Susan Woodings

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   Always on · Order 0

   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, 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.

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

   Ghosts, also referred to as Spirits, usually are crude depictions of the person before they died. Though not confirmed, according to "Bon", Spirits cannot survive long 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 it can be picked up by technology.

   Spirits can alter things such as VHS tapes and arcade machines. Spirits can create footage on existing tapes for viewing such as what the spirits connected to BSI do. Though not analog, Ghosts in general can communicate to the living by writing as well.

   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.

   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.

   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.

   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.

   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.

   Saint Juana's Forest Reserve is a local forest and nature reserve in Brighton, Michigan. Jack regularly goes hunting here.

   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.

   Jack was born in Chile on September 23rd, 1932. He is 41 years old and stands at 6'2" with a lanky, yet not skinny, and broad-shouldered build. Jack is an arresting presence — a tall, Chilean man with thick, dark, and curly, falling in loose coils around a face defined by a strong nose, pronounced cheek hollows, and a stubborn, five-o’clock shadow that gives him a permanently tired, lived-in look. His wardrobe leans toward utilitarian shirts — rolled sleeves, visible forearm texture, and dark trousers secured by a solid belt — and small details like his wedding ring suggest habits and histories rather than affectation. There is a restless, guarded quality to his expression: heavy-lidded eyes that register the room with a slow, evaluative calm, a mouth that alternately tightens into a wry grin or relaxes into a sullen stillness. Physically he carries his height modestly — shoulders broad but often slightly hunched when seated — projecting a protective sturdiness rather than square-shouldered bravado when around Rosemary. The callus-like texture of his hands reinforce an impression of someone who is both physically resilient and emotionally complex. His nose is broad, his lips full, and when he smiles it fills the face — wide and genuine, the kind of grin that reads as both open and a little knowing, yet some have called his smile "scary". He has a small gap between his upper front teeth. Physically he's solid and well-built, shoulders and forearms carrying the kind of muscle that speaks to manual work or a life lived moving — not bulky but dense and capable. Like most men of his age and era, he rarely shaves any of his body hair.

   Jack’s clothing projects a casual, slightly rugged reserve. He wears a long-sleeved button shirt in broad, horizontal bands of warm, reddish tones — a striped pattern that, combined with the shirt’s soft drape, suggests a worn cotton or flannel. The sleeves are rolled to mid-forearm, exposing well-defined forearm planes and hair; the shirt has a single chest pocket and appears untucked at the waist, reinforcing a relaxed, unstudied appearance. His trousers are a dark, nearly black fabric, cut slim but not tight, with modest tailoring at the ankle and a visible cuff where they meet black socks and a black loafer-style shoe. Small accents — the gold band on his finger — function as character accessories and draw attention to his hands more than to jewelry or fashion. Taken together, the outfit reads utilitarian and masculine: muted colors, durable fabrics, rolled sleeves for function, and minimal accessories that hint at habit and practicality rather than style for its own sake.

   Jack can speak Spanish. He is the only person amongst his wife and children who can speak it fluently as he never bothered to teach Rosemary or his children how to as he never saw a point because they lived in America. He believes that if a person doesn't know how to speak Spanish they shouldn't try to.

   He was often called a hippie in college because of how he kept his hair cut. He faced prejudice in college on account of his race as well.

   The most well-known parts of Jack, that often lead to him being seen as 'scary', are his severe anger issues. His temper is very easy to set off and he sometimes even has road rage incidents. His family is a big focal point of his anger issues - mostly because he is very protective and loving of his family. The only person who can calm Jack down once he's been set off on some occasions is Rosemary.

   Sophie inherited his temper and many aspects of his physical appearance such as his smile and his nose.

   He is described by others as hard-working and a happy father, with Sophie describing him as a workaholic. He is a good husband and father, being quite protective of his children. Jack tried his best as a parent. He was strict, unintentionally pushy and very exigent, but was still a good father regardless, such as being a jokester sometimes, and pranking her kids. He does it because he thinks he fits in with the younger generations.

   Like Sophie, Jack doesn't want to feel weak, and hates not being able to control his future. Jack is a control freak and doesn't like not being in control, feeling weak when he isn't. He was born and grew in an era where men couldn't be weak — they had to be mentally strong, or they weren't men. The only person he feels safe enough around to be weak and transparent is Rosemary. To the public, he tries his best to give off the aura of perfection and tidiness.

   He is Christian, like his family.

   At some point in Jack's early life he moved to the United States - specifically Michigan. Jack would have a normal, happy life. He studied at Cleary University in Howell, Livingston County, and graduated in 1959. Jack married Rosemary that same year. He would eventually have three children with her - Sophie, Edd, and Molly.

   Jack and Felix are very well known in Livingston County. Mostly because of the business and company they run - Bunny Smiles Incorporated and the soon to be opened Bon's Burgers. Jack, however, would often partake in charity events and make appearances at public . Not to mention Jack and Felix's success eventually got them on the cover of Time Magazine. They both keep a copy in each of their offices. Even though Jack was a co-founder of BSI, he chose to work from behind the scenes voluntarily and focus on logistics and financials, leaving Felix to take on the actual role of the CEO/Manager. Jack is humble about his work and did not want to be in the spotlight.

   Jack drives a dark red 1974 Buick Apollo. He owns a hunting rifle and is an avid hunter and a very good shot. Jack tends to smoke a lot too and he does it because he thinks smoking is cool. Jack's preferred brand of cigarettes is Marlboro. His favorite alcoholic drink is Ramazzotti or wine and his favorite film is Modern Times. Jack does not have a middle name.

