Rotteneggssuck - Rotten Eggs

POV. I’m in your walls

Out of Touch

If you couldn’t tell, I’ve been rewatching yhs and drawing along the way. I keep forgetting to post them sooooooo…..

sundress no panties 

Hehe

I finished these lovely cuddle babies yesterday cause their fluffy and @donitkitt makes fluff with them and I LOVE that!! THEN @donitkitt started making angst with them! D,:< what the heck’s man???

Get it while you can!!! You don’t wanna miss this!!!

YEAH!!! Omg I’ve never had someone explain exactly how I feel about DHMIS

i know i make this post every other week but dont hug me im scared is so deep within my soul. i have genuinely never seen a show summarize the feeling of being a human better than this one. (at least for my neurodivergent ass, anyway) the show may hardly make sense when you try and find an overall plot, but life itself doesnt have a plot does it? it’s just days, on and on in a persons life. but besides that point, dhmis was never supposed to be about plot anyway. its about what you feel, its always been about that. and every time something happens, sensical or not, i feel something ive felt before in my life. when red guy is surrounded by his own kind, singing in a room full of awkward silence, im reminded of when i was a kid performing for my family and they paid no attention. when hes on stage with the world screaming over him, im in the crowd watching as my own voice is silenced. when duck is singing in the kitchen about his lack of family, eating dinner alone at a huge dining table, im on the other side with my own pathetic plate. when yellow guy is crying, begging for the world to be quiet for a moment, i am in another bed, a torn-apart little boy crying after a nightmare with no one to run to either. they might make no sense, their stories may be ridiculous, but they are feeling what ive felt before, feelings ive never seen represented in this way. dont hug me im scared is a home to me. a wretched, painful reminder of a home, where i sit in the fourth chair and watch my own life in a twisted, blurry dream. where i see creatures unlike anything ive seen, beings sewn to sing and dance discover the mortal pains that i had to discover long ago. people like to think the trio used to be human before they forgot, but i disagree. in my eyes theyre cotton and felt, tortured to become human and discover the pain of mortality, the horrors that come from flesh and blood, the terrifying intricacies of feelings such as love. most people watch from their couches, or their laptops, but i watch from right behind them. i walk up the stairs with a little yellow hand in my own, stepping up to see my own helpless life in the fun-house mirror that is dont hug me im scared.

Well I like it but it’s not very well written. Also it’s a visual mess. The plot doesnt make any sense and the creators suck and its politics oscillate from mildly problematic to frankly baffling. I wouldn’t recommend it to anyone. However. the character

Don’t Hug Me, I’m Scared is what happens when two deeply toxic people try and fail to cope with the death of someone they simultaneously loved and viewed as a burden

(within the universe of the show, obviously I don’t mean Joe and Becky. I don’t know their lives)

Meet Roy and Lesley - two young creatives trapped in the drudgery of capitalism. They make each other laugh with songs about dancing files and asides that the boss got where he is because he just wandered into the office and didn’t leave. They want to break away from the world of vending machine coffee and office small talk and create something, something that will make a difference. But making your favorite idea takes two things they don’t have - money and confidence. So, for a while, their dreams stay dreams. And then one day during an office retirement party, they decide sick of waiting. They propose marriage and a business partnership. They’ll make their dream a reality even if it kills them.

At first, things are fine. They create a lovely little program about a duck and a monster man, teaching children about the world through song and laughter. Sometimes Roy wants to cut a few too many corners, is a bit too obsessed with saving money, but he means well. Lesley’s ideas are sometimes a bit too out there - Roy has to remind her a lot that they’re writing for children, it doesn’t have to be that deep - and she doesn’t always take criticism well, but she’s just dedicated to the craft. They always make up no matter how many fights they have. Around the same time they finally have a finished project, ready to be pitched, Lesley announces she’s pregnant.

They’re thrilled to be parents. When David is born, it almost makes them forget how many times the show has been rejected, how many retools they’ve had to do to make their ideas appeal to someone, anyone. Funds are tight, tensions are high, but surely having the sweet, innocent face of a baby will help them calm down. Lesley decides that’s what’s missing in the show - a child character, to ask questions and be guided by his loving adult companions and a constantly changing array of musical teachers. David becomes a character in the show, a representation of every child they’re trying to help teach.

But it quickly becomes clear that there’s something not right about David. He doesn’t smile as much as other babies, doesn’t babble or imitate sounds he hears. When other children are starting to talk, David stays quiet. Leslie explains to her other mum friends that he’s just a great thinker. It takes him a long time to walk, and when he does, he’s very clumsy. Roy laughs it off, saying he’s no prima ballerina himself. The boy will get the hang of it. But symptoms keep piling up - David sometimes rocks back and forth and stares into space. He doesn’t look people in the eye when they speak to him. He moves his hands around in odd ways and repeats words over and over. He covers his ears whenever he and Lesley go to the park because it’s too loud, complains his clothes hurt, food feels weird. He hates being hugged. His parents try to be understanding, but as stressed as they are, something has to give.

Roy gets angrier. He grows to resent his son and all his mystifying quirks. He just knows that the boy is doing it on purpose, and if he would just listen to his father and stop acting so strange, then everything would be fine. Lesley, meanwhile, shuts herself off. She hides away and daydreams about how things are “supposed” to be - her show is supposed to be famous by now. David is supposed to be normal. Her marriage is supposed to be strong. Her life is supposed to be better. And she can’t stand being reminded that none of that is true.

Then the unthinkable happens - David dies. While his mother was hiding in her fantasies and his father was stewing in anger, David wandered out the front door, chasing a bird. An oncoming driver didn’t stop in time.

After the doctor gave them the news, Roy and Lesley got a phone call - their show has finally been picked up. Each iteration of the show is Roy and Lesley refusing to properly process their grief and accept that their negligence lead to David’s death. He’s immortalized in the show forever, but in different ways. He’s no longer a human who lived and felt and was real. He’s a character that Roy and Lesley can make do and be whatever they want.

Roy uses the show to vent his frustrations, to punish David for all he put him through. He polices David’s actions, telling him the right way to create and feel and eat and dream, the way ROY thinks he should. After all, if David had only listened to him, he’d still be alive. As Red and Duck start questioning his decisions, asking him to stop being so aggressive and overstimulating, he eliminates them. The avatar of David is left all alone to face his father’s mounting violence and cruelty. We see Roy’s understanding of how the show was created - he plucked Lesley from obscurity and gave her everything, without him there’d be no show, and Lesley would still be making files dance as their coworkers looked at her in annoyed confusion.

Lesley uses the show as a way to fix things. David is still alive and she can make sure he grows up right - he learns about making friends and driving a car and grown up things like bills and insurance and getting a stable job. All the teachers are gentler, kinder. What she would have been if she could. And everything resets at the end. Even when things become horrifying, even when everyone is lost and scared, even when faced with death, Lesley always has backups. No mistakes this time, she just knows it. And if the avatar of David ever starts asking questions, ever starts wondering what’s beyond this house, where Lesley can keep him safe? She can always distract him, tidy up, and start over. Lesley’s thoughts on the show’s creation is that, if it wasn’t for her, Roy would have been perfectly content to waste his life as an office drone because he didn’t have the courage to break out.

It doesn’t matter which of them is right. All that matters is the show. And no matter what they do, David is still gone. All they have left is this puppet they seem to have very limited control over. It’s clearly taking its toll on them, physically. They’re barely human anymore. No matter how they twist and turn, they’re still just dancing in chains.

I wonder what will happen.