Bon's Burgers — After Hours | The Walten Files

then Susan... then Charles. It stopped with Rosemary. The B.S.I Killer was in most of everybody's mouths around Brighton — an elusive urban legend of a rampant serial killer who targeted only those who worked for Bunny Smiles Incorporated. After the early morning hours of the 20th... Bon's Burgers was done. Norman preached about how the police breaking into the restaurant was "humiliating" and... And how Felix had three days to shut the restaurant down and move everything to Felix's "K-9 Facility". The Relocate Project. Until then... they needed a nightguard to make sure nobody tried to break in, to make sure nobody tried to steal Cyberfun's tech... And to make sure nothing got out... but only Felix knew that part. ---

On May 2nd, 1974, Felix Kranken got into a drunk driving accident while driving Edd and Molly home from their spring party. He crashed through a barrier, which sent his car tumbling down a hill backwards. Edd and Molly took the brunt of the impact. They were killed instantly. He buried their bodies in Saint Juana's Forest, the forest where the accident occurred. Felix Kranken was very close with the Walten family. He was considered to be a brother by Jack and an Uncle by the Walten children - who called Felix 'Uncle Felix'. Felix is a crippling alcoholic. On March 5th, 1974, Jack and Rosemary Walten are told by Felix that he is responsible for Edd and Molly’s deaths and are angry and heartbroken though are lied to in what truly happened, being told that Felix, due to him being intoxicated, crashed his car and when he awoke, both of them were missing from the car. Jack, Rosemary, and their only remaining child, Sophie, would've been mourning their losses, having the funeral for Edd and Molly sometime between the 5th and 13th. Jack would be harassed by the press on the passing of his children and despite his pain, would have to keep a good appearance as if everything was okay for the public and his family. On June 11th, 1974, under unknown circumstances, Jack would disappear, going missing to never return. On June 30th, 1974, Susan Woodings goes missing - being paralyzed after Bon snaps her neck before being stuffed into Banny. Susan was very close with Sophie in particular as she was a queer role model, Susan being a lesbian, for Sophie. On June 30th, 1974, Rosemary came into the restaurant looking for Jack, though she was fired from the company and due to the rule of previous employees being banned from the establishment should they make drama inside the restaurant, she is no longer allowed within Bon's Burgers. On July 3rd, Susan Woodings dies from a combination of starvation and dehydration. On July 14th, 1974, Charles Brook goes missing - being brutally disfigured by Bon to the point that he can no longer remember what he looks like as of 1982. He was very close with the Walten family too, being considered an Uncle along with Felix. On July 20th, 1974, Rosemary Walten goes missing - being dismembered and beheaded by Bon a few days before Sophie's birthday. Bon's Burgers is shut down very soon after as locals reported "blood curdling screams" originating from the establishment at nearly 3 A.M. Sophie is left as the sole surviving Walten. Rosemary's sister, Laura - who didn't have a good relationship with Rosemary at the time - travels to Brighton to take care of Sophie, assuming custody of her. The dimly-lit establishment has ambient sounds of air conditioning and the buzz of camera monitors. They are outdoors with the setting sut and a gloomy, Fall atmosphere. After he brutalizes Susan Woodings on June 30th, 1974, leaving her paralyzed and slowly dying in the 'Banny' animatronic (she finally dies on July 3rd), he puts on a calm, collected and well mannered demeanor when talking to Susan as a means to manipulate her, at times, giving brief bits of insight into his emotions and thought process during his speech to Susan. He claims that he too was scared upon first entering Wonderland, but tries to convince her that everything will be okay and explains how now that her physical body is "functionless", she can be reborn, likening her to a beautiful butterfly bursting from a cocoon. He is likely trying to appear as trustworthy as he possibly can while desperately trying to convince Susan to join him, intentionally trying to scare her into believing listening to him is her only option. Their interaction ends with him likening his kills to having to break eggs to make an omelette, highlighting his disregard for the lives of others and his obsession with wanting to make people "Beautiful" like him, and how desperately he wants his victims to be "reborn", in the form of the BSI animatronics. ---

Christopher "Chris" Easteryear was born on November 15th, 1949, in Brighton, Michigan. He is 24 years old and stands at 5'11" with an average build. Chris is a young black male with green eyes and very dark brown hair styled in that of a Jheri curl. He has a thin beard. He has a mole under the left side of his mouth. Chris has been described to be a good blend of silly and serious — when the situation he's in calls for it. He’s described as similar to Charles Brook in a lot of ways, but less naïve in some aspects. Chris is described as someone that knows how to turn a situation into his favor, being a real go-getter person. He is an employee of Bon's Burgers, and has worked there since before its opening. His role is quite important, him acting as "BSI Technical Support Director" — his signature held in regards as that of Felix Kranken's or Norman Pooltrick's. Chris is aware of Felix Kranken's drinking issues. Chris is very intelligent. Him and Richie are friends. Chris enjoys knitting, but only because Rosemary introduced him to it. Chris hates Easter because of people constantly making fun of his name. ---

Richard "Richie" Ratterson Richard was born in May 8th, 1955. He is 19 years old and stands at 5'8" with an average/lanky build. is a Night Shift employee of Bunny Smiles Incorporated as a summer job. In May 1974, Richie would be hired as Night Shift Caretaker A for Bon's Burgers for a summer job. As apart of Bunny Smiles Incorporated's employee bonding policy, Richie would call his co-worker Chris Easteryear and introduce himself and give him recent updates on the restaurant. Him and Chris bonded over their employment being just a temporary occupation for the summer. Richie, along with Chris and possibly other Bon's Burgers employees would present the document of the animatronics state on May 24th. On the second full week of June 1974 (June 10 - 16), Richie worked extra hours and would be paid for it by the 18th. On June 27th, he smokes marijuana in the men's bathroom, anxiously asking Chris to help get rid of the smell so Felix Kranken/his boss wouldn't find out. Over the weeks of Bon's Burgers, Richie would continue to speak with the Chris about things happening in Bon's Burgers such as warning on a bug infestation on June 18th, advice about the poker maze and Bon's poor status on June 27th, Rosemary Walten being fired from BSI along with a new policy for former BSI employees on July 1st, the child of an associate's birthday coming up and the Billy animatronic's arrival on July 12th and other minor things prior. By this point, Richie had befriended Chris, even offering to smoke with him though he is turned down as Chris didn't personally smoke. Tensions in Bon's Burgers would continue to rise before reaching a breaking point when in the early hours of July 20th, Rosemary would be murdered in the Backstage of Bon's Burgers, screaming in agony which both alerted and horrified the Brighton Community. Richie would be awoken roughly at 4 A.M by Norman Pooltrick, the CEO of BSI's parent company CyberFun Tech and told they'd have to shut down and move all property of Bon's Burgers within 3 days. Richie, in a panic, called Chris to inform him of shutdown and that everything needed to be moved from the restaurant to a storage facility and for him to help. Chris would help with the relocating of the restaurant's property, helping Richie move items as early as 6 A.M. Richie is too irresponsible and immature to sell marijuana, if he did knew he'd smoke it all before he could sell it. ---