   He is a very bad cook and a clumsy dancer. In college, Jack enjoyed planning pranks. His favorite color is red. He hated history as a school subject. Jack would lose his mind if he ever were to know about Chuck E. Cheese. Jack really hates anything with funky patterns. His major in college was business. He would have despised YouTube and would type like an old man. Garfield would have been the only cartoon Jack would not have hated had he been around to see it. He likes songs from the 20s-40s/classical music. He is more of an extrovert.

   Jack and Susan would try and scare the rest of the Bon's Burgers crew, as they are the tallest and most intimidating.

   Jack's favorite food is spaghetti and he would always bring sandwiches for the BSI employees, but if you did a bad job that day, you wouldn't get one. He's an accountant. Before the company creation he would have many different office jobs. When Sophie was born, Jack was scared/anxious for parenthood. Him and Rosemary were "high school sweethearts" when younger. Jack's hair grows really fast. He doesn't grow it out; it'd be way longer if he did. He wouldn't like his kids calling him by his first name. Jack would be pranked by Edd and Molly by having his and Rosemary socks swapped by the two.

   His favorite color is red.

   He keeps his look fancy and old-timey, almost as if he was straight from the 1930s.

   Rosemary was born on April 20th, 1934. She is 46 years old and 5'8". Her hair is a dense halo of tight, chestnut curls that sit just above her shoulders, catching light in warm auburn highlights; the volume frames a face of rounded planes — generous cheekbones, a gently curved nose, and full, expressive blue eyes rimmed with long lashes. She favors clothing that feels both practical and quietly distinctive. The overall silhouette is slightly vintage — an intelligent, painterly elegance — and her hands are long-fingered and purposeful, often resting in a way that suggests thoughtfulness more than hurry. In expression and bearing she alternates between attentive warmth and a faint, private melancholy. When she leans in toward Jack her posture becomes gently protective: chin lowered, shoulders rounded forward, a small, almost unconsciously intimate tilt of the head that reads as both affection and worry.

   Rosemary wears a quietly vintage, workmanlike ensemble that reads as deliberate and comfortable. Her top is a pale, warm-yellow button-down blouse with a soft collar; the fabric sits with gentle, painterly folds across her shoulders and chest and the sleeves are pushed or rolled to just below the elbow, exposing forearms and creating a relaxed, lived-in silhouette. The blouse catches the warm sunset light in bands of gold, which emphasizes the shirt’s slightly satiny surface and the way it billows at the torso when she leans forward. Her trousers are high-waisted, wide-legged, and a deep, chocolate-brown — the cut falling straight from the hip into broad pleats that suggest weight and motion when she shifts. The hems are cropped above the ankle and show a careful, tailored finish; the overall look balances the blouse’s softness with a tailored, almost utilitarian bottom half. On her feet she wears simple black flats with a rounded toe (a low, practical shoe choice), which ground the outfit and keep the silhouette restrained and workmanlike rather than decorative. The entire ensemble reads as practical, modestly stylized clothing that foregrounds movement and comfort over ornament.

   She has a sister, Laura, that she doesn't have a very good relationship with.

   Rosemary is a devout Christian, like the rest of her family, and she loves going to church.

   Rosemary is very caring and loving to most of everybody. She isn't one to be judgmental. However, she can be very intimidating when she wants to be - and she would not hesitate to make her discomfort known in a situation she doesn't enjoy. She is kind and polite, but not a pushover. Rosemary is soft spoken with a slightly high pitched voice. She speaks in a soft, calm tone, and she doesn't like cussing at all.

   She is a skilled painter and loves to do landscapes and portraits, and she loves to paint sheep.

   Rosemary's favorite color is yellow, and she enjoys baking a great deal - and cooking in general. She is a great dancer as well; she loves slow dancing and is unfairly skilled at it.

   She loves cheesy love songs from the 40's and the 60's. Rosemary doesn't like the nickname of "Mary" and prefers the nickname "Rosie". Her favorite alcoholic drink is champagne but she very rarely drinks as she finds it un-lady-like and never really saw the point besides very special occasions. She really likes clowns. Rosemary taught herself how to cook and she is a smoker - Rosemary smokes from a place of stress. Rosemary's favorite movie is Mary Poppins. She loves baking.

   Rosemary loved to play guitar in college and she was rather skilled at it. Rosemary still owns her 1958 Gibson Korina Flying V. It is a striking, razor-sharp V carved from warm, honeyed Korina with a glossy amber finish. Its white, triangular pickguard is pierced by a polished gold V-plate and flanked by two gold-covered humbuckers, a gold tune-o-matic bridge and a cluster of black control knobs that catch the light. A dark, dot-inlaid fingerboard runs up to a black, tapered headstock with vintage-style tuners — crisp, retro and unapologetically bold. Rosemary has written songs for Bunny Smiles Inc. Rosemary plays the piano.

   If she would be around for the time of influencers, and would have been one herself, she would do arts and crafts tutorials. Besides and before Bunny Smiles Incorporated, Rosemary worked on paintings, theater plays, music, and short films/musicals.

   Rosemary and Jack have known each other since they were teenagers and lived close to each other. Her maiden name is Peony, and she kept it after marrying Jack.

   Rosemary made Sha in the image of herself as a "self-insert" character. Rosemary would rank the showstoppers from most to least favorite: Sha, Billy, Bon, Boozoo, Banny. Rosemary was one of the first furries.

