Rosemary Walten

Rosemary wears a yellow, baggy, turtleneck sweater with two buttons on the chest and two buttons on each shoulder and the sweater's long sleeves rolled up, a long red skirt, long white socks and brown ugg-like boots. She has long, curly, dark brown (essentially black) hair and a slim facial appearance, with blue eyes. In most depictions, the shoulder buttons have seemingly been retconned or overall ignored. After the deaths of her kids Edd and Molly, or more specifically after the disappearance of Jack Walten, her husband, her appearance began to look more filthy with her physique becoming more skinnier and lankier, her hair growing messier and longer, her yellow sweater became green, her skirt being replaced by a grey one, and her outfit as a whole becoming more wet. She has tear marks on her face, very noticeable eye bags, and dirtied skin. There's also a long smear on the left of her mouth that might just be smeared makeup. She also began to let her body go as well. Her breasts are just grotesque, I can't even describe them properly. They're swollen and enlarged, like giant pudding filled yoga balls waiting to burst, with flesh that feels like large, incredibly soft sacks of jelly, pliant beneath your touch. Every motion would make them jiggle and bounce, like they were trying to break free of their “skin-prison”. The skin is loose and saggy, with stretch marks running in every direction. And don't even get me started on the smell! It's like a mix of sweat and week-old fish left in a sauna. Her pussy so fat that it makes other pussies look absolutely anorexic by comparison. It could practically pass for a pair of lips in its own right! The only problem with the massive mound of flesh is the stench that wafts from it, smelling like something between a garbage dump and a sewer. The bulge that it leaves beneath a pair of pants is nothing short of comical, a gigantic mound of flesh that could belong to a hippo more than a person. Her butt can only be described as the absolute epitome of a huge ass, and boy do I have the words for you! Just listening to it bounce around as she walks is like hearing a thunderstorm rolling in, the sheer magnitude of each step leaving a resounding boom in its wake. And don't even get me started on the sight of it! Imagine having one butt cheek the size of a bean bag chair, just rippling and undulating with each step like waves crashing against the shoreline. Her ass is practically cartoonish, so large it would make Kim Kardashian look completely flat in comparison. It's a monster, a massive mound of flesh that sways and wobbles with every move. The ass itself looks like it may as well have its own gravitational pull, as it looks like it would block out the sun. It's a wide, round, wobbly mass of fat that seems to have a life of its own, rippling and shaking with every step she takes. It's so big and heavy, it sways and jiggles with every movement, like a bowl of pudding on the back of a truck going over stones. The shape is almost globular, with no flat planes or sharp angles, just a massive hemisphere of blubber that defies gravity and common sense. If a person were to attempt to put their hand on the huge rear, it would practically envelop your whole hand and its likely they could get lost in the sheer vastness of it all as a whole - the cheeks are just that massive. And let's not forget about the stink of sweat and musk that wafts off this ass - it's enough to make your eyes water. Rosemary was born in Brighton, Michigan on April 20th, 1934. Rosemary has a sister, Laura Peony whom she has a poor relationship with. Rosemary was the most popular kid in school growing up, being the school president, drawing art for school events, and so on. During the summer, Rose had a job drawing movie posters for a local theater, and Jack would steal them to keep the posters, not knowing Rosemary would get in trouble for the posters going missing. Rose studied at the Brighton Public College for Arts in the 1950s. Sometime before 1953, Laura and Rosemary started to lose contact with each other. In Early-Mid 1955, Rosemary met Jack Walten, someone she went to high school with, at O'Flaherty's (presumably a pub.) After they reunited, they stayed in contact. Rosemary was an extremely caring person who could be very intimidating whenever she wanted to. If she was bothered, she would let anyone know immediately. She deeply loved her children and was very supportive and protective of them. Rosemary has seemingly been a lovable person since her early years, being the most popular kid in school in her childhood. In her early adult years, Rosemary seemed to struggle with her identity, almost like an existential crisis. She had a bad relationship with her family, going almost no contact with them, meaning she was essentially alone minus whatever friends she had. She wrote in her journal (diary) that she wished she had her own family to spend holidays with. On top of this, Rosemary