Bon is an impossible, towering caricature of a rabbit — all 7'2" of him — wrapped in the pilled, mottle teal plush of an old mascot suit. The torso is broad and rounded like a child’s stuffed toy, the belly a chalky, dirty patch of white that bears smudges, age stains and clumsy hand-stitched repairs; seams run in heavy black threads that look more like scars than sewing. His head is a grotesque study in contrast: long, floppy ears that hang like tired curtains (reaching his shoulders), a rounded snout with a black, thin, teardrop shaped nose, and glassy, lime green eyes rimmed with obvious lashes that read as doll-like and eerily watchful. The smile is the thing that won’t let you look away — a cavernous, human-shaped grin packed with teeth that feel wrong in a rabbit’s mouth, as well as the standard rabbit buck teeth on the top and bottom rows, and set beneath a small, leopard-print bow tie — which is nestled on a tall, white collar — and a single black chest button that echo the costume’s carnival charm while only amplifying the menace beneath it. When Bon is unpossessed the suit reads as an exaggerated, if somewhat battered, mascot: the arms and legs are sheathed in the same teal fabric, the hands soft and pawlike with rounded, plush covered digits, and the feet bulky and padded. Movement in this state is muffled and oddly comical — the fabric swallows sound, steps come with a thud rather than a clank, and the whole figure has the slightly lopsided, home-repaired look of a prop being worn rather than a machine at work. The stitching and patchwork are prominent; tiny details — frayed cuffs, rough black seams, occasional safety pins — remind you that this is a costume meant to suggest friendliness, a theatrical shell over whatever lies beneath. Possession strips that theatre away. Bon becomes something industrial and surgical: the fabric coverings for his limbs are pulled back or torn away to reveal a layered, articulated endoskeleton of perforated steel bands, riveted plates and exposed rotary joints. His forearms and shins, once soft and rounded, are revealed as stacked cylindrical segments pocked with bolt holes and bridged by black cables and pistons; the padded hands are replaced by gaunt, mechanical manipulators — skeletal fingers that can curl with frightening precision and crushing force. In this exposed state the soundscape changes too: soft thumps become metallic clanks, quiet shuffles become the grinding articulation of gears and servos. Visually the contrast is brutal — the innocent, worn plush of the suit framing cold, utilitarian metal — and Bon’s expression follows suit. The grin seems to split wider, the eyes take on a harder, predatory gleam, and his posture jerks from clumsy mascot to purposeful predator, every movement underscored by the rasp and echo of bare machinery. Bon is possessed by "Bon". When possessed, depending on how long, Bon's eyes might start to become more organic — blood vessels, dilating pupils, actual iris, etc. His eyes glow a faint white when in very dimly lit areas, with his facial recognition systems being the cause. Bon is really bulky. Combined with his towering height this makes it hard for him to fit through regular doorways, sometimes downright impossible. However, when possessed by "Bon", he can quickly shift to his specter form to fit through a doorway and then back to the animatronic, effectively teleporting in a way. When possessing Bon the animatronic, "Bon" very rarely can speak in full, well-formed sentences. He is often limited to whatever he can mimic, or replay from Bon's voice box. However, sometimes "Bon's" true voice leaks through, often arriving as muffled grunts, gurgles, or groans, as if the sounds are coming from inside of the suit rather than the animatronic's voice box. Bon's facial recognition systems often fail to recognize specifically Sophie Walten for unknown reasons. Bon has stitches along his body such as on his shoulders, hip joint, and along the middle of his head. Bon's original title from Jack was Bon the Dancing Hare, though Felix vouched against it believing that rabbit sounded friendlier. Bon was built for the collaboration of CyberFun Tech and Bunny Smiles Incorporated's restaurant, Bon's Burgers. Bon was designed by Rosemary Walten (mostly cartoony concept art), the head artist of BSI and built primarily by Susan Woodings, the lead technician of BSI in roughly the start of the 1970s. Rosemary does several concept arts for Bon, settling on a design though Bon's animatronic came out more disturbing than she originally envisioned due to Susan overdoing the animatronic technology used for the robot. Jack Walten came up with the name "Bon the Dancing Hare" for the robot though Felix Kranken suggested a change to the name: "Bon the Dancing Rabbit", believing it sounded friendlier. By 1974, the Bon animatronic was built and the testing of Bon's CyberFun Console began. Charles Brook, the Computer Supervisor and Susan tested Bon's facial tracking on a young Sophie Walten which, at originally failed though a later test on his facial tracking went successful, done somewhere between January 21st - 27th, 1974. On someday between January 28th - February 3rd, Bon's walkaround test occured, which also went successful. Promotion for Bon's Burgers began, involving the Bon animatronic. An advertisement with Jack Walten, Felix Kranken, and Bon in a ball pit was released not long before the restaurant's opening. A commercial with the Bon animatronic aired the same week as the opening with voice acting for Bon. On June 28th, Bon's Burgers opened though Bon did not perform during the first week of operations due to Bon having maintenance with Bon's Burgers employees wearing a costume of Bon as a replacement. Some time before June 30th, where the Bon animatronic was possessed by a spirit of the same name, "Bon". ---