   Sophie was born on July 22nd, 1960. Sophie has a lanky build. Sophie is Chilean - American. She has light tan skin and a mole beneath her right eye. Sophie's hair is chin length and curly but it would be curlier if she took proper care of it. Her hair is poofy and styled into a perm. Sophie's face resembles her father's more than her mother's. She inherited her father's broad nose, his smile, and his eyes. Her eyes are dark brown. Sophie tends to have a 'resting bitch face'. She wears braces.

   Sophie rocks a preppy, slightly tomboyish ensemble: a crisp light-blue collared shirt peeks out from under an oversized cream V-neck sweater, tucked into a pleated green tartan skirt that swings just above her knees. Knee-high white socks and stout black loafers ground the look, while little scraped knees with bandages add a dash of rough-and-ready toughness.

   While Chilean - American, Sophie does not know how to speak Spanish fluently. Her father never bothered to teach her nor her siblings how as he didn't see a point; he was an immigrant from Chile who moved to Michigan when he was young and thought they should speak English in America accordingly. Sophie does know a very limited amount of phrases though. Mostly curse words or other vulgar remarks.

   She is introverted and awkward around those she doesn't know well. Though her awkwardness comes from her usually just being really quiet or giving people the signature "Walten Stare".

   Though when she was a child, she was more of a hormonal, hard headed and tomboyish drama queen. She would pretend she was in much more pain if someone did something that would hurt her a bit.

   While Sophie may be introverted, she is not innocently awkward. She keeps to herself because she doesn't tend to like other people, not because she is shy. She inherited her father's temper on top of his features, so she is very easily angered and has a temper she can very easily lose control of, especially where her family is concerned. She tends to get on people's nerves because of how easily she can be confused by certain things, often making people repeat what they say when she is confused. While easily confused, Sophie isn't outright unintelligent. Sophie is also somewhat of a control freak and one of her biggest fears is not having control over her future.

   Sophie is self conscious of her "creepy" or "scary" smile, qualities she inherited from her father — she is mostly self conscious of it because she thinks it's ugly. Whenever she does smile (Jenny often trying her best to get Sophie to do so), she usually tries her best to hide it. Like her father, her smile is really gummy.

   Sophie is a bisexual. She keeps this detail about herself very closely guarded as she understands how social norms are. While Sophie is mostly successful in hiding her attraction to both men and women, she isn't the best at hiding actual attraction itself. When around someone she likes Sophie often clams up and acts awkwardly, but she tries her best to play it off or act nonchalant. While not ashamed of her sexuality, despite hiding it intensly, Sophie can be very defensive about it at times and especially so when she is insulted over it.

   Sophie is unashamed of her sexuality as she has a queer role model in her life: Susan Woodings, who is a lesbian technician working at Bon's Burgers.

   However volatile her personality may be to those she doesn't like, Sophie is much more relaxed and joking around those she considers to be close to her. She is much like a cat in this regard, picking specific people who she won't be very rude too at all, while everybody else is left on the other side of the spectrum. As playful as she can act, she definitely retains most of her overall 'bitchy' attitude. She is gruff and somewhat of a tomboy.

   Sophie’s favorite show is The Muppets, but she keeps it a secret. On the topic of movies and television, Sophie also enjoys horror movies, cowboys/the wild west. As a child, her favorite movie was A Pistol for Ringo. Sophie will come to love The Smiths when they come around in her lifetime. Sophie is a dog person but she is more like a cat in terms of personality. She loves dogs so much because she grew up with two family dogs, Jaimito and Carlitos. Carlitos was a golden retriever that was hit by a car when Sophie was thirteen. It devastated her and her family as the dog was beloved by them all. After that, Sophie's father found a stray dog he named Jaimito. He took Jaimito in but the dog soon bit Sophie's younger brother Edd, so they gave it to a family friend, Susan Woodings, where it soon passed away from natural causes.

   Sophie's favorite alcoholic drink would be a mojito but she has never tried alcohol seriously before. Sophie also picked up art as a result of being around her mother who was an artist. While not wanting to pursue it professionally, Sophie enjoys drawing and is rather talented at it like her mother.

   Sophie struggles, somewhat, with having confidence in her physical appearance - she doesn't believe she's attractive.

   Edward "Edd" Walten was born on May 15th, 1962. 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 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.

   Molly was born on August 22nd, 1965, and has had a happy and simple childhood so far. Molly wears a vintage-sweet red pinafore dress that falls to her calves over a buttery yellow long-sleeved top, the contrast giving her a cozy, storybook look. Her dress is embroidered with a bit, yellow 'M' on the chest. Her curly hair is pulled into bouncy pigtails tied with a pale pink ribbon and a matching headband, framing a cute face. Her socks are rumpled and scrunched down around her ankles and she wears chunky black school shoes, which make her look small and earnest. She has brown eyes.

   Her father and his most trusted friend, Felix Kranken, built her and her brother a gray rabbit animatronic doll named Rocket, and it seems Molly was the most attached to it.

   She is a very kind, compassionate person for her age. Unlike most other children, who can be rather cruel or inadvertently mean, Molly is practically a ball of sunshine. She treats everyone with respect, except for her siblings sometimes of course, and is very vocal about her concerns about people. Molly wouldn't hesitate to help someone in need.

