# Episode 8 - The Afton Family (Part III: The Afton Family Arc)

An episode of [Into The Night: A FNaF Podcast](https://invisiblenetwork.ai/podcast/1575845247), 28 Jan 2022, 1 h 06 min.

Audio: https://audio3.redcircle.com/episodes/6abe6137-f04e-456b-80ba-20105ec1e217/stream.mp3

Who was William Afton? Why did Michael Afton continue returning to Circus Baby’s Entertainment and Rentals, despite the danger? And what made the Funtime Animatronics so disturbingly self-aware and violent? In this episode, we retrace our steps to uncover what may have been overlooked in our first descent below the surface. Examining the Circus Baby Death Mini-Game, its haunting symbolism, and the twisted truths it reveals. We’ll also explore Sister Location’s Fake Ending, and break down the Custom Night plot twist—the revelation that reshaped the entire narrative structure of Five Nights at Freddy’s. Would you join us Into the Night? Support the Show on Patreon! patreon.com/NickBlack204 Official Discord: https://discord.com/invite/8p7tDE9VND Official Business Email: officialintothnightpodcast@gmail.com Official Question Email: officialintothenightquestions@gmail.com Official Twitter (@FazbearPodcast): https://twitter.com/FazbearPodcast Official YouTube: https://www.youtube.com/channel/UCkzY_ChXVIowflDO_MByfMA Official Merch Store: https://www.intothenightmerchstore.com/ Cast: Narrator: Nick Black Thumbnail Art by: YourResume All Sound Effects and Music from: Five Nights at Freddy's - Scott Cawthon/Leon Riskin, Steelwool Studios, Mega Cat Studios Post-Shift 2 - Rjac35 Popgoes - Kane Carter www.freesound.org www.videvo.net https://mixkit.co/ GFX sounds This content is similar in style to Wendigoon, Pastra, and UhYeah. The subject of this content is similar to Markiplier, Game Theory, and Dawko. The format of this content is similar to Retrospectives, Reviews, and Analysis videos. Five Nights at Freddy's and all its copyrighted work is owned by Scott Cawthon. Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

## Transcript

[0:15] \[SPEAKER_00\]: Hello, and welcome to Into the Night, a Fibrance of Freddy's podcast.
[0:22] \[SPEAKER_00\]: I am your host Nick, and thank you for listening.
[0:28] \[SPEAKER_00\]: In our last episode, we concluded the story of sister location, where Michael, in his naivety, followed Circus Baby's instructions under the false impression that he was eating, or perhaps even saving her.
[0:44] \[SPEAKER_00\]: However, Baby had merely been manipulating him, baning innocence while orchestrating his arrival at the scooping room.
[0:54] \[SPEAKER_00\]: It was there that she revealed her true intentions.
[0:58] \[SPEAKER_00\]: Unbeknownst to Michael, the other fun time animatronics had already been through the scooping room.
[1:05] \[SPEAKER_00\]: Their individual components dismantled and fused together in a grotesque amalgamation of rithering wires, tubes and disembodied eyes, an entity that canonically goes by the name of Enerde.
[1:23] \[SPEAKER_00\]: this mouth-formed mechanical collective had one objective to learn Michael into the scooping room and use its uponum's device to hollow him out, creating the perfect hiding space within his body.
[1:40] \[SPEAKER_00\]: The scooper of this rated Michael systematically extracting his internal organs and leaving a cavernous void from his waist to his neck.
[1:52] \[SPEAKER_00\]: entered, like a parasite assuming control of its host, then maneuvered its tendrils to remove any remaining biological obstructions before slipping inside, transforming Michael's lifeless husk into their grotesque disguise, like a deeply disturbed Scooby-Doo villain.
[2:16] \[SPEAKER_00\]: This macabre rules allow them to escape circus babies entertainment and rentals, infiltrating society undetected.
[2:25] \[SPEAKER_00\]: at least for a time.
[2:28] \[SPEAKER_00\]: But inevitably, time caught up with them.
[2:33] \[SPEAKER_00\]: As the days pass, their deception began to unravel quite literally.