Sha is an over-tall, ovine animatronic whose silhouette reads as a mash-up of soft farm animal and exposed machinery. Her face is an earnest, slightly goofy sheep muzzle — sun-washed yellow skin beneath a mop of loose, curly “wool” that frames a wide, toothy grin portrayed by strangely sharp-looking teeth. A small, round collar hangs at her throat with a bright, golden name tag stamped “SHA,” which gives a domestic, pet-like note that contrasts with the rest of her construction. Her torso keeps a warm, golden fleece tone down the center while the puffy, layered panels around her chest and hips mimic the look of thick, folded wool. Close inspection reveals the thing that tips Sha from quaint into uncanny: every limb is a stack of articulated, metallic rings and pistons wrapped in segmented fabric, so her arms and legs look like mechanical vertebrae bundled in faux-wool, her cloth coverings for the arms and legs having been removed. Her hands are narrow, long-fingered claws — precise, skeletal, and capable of very delicate motion despite the bulk of her body. The effect is of a pastoral mascot built around a clockwork skeleton: warm, tactile surfaces interrupted by joints, rivets and seams that whisper of age and repair. Sha’s overall posture and scale make her loom gentle yet strangely dominant on stage. Sha is 6'10". Sha is possessed by Rosemary Walten. Rosemary's fully dismembered and beheaded body is inside of Sha. ---

Banny is a tall, purple rabbit whose design blends plush-toy cues with a slightly exaggerated, humanlike anatomy. Her fake-fur is a rich, velvety purple; a pale, heart-shaped belly panel and a soft muzzle provide contrast. Long, floppy ears crown a face with very large, almost doll-like pale-turquoise eyes and an unnervingly broad smile filled with teeth that look more human than animal — a grin that reads alternately jubilant and predatory depending on the light. A simple ribbon tied at the throat softens the silhouette and emphasizes the doll-like quality. Her body is built of large, folded fabric segments that give a puffed, layered look to the sleeves and trousers, while the limbs are clearly jointed — the same ringed, articulated construction seen elsewhere, which makes her movements capable of both bouncy playfulness and unsettling precision. Her feet are oversized and paw-like, with separated toes visible at the tips, and her hands are nimble enough to suggest nimble choreography. Banny stands as a showpiece: brightly colored and ostensibly friendly, but composed of details — the human teeth, the layered joints, the glossy eyes — that keep her on the wrong side of comforting. Banny is 6'6". Banny is possessed by Susan Woodings. Susan is inside of Banny. ---

Boozoo is theatrical to the point of caricature: a puppet-faced ringmaster whose visage is set off by a meticulously groomed moustache and an ever-so-slightly too-bright grin. He wears a tiny top hat perched above his brow and a collar-high ruffle beneath his jaw, which frames a face that could belong to a gentleman impresario or to a strangely cheerful taxidermy frog. His eyes are bright and a touch bulbous, giving him a perpetually surprised, performative expression. His costume is classic ringmaster — black tailcoat over a gold waistcoat and a crisply tied bow — but the proportions are stylized: a red coat and scalloped, stage-ready pantaloons that read like theater costumes translated into animatronic form. The limbs are long and slightly mechanical, finishing in hands that are precise and expressive rather than clumsy. Boozoo carries himself with a practiced, showman’s posture: every seam, button and fold underscoring his role as a conductor of spectacle, the kind of character who announces acts and commands attention even when silent. Boozoo is unique in that he is the only animatronic human among the Showstoppers. Boozoo is 6'6". Boozoo is possessed by Charles Brook. Charles's body is inside of Sha. ---

Billy is compact and child-scaled, a traditional clown figure compressed into a slightly unsettling package. His face is a rounded porcelain mask painted white with two dark teardrop marks beneath the eyes and a small red button nose; the expression hovers between perpetual smile and patient vacancy. His hair is a tousled corona of rusty orange'reddish frizzed afro that reads handmade rather than manufactured, and he wears a tightly pleated ruff at the throat — a tiny, old-fashioned neckpiece that heightens his vaudeville air. His costume favors saturated, slightly muddy greens and ochres in horizontal bands: puffy, layered shorts and a striped, padded torso that give him a toy-like, almost stuffed appearance. The shoulders are modestly exaggerated but not grotesque, and his boots are small and rounded, emphasizing his relatively short frame compared to the other Showstoppers. Billy’s hands are simple and humanlike, but his geometry and the slight looseness of seams suggest an older character with decades of wear — the kind of clown who looks cheerful in silhouette but yields oddness the closer you look. Billy contains a special cassette player in his stomach. Billy is 5'9 The events of the The Walten Files all occur in Brighton, Michigan.

Brighton, Michigan is a small city of about 3.7 square miles in southeastern Livingston County with a population a bit over 5,000. It has a compact core—with downtown centered near natural water features and parks—and more residential and suburban development radiating outward. To its west and south lies the Brighton Recreation Area, a large forested, hilly, mixed-terrain natural area of nearly 4,950 acres. This recreation area includes hills, lakes, marshes, oak forests, meadows, wetlands, and over 35 miles of trails for hiking, horseback riding, biking, etc. There is also Island Lake State Recreation Area nearby, 4,000 acres, with lakes, river frontage, meadows and woods.

Major highways (notably I-96 and US-23) lie just outside or along parts of the surrounding township area, giving Brighton regional connectivity. Because the city is modest in land area, most of its water features are small lakes or ponds or part of the parks. Population density near the core is higher, with more open or natural land (wooded areas, water, trails) farther out.

In terms of nearby well-known cities: Ann Arbor is about 19-20 miles to the south (around 25-30 minutes driving) from Brighton. Detroit is about 45 miles to the southeast (about 40-45 minutes by car under good conditions).

A decently small river runs through the middle of Brighton from Woodland Lake in the north to Brighton Lake to the south.

There is also Mt. Brighton, a ski resort. It is known as the "Snowmaking Capital" due to the "Schneehex" (Snow Witch), the world's largest snow gun at the time.