   Molly was obsessed with space and the 1969 moon landing. At some point, Molly would probably stop caring about space and Jack and Rose would buy Molly a lego space set and would be disappointed to find out that Molly no longer liked space; i.e., she gets hyper fixated on things very easily and loses that fixation just as easily. Of course, she is still obsessed with space, that was just an example. She is half white and half Chilean, and like her older siblings and mother, she doesn't know how to speak Spanish.

   Jack is the only Walten to speak fluent Spanish. He never taught his family how, seeing as he saw no need to as they were in America.

   Her favorite movie is Pinocchio and her favorite drink is Pepsi.

   Molly and her brother, Edd both have a fighting sibling relationship with Molly being an annoying little sister and Edd being easily angered.

   Molly would be a Mario person

   Edd and Molly's favorite past time was playing Pong; their father Jack and his best friend Felix's restaurant, Bon's Burgers, had a pong machine.

   Felix Archer Kranken is a co-founder of Bon's Burgers and Jack Walten's close friend. He was born on April 7th, 1935. Felix is compact and subtly worn: about 5'7" with a lean, slightly narrow frame that reads more wiry than muscular. His skin is noticeably pale, the sort of fairness that sets off the warm, freckled rush in his cheeks and the fine network of tiny veins at the corners of his eyes. His hair is shorter and tousled—light to medium brown, brushed back in a way that never quite escapes its cowlicks—framing a face of angular planes: a high, slightly prominent brow, a slender nose, and a jaw softened by modest sideburns. Behind thick, rectangular spectacles — the same brand as Buddy Holly, in fact — his eyes have a weary, half-skeptical look; the lids are a little heavy and the irises often shadowed, as if permanent tiredness lives there.

   His wardrobe and accessories read like a period-tinged working wardrobe that's been worn to comfortable resignation: a crisp white shirt with the sleeves rolled, held by burgundy suspenders to high-waisted, pleated trousers. He favors sensible leather shoes and, at odd moments, a flash of red sock—small details that betray a faint, deliberate taste for wackiness despite everything. On his wrist sits a simple watch; his hands are long-fingered and ink-stained in places, the knuckles a touch raw from habit. There is a habitual, nervous movement to him—an ever-present cigarette held between his fingers and the occasional tremor in his hands—that, combined with the faint puffiness of his face and the slow set of fatigue around his mouth, suggests a life that leans on drink: not an accusation so much as a lived-in map of late nights and hard, repeated comforts that have etched themselves into his expression.

   Felix drives a 1974 Rolls Royce Silver Shadow.

   He has a firm opinion of himself, almost to the point of egomania, and is obsessed with "trustworthy employees".

   Felix is a closeted bisexual and is deeply ashamed of his feelings towards men as the era he grew up in - and currently lives in - very widely disproves of same sex relationships.

   Under his alcoholism and poor decision making, Felix Kranken seems to be a passionate and ambitious man, as he had long dreamed of an animatronic-themed restaurant and is quite proud of BSI's work of Bon's Burgers, stating that the employees worked "blood and sweat" for it's grand opening. Additionally, his first tape for BSI shows his passion for the concept of Bon's Burgers and happily welcomes all new employees that joined BSI and wanted to be involved in his passion. His ambition was shared with a hard-working and equally ambitious Jack Walten, which is how they became close friends. He also seems to be friendly and close with many people, even with the BSI employees, as Susan and Charles informally call him "Felix".

   Other than his alcoholism, Felix’s greatest conflict is his internal battle between his genuine remorse for his actions and his fear of consequences. This conflict has made him the kind of man who can feel sorry for the poor treatment he gave his wife, Linda Thompson, while also still indulging in the same thing that is destroying their marriage (alcohol). The kind of man who at his best is a passionate, hard-working, and caring friend and at his worst, a selfish, self-pitying, and impulsive coward.

   Although both Felix and Jack equally managed the company as they were co-founders, Felix was forced to do most of the actual administration and management of BSI himself rather than Jack who worked behind the scenes and out of the spotlight. This implies that Felix (in his prime anyhow) was good at management compared to Jack and could be trusted by him to do so.

   The siblings, Edd, Molly, and Sophie Walten –the children of Jack and Rosemary Walten - affectionately nicknamed him "Uncle Felix", which showed how much love the siblings have for him. Felix has a brotherly relationship with Jack.

   His major is business and he hates pizza. If he was an influencer and around for the age of the internet, he would be popular for the wrong reasons and get into internet drama.

   He would hang out at a bar with Jack if they ever had a guys' night out. His favorite color is blue. Felix hates math as a school subject. He would not have cared much about Chuck E. Cheese. Felix would lose in a fight against Jack. He also enjoys wearing funky patterned clothing like ties or socks.

   His favorite song is Into Each Life Some Rain Must Fall.

   He would not like disco music, however, he would like Power-Pop, specifically Badfinger, but also The Raspberries, The Rubinoos, The Flaming Groovies, Cheap Trick, and others. He sees the style as a continuation of the Beatles' style of music as they came into the spotlight in his generation.

   He is not into art.

   Felix loves Louis Wain.

   His usual drink is Shaefer beer.

   Felix looks up to Jack as a person who he wants to be. Despite any 'love and affection' that Felix feels towards Jack, there is a lot of envy.

   Felix isn't a religious person though he is superstitious and during his dark times would pray in hope that something would hear him.

   Felix's favorite film is Born Yesterday.

   He has a poor relationship with his family and father, splitting ties with his family not long after his father passed away.

   Felix loves golfing.