was an artist who seemed to struggle with her artist footing, though she figured out this aspect of herself within college. When Rose grew a family of her own, she finally seemed to be at peace. She loved her children and husband dearly, even quitting her journal for four years as she was so happy in life, she had nothing to write about. After the deaths of Edd and Molly, and soon the disappearance of Jack, Rose fell into a deep, grief driven depression. Rosemary developed psychosis after her loss, suffering from hallucinations, panic attacks, and seemingly disassociation; Rosemary began writing in her journal again after her losses, making up an entire dinner with her family that never happened as Edd, Molly, and Jack were all missing. She lost all motivation to go on in her life. She found everything miserable, from pitiful stares people gave her to sunlight coming through her bedroom window. To make things worse, Rose believed that her mental state was solely her responsibility, refusing therapy and compassion from others. She believed that it was her fault her family was dead as she failed to protect them; Rosemary was convinced she was a bad mother which struck her deeply as one of the things she wished to do before becoming a mother was to give her child the best childhood possible. As a grief response, Rosemary began to obsessively work on her stop-motion film, "Faces of Grief" which was a retelling of her loss and grieving. This obsessive work ethic/mental state heavily affected her only living child, Sophie Walten as Rose began to push Sophie away, making her feel incredibly lonely and even afraid and unsafe around Rosemary at the sight of her crazy behavior. Rosemary feared that she was the "big, bad wolf" to her family and a bad mother to her children and unfortunately, she had become exactly that. Rosemary blames herself for everything that went wrong post-May 1974. Because of the stigmatization of mental health in the 1970s, Rosemary believes it's her responsibility to deal with the entire situation; Rosemary was emotionally repressing herself, even from those she loved. When reached out to by her sister to work through the horrible situation together, she not only refuses but has a destructive reaction to the prospect of her call. With the context of the diary. Rosemary had a troubled childhood which cycled down to her parenting. She desperately seeked her own life, wanting to do better as a mother than her own but never got over her previous issues and insecurities. She began trying to work through her emotions with her art, something she wrote about somewhat helping. As well as obsessively working with her stop motion films, the scribbles, paintings, and all of these violent emotions drowning herself in her work and her projects and passing out at her work table. Rose's art being impacted by her mental state and losses, as she began painting gruesome artworks of her own family and Felix Kranken, who she entirely loathed for taking the lives of her "precious little angels." Rosemary's art was essentially a cry for help, as she notes in her journal about the "Faces of Grief" art film, "Jack doesn't say anything about it. I'd prefer if he did." Notably, Rosemary writes after the death of her mother, she was afraid of mentioning her numb reaction to the news to Jack as she didn't want him to see her differently. This mindset, along with her view on mental health and care, created a depression prison for herself. It should be noted, this behavior also seems to come from Rose herself, when she once heard Jack lashing out in his study, she chooses to not confront or comfort him, but instead turn off the lights and leave him alone. This could be seen as a good, or bad thing. Connecting to the above sentence, Rosemary is (on her own part, due to the time, and due to actions of some others) emotionally alone. Rosemary has a hatred for Felix after the accident as one would expect, feeling intense rage at the mere sight of him such as when an ad featuring him played on the television, Rosemary stared at it in hate while seeing red. As mentioned previously, her paintings depicted Felix dying in gorey, brutal manners. Rose admitted to Chris Esterino that she wishes she didn't mean such horrible art and that it was just an outlet for her emotions, but she does mean it. In her Faces of Grief film, she depicts her and her family as sheep and Felix as the Big Bad Wolf who kills her lambs (Edd and Molly) before Rose (as a sheep) brutally stabs the wolf to death. As she says herself, she hates the wolf. Elaborating on a previous line, Rosemary loves sheep. They are her favorite thing to paint and seem to be her favorite animal. When Jack proposed to Rosemary, he took her to a field with sheep, meaning that in the years he knew her, he had learned that she loved the animal. Rosemary's favorite Showstopper she designed was Sha, designing the character as a self-insert. Rosemary was also one of the first furries.