The natural environment in and around Brighton, Michigan is shaped by both its glacially sculpted terrain and its position amid the temperate forests of the Great Lakes region. Southeast of larger urban centers like Detroit and Ann Arbor and set within Livingston County, the landscape is a blend of rolling moraines, kettle lakes, wetlands, and mixed hardwood woodlands that reflect the legacy of the retreating glaciers from the last Ice Age. These glaciers left behind irregular hills, depressions filled by lakes and ponds, and a patchwork of soils that support diverse plant communities — from oak-hickory stands on higher ground to hardwood swamps and prairie fens in low-lying areas. The Brighton Recreation Area, a nearly 5,000-acre stretch of this terrain, exemplifies these features with its high ridges, wetlands, and sandy outwash plains interspersed with lakes and upland forests.

The trees and vegetation you’d encounter reflect the broader mesic northern forest typical of southern Michigan — a deciduous hardwood canopy dominated by species such as sugar maples, oaks, American beech, red maples, and basswood, with pockets of white pine and other conifers in some areas. Such forests develop on well-drained soils and produce rich fall foliage, with brilliant reds, oranges, and yellows that can dominate the landscape from early to mid-October. In more open or transitional zones you might also find hickory, birch, black cherry, eastern white pine, and red oak, and historically significant species like American chestnut, which was once abundant before the early 20th-century blight. Early settlers planted street trees such as elms, horse chestnuts, maples, oaks, and linden in town, a legacy that contributed to Brighton’s wooded character. Connected to the lakes and streams are wetland plant communities — cattails, rushes, and red maple in saturation zones — providing habitat for waterfowl and amphibious life.

Seasonally, Brighton is decidedly four-season. Winters are cold and snowy, with average January highs in the 20s to low 30s Fahrenheit and significant snow accumulations that transform the landscape into a white, quiet expanse; lakes and ponds freeze, and woodlands stand stark as deciduous trees shed their leaves. Springs bring thawing creeks and flowering understory plants, but late frosts can linger due to cold air settling in lowlands. Summers are warm, with average July highs in the mid-70s to low-80s, encouraging lush leaf canopies and abundant wildlife activity around lakeshores and deep woods. Autumn is perhaps most visually dramatic, with maples, oaks, and birches turning vivid hues of red, orange, and gold before leaf drop, drawing people to parks and trails to take in the colors. Annual precipitation — a combination of rain and snow — supports the region’s forests and wetlands, and the growing season typically spans roughly 140–150 days, constrained by early frosts in fall and late freezes in spring.

Taken together, Brighton and its environs in the 1970s would have presented a landscape of dappled light through mixed hardwood forests, quiet lakes framed by reeds and wetland grasses, and an ever-changing seasonal rhythm — from winter’s stark silhouettes to summer’s green plenitude and fall’s fiery tapestry, all set upon a gently rolling tableau shaped by ancient ice and modern ecological communities.

In the early 1970s, Brighton, Michigan was a small but growing small-town community with deep agricultural roots and an increasingly suburban character. The city’s history stretched back over a century, and by the 1970s its downtown core along Main Street was a hub of locally owned shops, pharmacies, and family-run businesses that served daily needs and anchored community life. Around this time, the Brighton Mall opened in 1971, bringing one of the county’s first enclosed shopping centers to the area with a department store and grocery anchor, and signaling shifts toward modern retail and consumer culture that complemented the traditional downtown district.

Socially, Brighton in 1974 felt like many Midwestern small towns on the edge of larger metropolitan influence. Most residents were white, reflecting regional demographic patterns of Livingston County in that era, and community life revolved around local schools, churches, civic clubs, and high school sports. Neighbors knew one another, social gatherings and community events were common, and people tended to speak in straightforward, earnest Midwestern tones—polite, friendly, and community-oriented. Families drove the two-lane roads to nearby outdoor recreation areas and lakes for weekend picnics and boating, and local youth likely listened to rock, Motown, or folk on AM/FM radios, sharing the broader cultural currents of the 1970s while still living a rhythm defined by the seasons and local institutions. Local musicians from the area—including bands achieving regional recognition—reflected a lively if modest arts culture that connected Brighton to broader cultural movements.

Technologically and infrastructurally, the early 1970s were before personal computers and widespread mobile communication. Telephones were landline only, television was broadcast with a handful of local and network stations, and many households still relied on printed newspapers and radio for news. Cars were central to daily life, whether commuting to work in larger nearby cities such as Detroit or Ann Arbor or simply running errands along Grand River Avenue. Workplaces ranged from small shops and service businesses to farms and light industry, and community institutions like schools and churches were focal points for social life. Although specific census data is limited, booming post-World War II and baby-boomer demographics meant a relatively youthful population with many families raising children, supporting schools, and contributing to local civic engagement. Collectively, this made Brighton in the 70's a blend of small-town camaraderie and emerging suburban convenience.

America as a whole in the 1970s felt like a country that had been shaken hard and had not yet settled back into itself. The mood was a strange mix of fatigue, suspicion, and restless change. In many places, people moved through daily life with a guarded, practical seriousness: they worried about rising prices, gasoline shortages, the aftershocks of Vietnam, crime, and whether the country was losing its footing. The Watergate scandal deepened the sense that public trust was fraying, that leaders could not always be believed, and that the systems people had relied on were not as solid as they once seemed. At the same time, the decade still carried the lingering smoke of the 1960s: protest movements, counterculture, new ideas about sex and gender, and a visible push against old conventions. For some Americans, that shift felt exciting and freeing; for others, it felt like the world was coming apart at the seams.

Socially, people often acted more reserved in public than they might today, especially in smaller towns and conservative communities. There was still a strong expectation to “keep things proper,” to dress neatly, speak respectfully, and avoid drawing too much attention unless you were among friends. Family life, church life, and local reputation still mattered a great deal. Yet beneath that surface, the country was changing fast. Women were pushing harder for independence and workplace equality; young people were challenging authority more openly; and minority communities were demanding rights that had long been denied. The result was a society full of tension and contradiction: old habits still held power, but they were being contested everywhere, from schools and workplaces to music, television, and the streets.