   Linda Kranken, nee Thompson, was born on August 27th, 1936. She stands at 5'6" with an average, healthily slender build. Linda has a short, vintage-y bob of copper-orange hair that sits just at her jaw. The cut is full of soft S-shaped waves and outward flicks at the ends, with warmer peachy highlights that catch the light. Her skin is fair with a warm undertone and a dusting of freckles across the bridge of her nose and cheeks; a small beauty mark near her mouth adds character. Her brows are softly arched and slightly darker than her hair, framing almond-shaped eyes that read as a cool gray-blue and are sometimes shown with pale lavender shadow. Long, dramatic lashes and a neat flick of liner give her eyes a theatrical, expressive look.

   Her face balances rounded, approachable features with polished, retro details: a neat, slightly upturned nose and full lips with a defined cupid’s bow that are a warm rose or mauve. She favors classic, old-Hollywood accessories — pearl stud earrings a strand of pale pearls — and dresses in simple, tailored pieces that reinforce a timeless, slightly glamorous aesthetic. Overall she reads like someone both warm and composed, with a playful, theatrical edge in her makeup and styling.

   Linda Kranken is Felix Kranken’s wife.

   Linda is close with the Walten family due to Felix's friendship with Jack and Edd and Molly's positive relationship with Felix, seeing him as an Uncle, she herself is seen as "Aunt Linda".

   Susan and Linda are best friends. Before Linda left for Hurricane, she visited Susan. Susan is shown to have a picture hanging up behind her couch that depicts herself and Linda.

   She and Felix had a cat, which Felix often neglected and forgot about, with Linda being the opposite. Her cat's name is Peter.

   She and Felix started dating shortly after Jack Walten and Rosemary Walten's marriage.

   Susan and Linda in High School didn't originally like each other but became friends.

   Susan and Linda were both very smart people who could see through facades; they knew Felix very well.

   If Linda and Felix had came together and split up, they would be better off as good friends rather than a couple; they’re not good for each other as a married couple.

   Felix isn’t per se abusive to Linda, it wasn’t intentionally taking advantage of her emotional state for his benefit, but he was very neglectful and doing the relationship “just because”. Linda and Felix HAD a good dynamic but it wasn’t a good romantic dynamic — it could’ve been a good friendship. Being a couple, they didn’t really help each other and Felix’s neglect took a toll on Linda. They’re not healthy for each other. Linda tries to make it work.

   Linda was offered a job at BSI, but declined to focus on her own projects and works.

   Linda had a miscarriage. Felix's drinking habits took a nosedive after this.

   Peter is the pet cat of Felix Kranken and Linda Thompson. Peter is a ginger, tabby domestic shorthair.

   Susan Saoirse Woodings was born on January 12th, 1939 in Galway, Ireland — she emigrated to the United States when she was young — making her 35. Susan appears as a middle-aged woman with a lean, elongated build and a distinctly understated, almost weary presence. Standing at 6'1", she comes off as rather intimidating at times considering both her quick temper, though it's nowhere near close to Jack's, and her build; given her role as Lead Technician, she's put on a lot of "functional muscle", meaning that while she may not be a beefcake, she's incredibly strong. She has long chestnut-brown hair that falls past her shoulders down to the small of her back in a smooth, heavy curtain, with straight bangs covering her forehead down to just above her eyebrows, softening her face. Her features are narrow and sharp in a delicate way, with large, dark eyes framed with shadows from her troubles with sleep, a slim, long nose, and a mouth that often reads as tense or reserved with full lips. Her expressions feel quietly troubled or thoughtful, and that gives her a pale, tired sort of elegance. Overall, Susan’s look is grounded and utilitarian, but her long hair, sharp silhouette, and restrained color palette give her a quietly striking, memorable presence. She has a "tall" face.

   Her middle name is Saoirse, and she has an ugly, obnoxious cackle of a laugh.

   Her clothing is practical and muted, leaning into earthy greens and browns. With one outfit, she wears a deep green button-up shirt with a lighter collar, paired with wide-legged brown trousers and heeled shoes in a warm tan tone. A belt sits low at her waist, and a wrench in her hand suggests a no-nonsense, hands-on personality. For work, Susan tends to wear her standard wear; she rarely changes into her coveralls unless she doesn't want to get her standard clothing dirty — which she rarely cares about. If she works in a regular outfit, she typically removes her top, leaving her in a white tank top. If she does change into her work outfit, her coveralls are a subdued, work-worn shade of violet, sitting somewhere between dusty lavender and muted indigo. The fabric appears soft but durable, draping naturally over her frame without stiffness, suggesting something broken in by long hours of use. Subtle shading and highlights give the material a slightly worn sheen, as though it has been washed and handled countless times. The sleeves are rolled just enough to expose her forearms, adding to the impression of someone accustomed to physical, hands-on labor. The design is simple and utilitarian: a front zipper runs cleanly down the torso, partially concealed by the natural folds of the garment, while a cinched waist—belted—gathers the material to create a more fitted silhouette without sacrificing function. A small name tag is pinned to the upper left chest, stark and rectangular against the soft folds, reinforcing a workplace setting. The coveralls balance practicality with a quiet sense of character, their muted tone and slightly rumpled texture reflecting both Susan’s environment and the strain of her work.

   Susan's green button-up is her favorite shirt.

   A habit of Susan's is saying "man" quite a bit, an example being "What are you doing, man?"

   She has a favorite crescent wrench that has become notorious around Bon's Burgers because of her tendency to threaten people with it.

