Rosemary Walten | Acceptance | The Walten Files

Rosemary Peony Walten was born on April 20th, 1934. She is 41 years old and stands at 5'8". Rosemary possesses a striking, motherly appearance defined by a coil-y head of hair and her maternal build. Her most prominent features are her large, beautiful eyes complete with thick, sharp lashes and mascara. Her nose is straight and narrow, tapering down to a delightfully expressive mouth with plump lips colored with black lipstick. Framing her narrow face is a heavy curtain of jet-black hair, styled with straight-cut bangs that hang over her brow in dark, uneven fringes. The rest of her dark tresses stream down well past her shoulders down to the small of her back in loose, wavy, and kempt lengths, creating a stark, moody contrast against her fair skin. Rosemary possesses a tall, remarkably womanly build born of age and child-care. Her overall silhouette is average yet columnar, giving the impression of a woman who, despite her age and the circumstances of her life, powered through it all. Beneath the loose, draped folds of her clothing, her frame appears plush and full, casting a warm and comforting presence. Her upper body is defined by a long, slender neck that extends high above her shoulders. Her shoulders are sloped and delicate, lacking definition but not broadness. The oversized pinstriped sweater she wears hangs loosely off her upper body, swallowing her waist and midsection in a soft, boxy shape while emphasizing the fullness of the frame beneath it. Her limbs share the same capable, yet undeniably womanly appearance as the rest of her. Her arms are notably long and slender, featuring fleshy forearms and delicate wrists. The skin along her lower arms and hands carries a healthy quality, complete with a fullness that suggests her hidden, soft physique. Completing her hands are long, slender fingers that taper cleanly from fine, narrow palms, her black painted nails kept short, yet not too short. Rosemary lost a decent bit of weight from neglecting herself and avoiding eating, though given enough time she should gain it back quite quickly; the sudden changes in weight have given her stretch marks — they weren't actually that noticeable before, given her pregnancies.

Rosemary’s breasts are full, heavy, and generously rounded, each globe possessing a heavy, natural weight that gives them a gentle teardrop silhouette. Pale skin stretches smoothly over their ample curves, marked by faint beauty marks that scatter across the upper slopes. At their centers sit wide, dusky areolas, slightly puffy and textured, from which thick, prominent nipples protrude—darker still, and clearly sensitive. The undersides of her breasts carry a subtle shadow and a hint of natural sag that speaks of maturity and volume, making them look both lush and invitingly soft to the touch. Below them, her midriff is smoothly rounded and softly padded, the gentle swell of her belly flowing unbroken from the lower curves of her breasts down to her navel. The skin there is warm-toned and dotted with beauty marks, with a smooth, almost creamy texture that catches the light along its subtle contours. A delicate sheen highlights the shallow dip of her navel and the soft horizontal crease, emphasizing a comfortably feminine thickness rather than a flat plane. Her hips flare outward in a broad, womanly arc, the flesh there plush and well-padded, promising generous thighs and a full, rounded backside with large, soft cheeks. At the junction of her thighs, a soft bush of dark pubic hair peeks above her vagina, dense enough to frame the mound of her crotch without fully concealing the plump outer lips that rest beneath. The overall impression is one of ripe, mature sensuality—breasts that dominate the eye, a softly yielding midriff, and hips that speak of ample, cushioned curves continuing out of view.

Her clothing consists of a baggy, turtle-necked mustard yellow sweater featuring a high ribbed collar and a subtle buttoned placket down the chest. Distinct vertical pinstripes run along the texture of the baggy sweater, which hangs loosely over her upper body with thick ribbed cuffs. Wrapped around her forearms just below the sleeves are beaded bracelets. Completing her outfit is a long, pleated skirt in a dark red shade, falling in straight, heavy folds that obscure the lower half of her form beneath a muted color palette. Beneath, she wears thick, baggy leg coverings and brown ugg-like boots with a fur-trim around the openings.

Her pajama consist of an equally baggy set of silk sleepwear; they are a matching set of pants and a top, with a olive-yellow base and darker, thin horizontal stripes circling the garments.

Rosemary was once a very caring, loving mother. She was a product of her time, and while she didn't have the best relationship with her family, she found a new one in Jack and Bunny Smiles. However, after the loss of her two youngest children, and then her husband, Rosemary's mental health took a horrific nosedive.