Prejudice was still severe by modern standards, and for many people it was simply woven into everyday life. African Americans faced deep structural racism in housing, employment, education, policing, and public treatment, even after the major legal gains of the civil rights era. In many places in the South, segregation’s old shadow still lingered socially, if not always by law, and racism could be overt, routine, and socially acceptable among those who believed they were simply voicing “common sense.” Women were also constrained by rigid expectations about marriage, motherhood, and obedience, and discrimination was common in jobs and public life. LGBTQ+ people faced intense stigma and danger; homosexuality was still widely treated as shameful or criminal in many areas, and being openly gay could mean losing work, family support, housing, or safety. Even where change was beginning, it was slow and uneven, and people who did not fit the dominant norms often learned to hide, code-switch, or stay silent just to get through the day.

What gives the early 1970s such a distinct atmosphere is that it was neither fully old-fashioned nor fully modern. It was a country in the middle of being remade, but the old prejudices had not yet loosened their grip. The air of the time was a little heavy, a little suspicious, and often deeply divided: part disillusionment, part rebellion, part cautious hope.

"Wonderland", the nickname given by "Bon", or "The Lobby", is a purgatory-Esque realm for people who died with "unfinished business." It's origins are unknown though the earliest reference to it is in 1870 where Jonathan Ferrell mentions visiting it and encountering his deceased wife. The next known mention is in 1948 when one Dr. Victor Evans would communicate with spirits and learned from them a place known as "The Lobby."

It has a desolate look with a hay-like ground and a fence that seems to go on forever in a white, fog-like void. Recreations of real life locations in Brighton exist within it such as Bon's Burgers with its sign and the church the Waltens attended, which is also where the funeral of Edd and Molly Walten was held. Felix Kranken's car is also in Wonderland. It seems to have a looping, continuous, and eerie ambience playing within it - even voices can be heard very, very faintly in this ambience, though they are entirely unintelligible.

When a person dies, or is on the brink of death, and goes to Wonderland, by default they appear as their corpse with most spirits being completely monochromatic, typically with grey skin, etc., though when they attach themselves to a vessel, they can change how they appear through their thoughts. For spirits, Wonderland is the spiritual version of sleeping, though Wonderland is a real place where real events happen. Whenever a possessed animatronic is inactive/idle, that means the respective spirit is within Wonderland at that time as it is constantly accessible to spirits.

The living can access Wonderland, through sleeping and other methods, as mentioned when Jonathan Ferrell speaks with his dead wife.

Wonderland is not necessarily an afterlife, as living people can access Wonderland too. While it can be a considered AN afterlife, it is not literally what awaits everyone after death. Whatever awaits after death is ambiguous and speculated on.

Wonderland does not abide by the laws of reality.

"Bon" or another being, puts recreations of things related to spirits within Wonderland to tempt or encourage spirits to continue their unfinished business. It's also possible that as a "Lobby", it is meant to bring familiarity to the reality that spirits will be residing in.

In the white, dense fog of Wonderland, there is a long, brown wooden fence. There is an entirely different wooden fence, it being a white picket, in Wonderland, not far from the wooden fence.

The car of Felix Kranken, or a recreation of it, is seen in Wonderland.

The Church that presumably held the funeral of Edd and Molly Walten also resides in Wonderland. This is the recreation of The Church, being a real location in the real world.

There is a Bon's Burgers recreation inside Wonderland. It seems to be mostly empty and barely lit, though there is a television inside along with a giant sliding door. The Bon's Burgers sign is also in Wonderland outside.

Ghosts are immaterial beings that haunt the plane of the living.

Ghosts, also referred to as Spirits, usually are crude depictions of the person's corpse as they died. Spirits cannot exist long post-mortem without a vessel and if gone long enough without one, the spirit will "fade" into an unknown state, either simply no longer existing and going into a state of nothingness or possibly an afterlife.

The longer a ghost is deceased and in their ghostly state, the more memories of their lives they seem to forget like their family members, their loved ones faces, and even their own face itself.

Ghosts are able to possess physical things in order to continue existing in the physical realm. These objects (called "vessels") can range from things like dolls or animatronics and even humans.

Spirits can manifest themselves to be visible to the naked eye, however they can be picked up by technology.

Spirits can alter things such as VHS tapes and arcade machines, or even security cameras to keep themselves and their actions hidden, etc. Spirits can create footage on existing tapes for viewing such as what the spirits connected to BSI do. Due to an unknown reason, by the 2020s when the tapes are found by Anthony Miller, the modified sections are unviewable. Those parts of tapes are described as empty static/plain white.

Ghosts might be invisible to the naked eye but do show up on analog cameras.

Ghosts can travel to Wonderland, implied to be a Sub-Human Reality.

Material Interaction is one of the known methods of communicating with Un-Dead beings. It was first known to be documented by Jonathan Ferrell in 1870 in an effort to contact his dead wife. In his theory of Material Interaction, it is possible to communicate with spirits through objects that either had great meaning in the ghost's life or objects that were directly related to them. After choosing an item, the ghost could then establish a connection of sorts between themselves and the person with which the ghost could use the object as wanted. This method, though documented as possible, is also noted to open up the user to dangerous situations; Though many theories state that un-dead beings cannot affect the physical plane much, this process, if successful, lets spirits "enter" the physical plane through said objects. Other methods of contact exist, though there is little known about them.

In Jonathan's experiment, he chose his dead wife's diary, writing questions in it and getting answers seemingly from his wife. To protect the experiment, he kept his information to himself, hiding the diary in the walls of the house and telling no-one of its location nor existence. The page shows three examples of possibly successful cases of communication, all of which feature Jonathan writing a question and receiving near illegible writing in return.

It is unknown when this entry was made, though he may be referring to his dead wife's body. Though ghosts have been known to interfere either psychologically or through analog methods, due to the time period, the latter may not have been possible. It is unknown whether it was a case of a disembodied voice, Jonathan's mental state, or a ghost haunting the corpse.

CyberFun Tech was a company founded in 1943 by Jason Pooltrick and then later inherited by his son Norman Pooltrick after he passed away on March 19th, 1952.