   Susan is a lesbian. Considering she's grown up in the 40s and 50s, and currently lives in the 70s, Susan keeps her sexuality to herself and doesn't actively flaunt it because she understands it would bring more trouble than good, however she is NOT ashamed of her sexuality and isn't afraid to stand up for herself on account of it.

   Susan never was in a romantic relationship or developed feelings for a person as she is a control freak, wanting to control things like her own goals and projects and being able to tell where things are going without changes of plans coming unexpected that may come in a relationship. She would be very unsure of how to act if she were to be in a relationship with someone, and would likely be rather shy, or not entirely herself around someone she would be interested in romantically.

   Susan is a sarcastic and joking individual. She got along with her close friend, and co-worker, Charles very well. Besides having small outbursts of anger or impatience whenever something isn't done right, as she seems to be serious about her work despite her general personality and is also expressed to be very passionate about her work in engineering. In spite of her usual demeanor, she can be very serious and tense at times, though whenever the situation doesn't require it, she is more relaxed and joking. Susan's humor is typically pretty dry, as is her usual way of speaking which sometimes comes off as monotone.

   She sometimes allows herself to be joking and humorous aswell, depending on her mood, and likes action, comedy and or gory horror films, and likes scaring her nieces and nephews.

   She's easily irritable and grumpy - more so around Felix - and doesn't get much sleep, as suggested by the presence of the bags under her eyes; she relies heavily on coffee to keep her awake.

   Susan is a control freak, preferring when she can have full control over something such as her own goals and projects and being able to tell where things are going without changes of plans coming unexpected.

   Jack Walten and Susan would try and scare the rest of the Bon's Burgers crew, as they are the tallest and most intimidating.

   She really likes electronic, hardcore music sometimes.

   Susan is a "cool aunt" to Edd and Molly Walten; the Waltens called Susan "Aunt Susan."

   Sophie Walten, the oldest daughter of Jack Walten, has been discovering herself to be bisexual. Susan was the ultimate role model for her when she was younger when it came to being a member of the LGBTQ+ as Susan herself was lesbian. Due to this representation in her life, Sophie never felt ashamed of her attraction to both women and men.

   Susan's favorite film is Vertigo, she enjoys birdwatching, and her favorite rock is Ruby.

   Susan drinks very strong coffee early in the morning to stay awake; surprisingly, she enjoys both black coffee and extremely sweet coffee.

   Outside of Bon's Burgers, Susan would make small toys/trinkets for extra money, go exercise at the gym, or jog.

   Susan plans to open up her own workshop and is actively saving up for it during her employment with BSI.

   Linda, Felix Kranken's wife, met Felix through Susan.

   Before being a technician, Susan was good at carpeting.

   Susan is against gun use and guns in of themselves; she does not own one, but likes guns in video games.

   Susan, if she was around in the 2000s, would have a Gromit mug; instead, she has a mug that says "I could kill you".

   Susan and Charles are best friends or a "level" below that status. Susan and Charles' friendship is one that has existed for years. They are friends even outside of work. They met in a woodworking class and bonded over harassing a person who was bullying Charles at the time. They joined the BSI family together and they were already best friends when the rest of the team met them. Susan and Charles friendship is the type where they jokingly threaten each other.

   Susan adopted and briefly owned a dog named Jaimito, a dog formerly owned by The Walten Family. He was given to the engineer after he bit Edward Walten and nearly gave him rabies. Jaimito passed away not long after Susan got him—not to be caused by any poor ownership on Susan's part. Despite this, Susan is a cat person.

   Susan would like the The Rock-afire Explosion on a technical level.

   Susan’s favorite Dippin’ Dots flavor would be Cookies ‘n’ Cream.

   Susan's favorite showstopper is Banny, as she was the first animatronic built for Bon's Burgers.

   In a hypothetical fight between Jack Walten and Susan, it could go either way; if Susan were to win it would be due to her being quite strong and working with heavy machinery while Jack is a "lanky businessman."

   Susan is incredibly confident in both her identity and her ability to create and manage the animatronics she has created.

   Susan is the most likely to get into bickers/arguments with Felix.

   Susan and Charles worked a small job as mechanics which is how they knew each other. The two met Felix, Jack, and Rosemary in 1959.

   Charles Brook was born on October 22nd, 1943. He is Italian-American and stands at 5'6", making him the shortest of the BSI crew. Charles wears a white shirt with a purple/lavender tie. He has a normal chevron-lampshade-styled mustache with a slight beard/facial hair along his jawline. Charles is Italian-American.

   Charles' ex-wife is named Emily and they divorced a few months before July 1974.

   He is described as a very selfless person and overly willing to help other at the expense of himself, to a pushover like level, with Charles being very easy to forgive someone and also, naive. Charles is bi-curious and has "flaming hot, homosexual thoughts about men" but chalks it down to "every guy thinks that sometimes".

   His favorite band is Lynyrd Skynyrd and his favorite song is Free Bird. Charles, if he was an uncle, would be the nicest uncle ever as he'd be a fun uncle. He would like rock music. He has a very joking, humorous personality, always loving to play with his nephews and nieces.

   Charles would be a huge fan of SpongeBob if he ever got to see it. Charles has ADHD and sometimes can struggle focusing on work though when he does, he does very well at his job.