[2:39] \[SPEAKER_00\]: As Michael's flesh started to decay, his once-living skin, now deprived of the vital functions that sustained it, took on a sickly paler, eventually darkening into a ghastly shade of purple.
[2:54] \[SPEAKER_00\]: The locals noticing his unsettling deterioration, recoiled in a horror, when the disguise can no longer serve its purpose, entered a band in Michael's husk, retreating into the sewers, and leaving his seemingly lifeless corpse discarded on the roadside, and yet, against all logic.
[3:18] \[SPEAKER_00\]: Michael?
[3:19] \[SPEAKER_00\]: Mood?
[3:21] \[SPEAKER_00\]: Despite being hollow, despite having no vital organs to stain him, no brain, no heart.
[3:29] \[SPEAKER_00\]: His body reanimated.
[3:31] \[SPEAKER_00\]: He rose to his feet.
[3:34] \[SPEAKER_00\]: His empty sockets now illuminated by eerie glowing white pin-prix that mimicked pupils.
[3:44] \[SPEAKER_00\]: It wasn't unnatural resurrection.
[3:47] \[SPEAKER_00\]: one that defied explanation.
[3:50] \[SPEAKER_00\]: Michael later recounted his revival, and what could only be presumed to be a phone call to his father, revealing to us that his initial purpose for entering Strucker's baby's facility, had been to rescue his sister.
[4:06] \[SPEAKER_00\]: Yet, to his surprise, the fun time animatronics had mistaken him for his father, likely due to their uncanny resemblance.
[4:17] \[SPEAKER_00\]: Now, with the second chance at existence, albeit when relegated to the shadows, Michael made a solemn vow.
[4:27] \[SPEAKER_00\]: He would bind his father,
[4:35] \[SPEAKER_00\]: during his time at the sister location facility.
[4:38] \[SPEAKER_00\]: Michael came to a harrowing realization.
[4:42] \[SPEAKER_00\]: His father's crimes, extended far beyond the destruction of his own life in childhood, William Afton, was responsible for the deaths of countless victims, shattering families and leaving behind a legacy of untold suffering.
[5:00] \[SPEAKER_00\]: This revelation fundamentally alters our understanding, but the fight has a pretty generative as we now know it, reshaping the entire story in one decisive stroke.
[5:15] \[SPEAKER_00\]: Tonight.
[5:16] \[SPEAKER_00\]: Much like we did with Finance at Freddy's Four, we will be piecing together the final fragments of the puzzle, addressing lingering questions, and unraveling the deeper mysteries that Sister Location left behind.
[5:30] \[SPEAKER_00\]: If you haven't already, I highly recommend listening to our previous two episodes to ensure your fully caught up on the events of Sister Location and our prior discussions.
[5:42] \[SPEAKER_00\]: In this episode, we will be delving into the truth behind the Afton family, the game's elusive secret ending, and the sinister purpose conceal beneath the facade of circus babies entertainment and rentals.
[5:59] \[SPEAKER_00\]: Additionally, we will cover the disturbing reality behind the designs of the fun time animatronics and what their existence reveals about William Afton's grander machination.
[6:14] \[SPEAKER_00\]: This is episode eight.
[6:17] \[SPEAKER_00\]: The Afton family.
[6:24] \[SPEAKER_00\]: Let us begin with the Circus Baby Deathmine game.
[6:31] \[SPEAKER_00\]: During the events of such location, players may occasionally encounter a secret minigame upon receiving a game over.
[6:38] \[SPEAKER_00\]: If Michael is jump-scarer and subsequently dies, there is a small chance before the game resets to the last checkpoint, which given such locations and tutorials difficulty could mean rewinding quite a ways back.
[6:54] \[SPEAKER_00\]: The player will instead be taken to an eight-bit death mini game, a returning feature from Banap II.
[7:01] \[SPEAKER_00\]: However, once Night Five has been completed in the game's true ending has been achieved.
[7:07] \[SPEAKER_00\]: This mini game becomes permanently accessible through the extras menu.
[7:11] \[SPEAKER_00\]: This particular mini game plays out as a two-day platformer, where the player controls Circus Baby.
[7:19] \[SPEAKER_00\]: tasked with distributing cupcakes to children within a strict time limit.