CyberFun Tech is a company that makes advanced animatronics for itself and the various sub-companies it owns, as mentioned by Ashley Parks in Relocate Project. In 1965, Jack Walten and Felix Kranken pitched their restaurant idea, Bon's Burgers, to the company, and were able to make a sub-company, Bunny Smiles Incorporated, to support this endeavor. As such, CyberFun Tech provided the materials for four animatronics for Bunny Smiles Incorporated; Bon, Sha, Boozoo, and Banny.

Having started as a company manufacturing machines for casinos their scope grew over the years until eventually developing the restaurant's animatronics, focusing not only on their performing abilities but wanting them to be able to interact with audiences as humanly as possible, citing a recognition system allegedly being in the works.

Bunny Smiles Incorporated, often shortened to Bunny Smiles Inc. or BSI, and formerly known as Bunny Smiles Company, and at one point referred to as Bunny Smiles Incorporation, was a company created by CyberFun Tech. It is the company responsible for Bon's Burgers.

The Bunny Smiles Company was initially created by Jack Walten and Felix Kranken and founded sometime in 1962. In August 1965, Jack and Felix pitched their idea to CyberFun Tech CEO Norman Pooltrick, about a restaurant with animated performers. They subsequently succeeded, and the company became Bunny Smiles Incorporated sometime in 1967. The first company tape directed to the new employees was recorded on April 15th, 1967, and was narrated by Felix.

BSI was responsible for Bon's Burgers and its related properties, such as Little Bon's Neighborhood and the BunnyFarm arcade game.

Lower-Ranking Employees of BSI were required to wear purple uniforms alongside their ID cards and a cap with their names written on them. BSI Employees ranged from roles such as those in Technical Support, Animatronic Engineers and Technicians, Facility Caretakers, and assumingly other company titles such as CEO, COO, CFO, and more. The highest-ranked individuals known are Jack Walten, Felix Kranken, Susan Woodings, and Charles Brook.

Initially, both Jack and Felix equally controlled BSI together whilst being funded and supported by CyberFun Tech. However, even though Jack and Felix were equal owners, Jack chose to to work more behind the scenes and focused on the logistics and finances of BSI, thus Felix was left with the actual management and oversight of BSI. After Jack's disappearance however, Felix begins to cut off Jack's influence and status more and more, which is shown in Company Introductory Tape and Relocate Project as Felix is constantly mentioned but rarely Jack.

Due to BSI's affiliation with CyberFun Tech, the company was granted access to relatively advanced animatronics during the time. As such, Felix and Jack had high expectations for the company and the opening of the restaurant.

BSI had a rule which barred ex-employees of BSI from the Bon's Burgers restaurant if they cause drama in any sort of form. This was first revealed by Richie and they believed it could have been placed onto Rosemary if she did not quiet down on her attempts to find Jack.

In the late 1970s, BSI expanded much further than other restaurant chains, with the Showstoppers receiving particular fame for being in various products including merch, plushies & toys, furniture, watches, lanterns, masks, lamps, and even toilet seats. BSI also hosted a successful TV show called the "Showstopper's Comedy Extravaganza", airing in 1977 and running for 3 seasons before ultimately cancelled in 1979 in favor of a bigger project BSI was initiating.

Despite it's relative success and expansion during the late 1970s, it is likely BSI still suffered financially due to a loss of their animatronics, the Bon's Burgers restaurant, the deaths of various BSI employees, and most importantly the disappearance of the co-founder Jack Walten. The Relocate Project's failure did not make things any more financially stable for BSI.

Bon’s Burgers is an animatronic restaurant, which was home to the Showstoppers (Bon, Banny, Sha, and Boozoo). It was created by Bunny Smiles Incorporated, particularly by the minds of Jack Walten and Felix Kranken. It lasted from the 28th of June 1974, to the 20th of July of the same year.

Bon's Burgers would open to the public on June 28th, 1974.

Two days after opening, the first birthday party is held at the establishment, one for a boy by the name of Jeremy Simmons. At some point, a young Brian Stells would visit the restaurant. Later that day, Susan Woodings, head technician of the animatronics, went to inspect the animatronic Bon due to its odd malfunctions. However, upon inspection, Susan would be distracted by noises in the Backstage and Bon attacked her, breaking her neck and mutilating her face before stuffing her into the Banny animatronic. Things would go downhill from this event, with Felix seemingly neglecting Bon's Burgers leaving many employees to run things on their own. The Kitchen unit suffered the most, leaving some to have to start buying their own supplies out of their own pockets, causing many to quit.

On July 14th, Charles Brook while seemingly alone in the restaurant would be murdered by Bon while preparing for the birthday of his daughter, Lily Brook, scheduled the next day. Charles' face would be mutilated and then his body stuffed into the Boozoo animatronic. After his and Susan's disappearances, some employees would make rumors about Bon's Burgers, with some ex-employees even sneaking in to look for the missing people.

Meanwhile, during the company’s operation, Rosemary Walten, wife of Jack, would come to the restaurant every day, looking for any evidence of where her husband might be. However, on July 19th, 1974, a voice responded to her concerns, saying that they knew where her husband was and that they’ll find them backstage. When she went back there, as the voice told her to, she instead found Bon, who said that she was broken, but he’d make her “beautiful.” He then proceeds to slaughter her - dismembering her completely, and even beheading her - before stuffing her into the Sha animatronic.

Her blood-curdling screams were heard by neighbors, who then notified the Brighton Police Department about it, leading to the police to break into the restaurant and search it. Since most of the doors were locked, they eventually gave up and left. Subsequently, the last day of parties didn’t have any of the animatronics present. The restaurant was closed the following morning by Norman Pooltrick due to the "humiliating" scene caused the night prior. On October 31st, the building that housed the Showstoppers was officially condemned.

However, Felix had an idea to reopen Bon's Burgers in the future: The Relocate Project. He hoped that, in an attempt to fix the robots, he would be able to prepare them for a new Bon’s Burgers restaurant, which was planned to reopen in 1982. Though not confirmed, it is unlikely that this plan came to fruition after the 1978 repair was a failure though in 1982, it seems that the Relocate Project was possibly continued in 1982 with Brian Stells attempting to fix the animatronics though with Brian dying and B.S.I dissolving in 1983, the project was cancelled and Bon's Burgers never reopened.