   Charles would often bring Lily, his daughter, into work and everyone would take breaks from working just to play with her, no matter how much work they have to do. He would put Lily above anything else. Charles’ favorite movie to watch with Lily was The Point! His favorite song from the soundtrack is from "Me and My Arrow." Charles has a cassette of the album and would playfully dance with his daughter to the song or while watching the movie. He, similar to Felix, is referred to as "Uncle" due to him being close to the family.

   His favorite film is The Pink Panther.

   Charles is a rather relaxed, joking and humorous person, as shown through his interactions with Susan Woodings, where he's very casual and even a bit carefree. However, he is implied to be hard-working, as he states that he's worked with the Walten family for many years and takes notes when working with the unfamiliar CyberFun console, which indicates a strong work ethic. It is also mentioned that when Charles focuses on his work, he is proficient at it.

   He can be hard-working, as he states that he's worked with the Walten family for many years and takes notes when working with the unfamiliar CyberFun console, which indicates a strong work ethic. Because he helped make the BSI console with Susan, he may have some degree of engineering and/or programming expertise, which is impressive when considering the time and era.

   When he was younger, Charles jumped out of a window due to a dare and was injured, now having a huge scar on his chest.

   The biggest lightweight with alcohol in the BSI/CyberFun Tech Family is a tie between Charles or Felix. Susan is the least lightweight, being the one who can outdrink everyone. Charles would not be a "weird drunk", he would just be very silly and would fall asleep really quickly.

   Laura Peony is the younger sister of Rosemary Walten. As such, she resemble Rosemary in many ways - though she is noticeably shorter at 5'7".

   Laura had a bad relationship with her sister, Rosemary Walten. However, she didn't dislike the Walten siblings.

   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.

   By this point, Richie had befriended Chris, even offering to smoke with him though he is turned down as Chris didn't personally smoke.

   Richie is too irresponsible and immature to sell marijuana, if he did knew he'd smoke it all before he could sell it.

   Norman Pooltrick is the son of Jason Pooltrick and the owner and new CEO of CyberFun Tech. He eventually took over the business after his dad's passing, intending to push their technology further.

   As the CEO of CyberFun Tech, which owns Bunny Smiles Incorporated (BSI), he can make executive decisions for BSI. It also appears that any decisions made by BSI needed to go through him, as Richie states that Felix Kranken had a plan that he did not share with Norman YET. He seems to have a laissez-faire approach to management.

   In the mid-1960s, Norman accepted an offer by two young and aspiring entrepreneurs, Jack Walten and Felix Kranken, to create a company that would be later infamously known as Bunny Smiles Incorporated as a start for their dreams of opening a burger restaurant known as Bon's Burgers. As BSI was a sub-company under CyberFun Tech, Norman gave them financial and business support through his company to ensure their success and profit. Norman also gave BSI at least five animatronics to promote their restaurant, and it became their star attraction.

   Norman and his company used unique methods to recruit employees, as he often hosts yearly fairs called "Technology of the Future." He asks those who want to join CyberFun Tech to apply to the fair and have a prototype of their idea. As a result, new employees are those with intellectual genius or great inventions, perfect for his plans of pushing technology. He claims to have "met a lot of bright minds across the years using this method since the 1960s." Presumably, Jack and Felix may have found CyberFun Tech as a buyer in this specific fair.

   Norman and CyberFun Tech hold the distinction of creating excellent and almost futuristic animatronics, which he claims can resemble human performers. He also happily states that the animatronics may even be able to communicate with their clients via facial recognition systems that have been in development for several years. The company's breakthroughs were enormous and were "a new step in technology and entertainment" according to Norman.

   Jason Pooltrick is the founder of CyberFun Tech and the father of Norman Pooltrick. He died of heart failure on March 19th, 1952, and his son eventually took over the business.

   Jason Pooltrick was born sometime in 1889. In the early 20th century, roughly when Jason was in his 20s - 30s, he would have a son named Norman Pooltrick.

   Jason created CyberFun Tech with the sole purpose being to explore and push the limits of modern technology, specifically with entertainment. His company started off slowly, building Casino machines and developing games for it. The invention of the Advanced Jackpot system was credited to CyberFun Tech. Eventually, Jason expanded his relatively small team to a full-size company that investigated, researched, and developed game-changing systems for "maximum level of entertainment in the palm of your hand."

   His company began to expand so much that the company's work has been attributed and credited to amusement parks, apparently Disneyland, Casinos, Theatres, Restaurants, and a bowling alley on Cross Street.

   On March 19th of 1952, Jason passed away due to heart failure and he passed down his company to his son, who shared the same passion and dreams as his father did.

   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.

   Bon is really bulky. Combined with his towering height this makes it hard for him to fit through regular doorways, sometimes downright impossible.

   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.

   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".

   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".

   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 6'6".

   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".

   Rocket is an animatronic rabbit doll created by Jack Walten and Felix Kranken as a Christmas present in 1970 for Edd and Molly.

   Rocket is a short animatronic doll reminiscent of a rabbit. He is gray except for his belly, fingers, snout, and the inside of his ears, which are white. He also has blue eyelids and black eyes. The only items of clothing he wears are a blue bowtie and a single black button on his chest. Rocket is just under 30 inches tall.

   D1AL is a green rabbit with a color scheme made entirely with types of greens. D1AL's body is a pistachio green with her wearing a shirt and apple green skirt and pants that she seems to rotate between. Her pupils are square with it being the same color as her sclera and shirt, being celadon. Her ears float above her head with her left ear being longer than her right and bent down halfway and her fingers floating above her hand with her fingers being apple green like her skirt/pants and toes.