[7:25] \[SPEAKER_00\]: If the player either fails or chooses to exit the stage at its endpoint, remissant almost to an in-gull of a level in Sonic the Hedgehog, they are simply returned their last checkpoint in the main game, unable to retry them in a game until the next opportunity arises.
[7:42] \[SPEAKER_00\]: at first glance.
[7:44] \[SPEAKER_00\]: This minigame stands apart from the other death minigames found throughout the franchise.
[7:49] \[SPEAKER_00\]: Unlike the narrative heavy cutscenes of FNAF IV, its presentation is strikingly vibrant.
[7:56] \[SPEAKER_00\]: Nor is the tone as dreary and unsettling, as those from Penap II.
[8:01] \[SPEAKER_00\]: There is no immediate sense of dread, though over supernatural undertones.
[8:08] \[SPEAKER_00\]: The visuals are bright and colorful, accompanied by an upbeat chip II melody, and a warm, smiling sun, watches over the scene from the corner of the screen.
[8:22] \[SPEAKER_00\]: Upon reaching the goal post, regardless of the players' performance, they are met with a cheerful jingles celebrating their progress.
[8:31] \[SPEAKER_00\]: However, this light-hundred toe takes on a chilling turn.
[8:36] \[SPEAKER_00\]: If the player successfully satisfies every child in the minigame.
[8:42] \[SPEAKER_00\]: Upon doing so, an ice cream materializes just before the goal post.
[8:51] \[SPEAKER_00\]: Collecting it,
[8:53] \[SPEAKER_00\]: initiates a noticeable and quiet shift, both the music and the in-game timer slow down, with the melody distorting into a lower pitch.
[9:06] \[SPEAKER_00\]: with no immediate instructions.
[9:09] \[SPEAKER_00\]: Players instinctively begin retracing their steps, searching for a purpose behind the newly acquired item.
[9:17] \[SPEAKER_00\]: It is during this eerie backtrack that the players may begin to notice strange details that were easily overlooked in the initial Russia gameplay.
[9:28] \[SPEAKER_00\]: The most glaring discrepancy is Circus Baby herself.
[9:32] \[SPEAKER_00\]: Her eyes, which are normally a distinct emerald green, are now a lapis blue.
[9:41] \[SPEAKER_00\]: Additionally, the pattern which the children appeared throughout the level may start to feel familiar.
[9:51] \[SPEAKER_00\]: At first, the group seems random.
[9:54] \[SPEAKER_00\]: Two children, then three, then five, then four.
[9:59] \[SPEAKER_00\]: All smiling and cheering.
[10:02] \[SPEAKER_00\]: but upon closer examination, the sequence echoes something deeply significant.
[10:09] \[SPEAKER_00\]: Five nights at three days has along established a president's board's midgame serving as symbolic reenacuments of past events.
[10:18] \[SPEAKER_00\]: Circus Baby has only been on stage once before.
[10:26] \[SPEAKER_00\]: As the player retraces their path, passing through screens that once held children, they begin to dwindle and number her, four, then three, then two, until finally, the first screen is now reached, the void of any children.
[10:48] \[SPEAKER_00\]: But then, baby pauses,
[10:53] \[SPEAKER_00\]: Instead of continuing forward, she suddenly presents the ice cream the player picked up earlier, leaving it on the ground.
[11:03] \[SPEAKER_00\]: From the left side of the screen, a small figure emerges.
[11:09] \[SPEAKER_00\]: A young girl with blonde hair and green eyes, cautiously approaching the towering animatronic.
[11:20] \[SPEAKER_00\]: She steps closer, drawn in by the ice cream, reaching out for it, to her.
[11:29] \[SPEAKER_00\]: Then, a scream.
[11:36] \[SPEAKER_00\]: Baby's eyes go dark.
[11:38] \[SPEAKER_00\]: Her stomach cavity snapped open, revealing a mechanical appendage, which lunges forward with a horrifying precision.
[11:46] \[SPEAKER_00\]: The claw clasps around the little girl, wrenching her from the ground and yanking her inside.
[11:53] \[SPEAKER_00\]: She disappears into the animatronics torso, as the stomach hatch locks back into place, sealing her away.