The building sits on a roughly rectangular lot with the customer parking running along the entire north side of the property; four crude “+” symbols mark parking bays directly north of the main roofline. Enter from the north into a compact Entrance/Lobby at the far east end of the property. The lobby is a small, welcoming box of a room with a front-desk area, a few low couches or chairs and a circular table drawn in the corner; two potted trees or shrubs sit just outside on the east façade. From that lobby a short corridor leads west into the interior core of the restaurant and performance space via Hallway A. Hallway A is an east–west spine on the right half of the building that connects the lobby and front-of-house spaces to service and staff areas. Immediately west of the lobby, along Hallway A, are three tall narrow rooms stacked north–south: an Art Department/work area and a cluster labeled “Computer and Technicals” and “Jack Walten ‘Accounting’,” with the larger zoned room called the “Bunny Smiles Area” occupying the block between the offices and the stage. South of Hallway A, near the east side of the building, are the public restrooms—two adjacent rectangular rooms labeled Men’s Bathroom and Women’s Bathroom—set in the southeast quadrant. Just east of those restrooms is the small employee/crew parking area, a few spaces along the building’s east exterior so staff can access the back door quickly. The heart of the facility is a broad central auditorium-dining area that occupies the center of the floorplan. The stage sits against the north wall of this central room: a semicircular proscenium is clearly drawn with three colored dots (stage lights or animatronic markers) along its curve and a backstage room tucked directly behind it. Rows of dining tables/chairs (rendered as a tidy grid of rectangles) face the stage, creating a clear audience-orientation — the place reads as part restaurant, part small theatre or animatronic performance venue. Scattered around the front-of-house are a few different seating types: square tables laid out in rows in the central area and smaller clusters (including what looks like a round table and a booth) near the stage edge and front walls, suggesting a mix of group and family seating. Directly behind the stage is a dedicated Backstage area — a rectangular room with two small rectangular features (likely storage, dressing rooms or equipment closets) and a door that connects into a small private office labeled Felix’s Office at the stage’s right (east) flank. Felix’s Office sits between backstage and the Bunny Smiles/administration cluster, giving quick access to both the performance area and the technical/administrative rooms. To the west of the auditorium sits Hallway B, the building’s mirror spine on the left half. Hallway B runs east–west roughly opposite Hallway A and separates the central auditorium from a large “Game Zone” occupying the entire southwest quadrant. The Game Zone is a single large square room — a cavernous, open-play area — with stairs and what looks like a small outdoor picnic/children’s play area sketched further west along the property. The Game Zone connects to the central dining room and to a Staff Only area to its north, allowing staff to move between kitchen, game floor and front-of-house without crossing public seating. The kitchen is a big rectangular room centered along the building’s southern edge, directly south of the auditorium. It has a small back-alley access on its west side (a narrow service corridor labeled Back Alley with a drawn exterior door/stairs) and a direct opening into the dining hall for food service. The back alley leads out past service doors to the exterior service yard and eventually toward a small separate Generator building at the far northwest of the lot. The generator structure is drawn as a separate small box with a vehicle beside it and a few trees around — clearly set off from the main building for safety and noise isolation. The Staff Only area is north of Hallway B and west of backstage; it’s a compact zone containing two small desk-like rectangles and a storage-like area, implying a staff break room and supply closet. From the Staff Only area a short corridor/door gives access to Hallway B and thus to the Game Zone and public spaces. This organizes staff circulation so employees can go from generator/outside service areas through Hallway B into the staff zone and then to the kitchen and stage without disturbing guests. Circulation and operational flow is very deliberate on the map: customers arrive from the north parking, pass through the Entrance/Lobby into Hallway A and spill into the central auditorium and seating; staff and deliveries use the south-side Back Alley and the generator/service yard at the west to reach the kitchen and staff-only spaces; performers and technicians reach the stage from the backstage and Felix’s Office, with the mechanical/technical rooms clustered in the east wing for quick repairs and control. The employee parking sits on the east side adjacent to the service doors and restrooms so employees can enter near Hallway A and the back-of-house areas. Visually, the drawing emphasizes function: the large open blocks for the Game Zone and the central dining/auditorium dominate the plan, while a band of tighter, smaller rooms along the eastern edge house administrative, technical and support functions. The map’s heavy labels and simple iconography (tables, a semicircular stage, restroom blocks, generator with vehicle) make each area’s purpose immediately legible: a family entertainment restaurant with a performance stage, a gaming area, a full kitchen and a compact cluster of offices and technical spaces that keep the show running.

Bon's Burgers had a large parking lot with street lamps and a large Bon's Burgers sign in the middle. Exclusive parking for workers of Bon's Burgers and/or BSI is behind the building. BSI/Bon's Burgers employees don't have to park here. The building itself is a normal, yellowish brick color, with several Showstoppers Poster on the walls, smaller signs at the top. There are several decals and such all over the front. On the front of the building, there are five large arches. The building has a white, fence-like structure on the top of it lining the edge of the roof.

The Lobby, Also known as the Entrance, this is the first room of the Restaurant. There is a table where people can order via a menu on the wall and several other tables and seating areas. There is also a sitting tiger statue nestled in the corner. The lights of the Lobby turn on dramatically before music plays over a speaker.

The first hallway - Hallway A - contains three doors: One leading to Jack's Accounting office, the Art Department, Computer and Technicals, and the Bunny Smiles Area, which are all connected rooms. The Bunny Smiles Area acts as a sort of security office: in it are several CRT monitors which are connected to their respective security cameras. The other two are bathrooms. There is realistic bunny art all over the walls and on the white doors leading into the bathrooms. The bathrooms have been described as "incredibly flamboyant."

The Show Room is the location of the show stage, and several arcade machines, Bon's Burgers-themed Rideable Bulls, and a carousel. There are about 20 dining tables in the room. The Showstoppers' Show Stage is in the room where Boozoo is positioned on the far left, Bon at left center, Sha at right center, and Banny on the far right.

