highball66 cornplates so hard & reaches levels of insanity that were previously unknown to the human race," but with the power of "computa, show me this man's depression den" and the zoom, enhance, brighten, and 4K features of editing, I've found some interesting little details in the shot we get of his hotel.
Doing this kinda rapid fire but I'm working from the background forward: There's a plant in the window in the kitchenette that Chris somehow hasn't killed-- I don't think it is a green herb but it kinda looks like one, so probably a little game reference there. Takeout container and a beer on the table in the background, again it reminds me of Jill's apartment from 3R with all the beer bottles and pizza and stuff laying around. Chris' signature dark green is back, and he's got a green shirt thrown over the back of the couch. There's a mug and what appears to be a bottle of some medication on the side table beside the couch. It also looks like he's got some device buried on the couch under that binder and the pillow-- hard to make out what it is but it looks like it's plastic so maybe a small laptop or one of those portable DVD players but its hard to tell since we don't really know how big it is, I'm leaning more toward DVD player though since it seems a bit too slim to be a 90s laptop.
He's also got pillows and a blanket tossed on the couch so it looks like he's pretty glued to the couch and falls asleep there. On top of some other papers and clothing, he's also got pretty decent size dumbbells beside the side table so it looks like he's working out too. On the coffee table, he's got a lot of things strewn about. There's a walkie takie and a recording device so it looks like he's not only communicating with someone (I'm thinking probably Jill) but also recording others. I have a theory he may be going undercover as a journalist based on the other items on the table. He's got a camera and some photos laid out too, so it looks like he's taking pictures of things/people and surveilling them. There's a wide variety of papers strewn about too that I'm assuming are Umbrella papers he stole/got a hold of.
As Claire moves, we get a little bit more of the side view. Back to my 'Chris may be undercover as a journalist' crack theory, he's got an ID badge laid out beside the camera, which I think may be his fake journalist badge. His brown boots are also carelessly tossed beside the table, and you can see a belt and a hat in the background too so we kinda got a good idea of what Chris' incognito/on the run outfit looks like and apparently he starts stripping as he walks though the door lmfao.
Beside the backpack and on top the papers, we can see a pill bottle-- looks like something over the counter so I'm going to assume this is something like aspirin or acetaminophen or something. His cigarettes and a lighter are laid out on the table too beside not one but two different kind of pills-- white tablets that come out of the push pack and what appears to be brown-yellow colored capsule pills too. There isn't enough detail to figure out what this are, but I'm assuming they're maybe some kind of sleep pill to knock him out, caffeine pills to keep him up-- something like that given the vibe of his space here. And lastly, the candy is Delicies de Marquis which translate to "Delights of the Marquis" (Marquis is a title for nobles) and maybe I'm cornplating a little too hard with this one but I think it may be a sorta tongue-in-cheek reference to the Ashfords since Alfred was a nobleman, though he was an Earl in the original and not to get too into the European peerage system, but I do find it interesting lol.
hello, loves! sorry for the inactivity; i haven't been feeling very well. but on the bright side of things, work's finally done and the weekend is just around the corner so there's something to look forward to. here's some chris redfield for the timeline as compensation! :)