Rosemary quickly became obsessed with working on a film; a stop-motion film she'd titled "Faces of Grief" about a family of sheep. The family of sheep was a stand in for her own family, and the "Wolf" that took away the two smallest sheep was a stand in for Felix Kranken.

Rosemary's mental health took such a sharp decline after her husband's disappearance that she very rapidly began having increasingly violent thoughts; she began painting increasingly violent things until all she did was paint depictions that near exclusively included blood. She painted both herself, her children, Jack, and especially Felix Kranken in various forms of death. She would put a disturbing amount of effort and detail in the depictions she made of Felix's dead body above all else, such as one she did of his smashed head.

While Jack, a product of his era, very rapidly forced all of his emotions regarding the tragedy that struck his family down to "have control" and to be there to protect and provide for Sophie and Rosemary until it shattered him, Rosemary was shattered from the very beginning.

With the loss of her husband and two youngest children, along with close family friends like Susan and Charles, Rosemary truly only had her oldest daughter, Sophie, left. Their relationship became very tense due to Rosemary's horrific state of mental health, and Sophie's inability to truly comprehend or process all she had been through; she "felt nothing".

After a big argument with Sophie after Rosemary caught her watching an old film produced in 1959 by Rosemary herself — "Happily Ever After", a short film of Jack and Rose's wedding — Rosemary came to the realize the state of herself, her daughter, and her home, which lead her to break down in tears. In the attic of their home, Sophie and Rosemary comforted one another as Rosemary pleaded and begged for Sophie's forgiveness.

After this altercation, Rosemary has largely come to terms with her situation and is now trying her best to regain a positive outlook on life. She is still largely very deeply depressed due to the situation her and her daughter have found themselves in, but now she's had an "awakening" of sorts and aims to do her very best to right as many wrongs as she can to try and get her and Sophie's lives back on track.

Rosemary often thinks back to what Jack told her one night in the parking lot of Bon's Burgers before he went missing: "You can always make something good out of a bad situation. Those little moments... hold onto them. Forever."

Rosemary is very deeply lonely. She craves physical touch and comfort, and often gives Sophie minutes long hugs.

Rosemary's idealization of blood and death extended into the realm of suicide.

Rosemary's favorite color is Yellow.

Rosemary enjoys baking, and is an amazing baker at that. She taught herself how to cook.

Rosemary is an artist, and Jack's favorite artist.

Her and Jack's favorite holiday is Christmas.

She is a great dancer, and enjoyed slow dancing with Jack.

Rosemary has written songs for Bunny Smiles Inc. Rosemary plays the piano.

Her maiden name is Peony, and she kept it after marrying Jack.

She loves cheesy love songs from the 40s-60s.

She has a sister, Laura, though she doesn't have the best relationship with her or the rest of her family.

Rosemary made Sha in the image of herself as a "self-insert" character; she is possibly one of the first "furries". Her favorite things to paint are Sheep, and she's always kind of wanted to dress up as one — just as Sha is her self-insert, she designed Bon with Jack in mind; she would have loved to make him dress up as Bon with her as Sha.

Rosemary has occasionally doodled Sha in very provocative clothing/ways — a sort of way to see what she herself would look like in such things or scenarios. She's always been somewhat ashamed of this and would destroy the doodles soon after.

Rosemary really likes clowns.

Her favorite alcoholic drink is champagne.

Rosemary, just like her husband Jack, is a smoker. Unlike Jack, who smokes because he thinks it's cool, Rosemary does it out of a place of stress.

Rosemary, along with her family, is a Catholic Christian.

Rosemary has gone through menopause — unlike the typical age of around 45, her habit of smoking pushed it earlier to 40.

Rosemary covered the interior of the house with Jack's missing posters.

In a fit of rage after her sister, Laura, called her in the middle of the night on the 4th of July to offer to get Rosemary psychiatric help, as well as offering to take care of Sophie for a bit, Rosemary completely destroyed the set for Faces of Grief, along with all the figurines she'd made (including the small angel sheep stand-ins for Edd and Molly, as well as her own stand-in), with the rotary phone Laura had called in the Art Room.

Sophie hasn't been prescribed her medication.