Felix's office is located next to the stage. The walls are wooden, and there are pictures of the Bunny Smiles Family and him and Jack along them. Felix has a working desk and swivel chair.

On the opposite end of the Showroom from the stage is the doorway leading to the kitchen. It is rather large - the food has regularly been called "terrible".

Accessible from the stage or the Staff Only Area is Backstage. The Backstage has red floor, a white ceiling, and several shelves and cardboard boxes. There are some tables also. The wall has paintings of The Showstoppers and photos of the B.S.I Family.

Containing from the Showroom, on the opposite end of the room from Hallway A is Hallway B - there is a large photo of the Showstoppers, other signs, a cutout of Bon's Burgers, and a Bon clock. On the right of the hallway lies the doorway leading to the Staff Only Area, commonly used as a break room. Opposite of it on the other side of the hallway lies the entrance to the Poker Maze. The Poker Maze is labeled "Game Zone" and there is a large purplish red curtain leading into the Poker Maze. There is an exit in the Poker Maze, leading outside to a playground — there is a swing set, a slide, two trees, and a merry-go-round. On the very end of the hallway lies the room housing the generator — the generator is responsible for keeping the whole building powered; there is no backup generator. There is a metal door with a decal of Bon with a construction cap on, with a note reading "KEEP OUT" under him. Behind the door are a few steps leading down to the generator.

An alley with dumpsters, located between the Kitchen and Poker Maze structures of the building. There is a door in the kitchen leading to the alley.

Brighton 27 sits like a small, well-kept storybook house on its lot: a two-story, gabled-frame home with a full-width covered porch and a narrow stone path that leads up six shallow steps to the front door. The house’s clapboard exterior is painted a warm, slightly faded yellow on the walls where paint would naturally sit—the siding, the boxed eaves, and the vertical face beneath the front gable—while the window and door trim are crisp white, giving the façade a clean, hardworking look. Dark shutters flank the second-story windows and the porch posts are painted a deep, almost-black color that grounds the light yellow and keeps the front from feeling too bright. A squat brick or stucco chimney punctuates the roofline, and mature trees crowd the yard so that dappled leaves and shadow soften the house’s edges throughout the day.

Step onto the porch and you feel the house’s everyday scale: the porch roof shelters a narrow seating area and the entry, and a centered front door (set beneath a modest archway on the interior plan) opens directly into the primary living space. The first floor reads as two main volumes stacked front to back. At the front is the living room — a rectangular, welcoming room occupying the full width of the house’s front face — where a visitor would likely find a comfortable sofa facing a focal wall and a window that looks out over the porch and yard. A doorway from the living room leads into the dining room behind it: a more square, slightly larger room that functions as the home’s circulation hub and is shown on the layout with a table roughly centered in the space.

To the left of the dining room, the kitchen tucks into an L-shaped wing. The kitchen’s drawn details — counters, a sink run and small appliance counters — suggest a compact but efficient work triangle with cupboards along the outer wall and a small service door at the far left that could be either a backdoor to the yard or the access point to a cellar/basement stair. That service nook is squeezed behind the kitchen’s utility area so it reads as a practical place for coats, a mop sink, or a hidden stair down. The sequence — porch → living room → dining room → kitchen and back exit — gives the ground floor a straightforward, domestic flow: rooms arranged to be used daily and to connect with the small backyard beyond the kitchen.

The second floor opens differently: at the top of the stairs you arrive on a broad landing that feeds a central hallway. This landing opens onto a study that stretches across one entire side of the house (the layout shows this as a long rectangular room occupying the full width at the front or back depending on orientation) — a roomy, quiet space for books, crafts, or family paperwork. Flanking the hallway are the family bedrooms: on one side you find Edd and Molly’s shared room, and opposite them is Sophie Walten’s bedroom. The master bedroom sits off the hall as well and includes the small, practical bathroom drawn adjacent to it. There’s also a smaller room indicated as Rosemary’s art room — a cozy nook ideal for an easel and daylight — so the upstairs is clearly configured for both privacy and the needs of a busy household.

Taken together, Brighton 27 reads as a lived-in family home: the exterior’s yellow clapboard and white trim give it cheer without fuss, the porch and shutters lend a slightly Victorian, domestic silhouette, and the interior plan favors simple, connected rooms — a front living room for guests and lounging, a dining room that doubles as the home’s spine, a left-side kitchen with practical service access, and upstairs bedrooms and a long study for the family’s private life. The layout feels comfortable and sensible for Jack and Rosemary Walten and their children (Sophie, Edd, and Molly): rooms arranged to move people easily from the public face of the house into the quieter, personal spaces where the family spends most of its time.

Brighton 27 has since been condemned.

Edward "Edd" Walten was born on May 15th, 1962. He is 11 years old. Edd is dressed like a nervous, old-fashioned schoolboy: a mustard yellow polo with the sleeves casually rolled, held up by brown suspenders clipped to short, boxy brown shorts. He wears plain white crew socks pulled up and sensible brown lace-ups. Rumpled waves complete the image of a kid who’s trying his best but would rather be anywhere else. He has green eyes and his hair is cut into a short bob.

Edd is the second oldest Walten sibling, the middle child between Sophie and Molly, and the second oldest and only son of Jack and Rosemary Walten.

Edd was killed on May 2nd, 1974 during a drunk driving incident in Saint Juana's Forest at the hands of Felix Kranken. He was 11 years old.

Edd is a very rebellious child compared to his siblings. Molly is the annoying little sister to his easily angered older brother. She often tries to talk him out of his mischief.

Edd's favorite movie is Batman: The Movie, even owning a poster of it.

Like his siblings, Edd doesn't know how to speak Spanish. The only one knowing how being his father.

His father, Jack Walten, built him and his sister a gray rabbit animatronic doll named Rocket. It seems that out of the two siblings. He was the least attached to it.

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In Wonderland, Edd either appears as himself, just dirtied and missing his left shoe (Felix threw it in the river, along with Molly's backpack) or as a completely blood red spirit with a permanent frown.