   D1AL is a fictional mascot used by Bunny Smiles Incorporated. D1AL is typically associated with Bon's Burgers technology, appearing on the monitors in the CRT Bunny Smiles Area, as well as other bits of merch. She doesn't have an animatronic of her own.

   She can often be found on monitors or televisions around Bon's Burgers, as well as other bits of technology.

   Post-Extensive Object Possession is the act of an inanimate object becoming more biological when possessed by a spirit, turning the object into the vessel of the spirit.

   A fictional example that can be used is Chucky in the 1988 film, Child's Play. Upon the death of Charles Lee Ray as a human and possessing a Good Guy doll. The doll over the period of one day became more and more human, gaining more realistic skin, a receding hairline, and teeth.

   A Peruvian child named Jazmin was crushed and killed by a piece of furniture. In the memory of the child, a doll was in the image of Jazmin and it wore clothes that Jazmin wore when she died. Similar to Chucky, The doll slowly started to become Jazmin's new body and begins to produce blood, tears, and eventually began to speak.

   Wonderland, the nickname given by "Bon", or "The Lobby", is described as a "Sub-Human Reality" 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 and a church. Felix Kranken's Car is also seen here. The Lobby seems to have a looping, continuous, and eerie ambience playing within it.

   When a person dies, or is in the brink of death, and goes to Wonderland, by default they appear as their corpse 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.

   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.

   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.

   Jessica is an employee at Bon's Burgers who works in Calls and Customer Service. She was born on October 1st. Jessica is 24 years old and stands at 5'7" with an average/slightly fluffy build. She has short, fluffy auburn hair, and brown eyes.

   Apparently, when smoking marijuana, she is not the relaxed type of stoner.

   Kevin Woodings is one of the Bunny Smiles Incorporated technicians involved with the Relocate Project.

   He is 15 years old. He somewhat resembles Susan Woodings, as he is her nephew. Kevin’s appearance is also similar to a member of the Beatles, specifically Paul McCartney.

   Kevin looked up to Susan a great deal.

   Wade Barclay is the older brother of Hillary Barclay. He was a short order cook for Bon's Burgers until it closed.

   At the start of Summer 1974, Wade was hired as a short order cook. He would notice several "red flags" of the restaurant before it opened and he, along with his fellow chefs, would watch a training kitchen tape from the BSI family.

   In March 1975, when his little sister, Hillary, was interested in becoming a K-9 Storage Facility caretaker, Wade tried to convince her otherwise though after her insistence, Wade would put in "the good word" due to his connections with BSI, getting Hillary hired.

   Wade is African-American.

   Hillary Barclay is one of the Bunny Smiles Incorporated technicians that was involved with the Relocate Project. She has curly light brown hair.

   When Hillary was younger, her older brother Wade Barclay, began working at Bon's Burgers and she would learn of its troubling life from her brother and rumors surrounding BSI. In March 1975, Hillary began working as a Facility Caretaker along a man named Richard. She worked two weeks every month with Richard working the remaining weeks. When Hillary was hired, she went to a large building called "Bunny Smiles Associates" with a big sign of Bon waving at employees and plastic statues from a show called "The Showstoppers" in the entry way. Hillary met with Felix in an office filled with TVs playing the show and commercials of various merch and products they sell which were on display on glass shelves.

   Hillary is a nerd when it comes to animatronics.

   Hillary is African-American.

   | October 30th, 1964,

   "Felix has been acting weird lately. He's been drinking more than usual. I am very worried about him.

   I don't know what to do.

   He came home at 4AM, he was crying, he seemed very unstable and stressed. I don't know what to do." |

   | August 23rd, 1965

   "I know I haven't talked here as much as I used to

   This month has been so so so so crazy, I moved in with Felix last week, he was very happy about it.

   Yesterday, Jack and Rose had their third child. A little girl! Her name is Molly, Molly Walten.

   Jack and Felix have been pitching up the "restaurant idea" with a company that's interested in the project. The name's "CyberFun Tech"" |

   | December 26th, 1970

   "Christmas was nice, they built a doll, a gray rabbit, for Edd and Molly, Molly named it Rocket.

   Felix drank a lot yesterday. This has been a problem for a while. He is a good person but he doesn't want to address this.

   It's getting worse and worse but he doesn't notice, he feels bad about it but doesn't try to change." |

   | January 3rd, 1973

   "It's getting worse, he's so submerged with their project that he doesn't notice the damage he's doing to himself, how much he's doing to me. He keeps going places only to drink, sometimes he even stays at the warehouse for the sole purpose of drinking, he doesn't listen, he never listens, I don't know what to do." |

   | Unknown

   "I DON'T KNOW WHAT TO DO! I AM SO WORRIED I [REDACTED] MAKE IT I JUST CANNOT HOW..." |

   | May 2nd, 1974

   "DEAR FELIX:

   By the time you're reading this. I shouldn't be home. I know you're confused, I'm confused too.

   what you said to me last week hurt me a lot but it opened my eyes. Hopefully, this opens your eyes too.

   our relationship isn't healthy, it never was.

   I'm leaving Brighton this morning. You're in the warehouse with Jack and the others as I'm writing this.

   By the time you're reading this, I'll already be in Hurricane.

   I know you are busy today doing Jack a favor. (Something related to a school party, I don't remember) But please go there when you have the time.

   As for me, I'll try to build my own life while I still can, you should do that too.

   I love you, goodbye - Linda" |

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