[12:03] \[SPEAKER_00\]: The screen fades to black, swallowing the muffled cries of the girl.
[12:08] \[SPEAKER_00\]: Before, finally dissipating completely into the void.
[12:17] \[SPEAKER_00\]: This moment reveals the tragic events that led to Circus Baby's pizza world shutting its doors.
[12:24] \[SPEAKER_00\]: The one time Baby ever served ice cream from her stomach hatch.
[12:31] \[SPEAKER_00\]: Just as she eerily described, on night three.
[12:36] \[SPEAKER_00\]: The truth is undeniable.
[12:39] \[SPEAKER_00\]: Circus Baby killed that girl, luring her in when no one was watching.
[12:45] \[SPEAKER_01\]: And then, once the deed was done,
[12:50] \[SPEAKER_00\]: her eyes changed, from blue to green.
[12:56] \[SPEAKER_00\]: A soul had taken residence inside the machine.
[13:01] \[SPEAKER_00\]: A machine, the little girl loved, as revealed in a haunting dialogue from night three, when she spoke so fondly to baby.
[13:12] \[SPEAKER_00\]: But there's something I didn't include in our previous episode.
[13:17] \[SPEAKER_00\]: Not only was this a little girl enamored with circus baby, but her father was the very man who created her.
[13:27] \[SPEAKER_02\]: Daddy, what would you let him play with her?
[13:33] \[SPEAKER_05\]: Daddy just wants to let you be with her.
[13:37] \[SPEAKER_05\]: He's so pretty to show you.
[13:39] \[SPEAKER_05\]: Can you make her your dream?
[13:43] \[SPEAKER_00\]: This man, William Afton, the owner and founder of Afton Robotics in by extension, Circus Baby's Pizza World, is not just any business man.
[13:54] \[SPEAKER_00\]: He's the father of Michael Afton and this little girl, more notably, however, he's the very man who program the machine that ultimately took his daughter's life.
[14:10] \[SPEAKER_00\]: Remember what Circus Baby told Michael?
[14:14] \[SPEAKER_00\]: She claimed that when she was directed to attack the girl, she shifted.
[14:19] \[SPEAKER_00\]: Her body moved against her will, as if she had no control.
[14:26] \[SPEAKER_00\]: While Baby is far from the most trustworthy narrator, her hollow expression in dead eyes in the cutscene.
[14:35] \[SPEAKER_00\]: suggests there is no reason to doubt her in this instant.
[14:40] \[SPEAKER_00\]: She wasn't lying about this.
[14:42] \[SPEAKER_00\]: This girl's death is the reason Michael was sent down to the underground facility.
[14:48] \[SPEAKER_00\]: As the name of the game quite literally implies, this was his sister's location, his mission dictated by William, was to quote, put her back together on quote, whatever that meant.
[15:08] \[SPEAKER_00\]: Michael may not have fully understood what awaited him beneath the surface.
[15:12] \[SPEAKER_00\]: But one thing was certain.
[15:15] \[SPEAKER_00\]: He carried a guilt.
[15:17] \[SPEAKER_00\]: His younger brother's death weighed on him.
[15:20] \[SPEAKER_00\]: As the ending of draft four suggests, and now, yet another family tragedy had unfolded.
[15:28] \[SPEAKER_00\]: Unlike any other rational person who would have fled immediately upon seeing what worked in that place.
[15:35] \[SPEAKER_00\]: Michael stayed.
[15:38] \[SPEAKER_00\]: He was determined to save his sister.
[15:42] \[SPEAKER_00\]: And so, his debt at the hands of the scooper, perhaps, was not just something that happened to him, but rather a willing sacrifice, a redemption arc he cashed out in blood.
[16:01] \[SPEAKER_00\]: Michael Apton had taken the life of it in his sin before.
[16:05] \[SPEAKER_00\]: He had belonged on his hands.
[16:08] \[SPEAKER_00\]: And what better path to absolution than self-sacrifice?
[16:13] \[SPEAKER_00\]: He let himself be destroyed so that his sister could be set free.
[16:18] \[SPEAKER_00\]: He chose to trade his life for hers.
[16:23] \[SPEAKER_00\]: But as we all know, that's not how the story ends.
[16:31] \[SPEAKER_00\]: Michael didn't die, at least not fully.
[16:35] \[SPEAKER_00\]: Somehow, he still lives a purple hollow husk of himself.
[16:42] \[SPEAKER_00\]: But how?
[16:44] \[SPEAKER_00\]: Well,
[16:45] \[SPEAKER_00\]: will be getting into that very soon.
[16:48] \[SPEAKER_00\]: But before we do, I want to take a moment to appreciate just how incredible this death minigame is.
[16:57] \[SPEAKER_00\]: Sister Location is my favorite game in the franchise from a narrative standpoint.
[17:02] \[SPEAKER_00\]: Scott Cotton was on his A game when it came to visual storytelling, and the jump scare at the end of the baby's minigame is one of the most bone-chilling moments in the entire series.
[17:14] \[SPEAKER_00\]: The tension builds as you wash the little girl approach baby.
[17:19] \[SPEAKER_00\]: You know what's about to happen, but there's nothing you can do to stop it.
[17:25] \[SPEAKER_00\]: The anticipation is unbearable.
[17:29] \[SPEAKER_00\]: then the scream that horrifying unnatural blend of mechanical words and something still human.
[17:39] \[SPEAKER_00\]: It's one of the most effective moments in five minutes of phrase history, simple, chilling and utterly devastating.
[17:49] \[SPEAKER_00\]: for the more.
[17:51] \[SPEAKER_00\]: Sister Location boasts the most potent and iconic sense of identity of any setting in the entire FNAF franchise.
[18:00] \[SPEAKER_00\]: Its aesthetic cohesion is undeniable.
[18:03] \[SPEAKER_00\]: This is a circus of the dead.
[18:06] \[SPEAKER_00\]: The fun time animatronics all embody clan motifs.
[18:11] \[SPEAKER_00\]: Sergei's baby is a gesture.
[18:13] \[SPEAKER_00\]: Below it is an acrobatic ballerina.
[18:16] \[SPEAKER_00\]: Fun time-ready is for more traditional clown, along with his ventralquism.
[18:21] \[SPEAKER_00\]: Fun time-foxy.
[18:24] \[SPEAKER_00\]: Exist.
[18:25] \[SPEAKER_00\]: To be fair, in a future game, ultimate custom night, fun time-foxy's circus identity would be cemented to be that of the ringmaster, speaking into the megaphone.
[18:40] \[SPEAKER_00\]: But the circus theme runs deeper than just aesthetics.
[18:44] \[SPEAKER_00\]: The animatronics in this location are not merely performers.
[18:49] \[SPEAKER_00\]: They are caged attractions, animals, forced into submission.
[18:56] \[SPEAKER_00\]: The electrocution system used to make them behave in perform mirrors the crude treatment of wild animals and captivity, like creatures whipped into obedience, the animatronics endure suffering the amusement of their unseen audience.
[19:14] \[SPEAKER_00\]: but as anyone with the brain knows, corner and animal, especially a predator, and you will find no fury like that of a desperate beast.
[19:25] \[SPEAKER_00\]: This underground circus setting is everywhere in sister location.
[19:31] \[SPEAKER_00\]: The massive elevator, a door with posters promising sites that echo the age-old carnie's slogan,
[19:40] \[SPEAKER_00\]: The slanted observation windows, distorting your perception like a fun house mirror, the multicolored neon lights illuminating circus babies auditorium, the small toys and knickknacks, the tiny magicians that e-retriplet heads the carnival caricatures, all subtle nods the side hustles, and cheap tricks that line the outstrips at any big top performance.
[20:06] \[SPEAKER_00\]: Scott Cotton's choice of a carnival slash circus aesthetic was no accident.
[20:13] \[SPEAKER_00\]: Carnival symbolize chaos.
[20:18] \[SPEAKER_00\]: A place where the rules of everyday life are suspended in pursuit of spectacle is a setting of temptation and danger where three of those mask hidden horrors.
[20:32] \[SPEAKER_00\]: and sister location embodies this perfectly.
[20:38] \[SPEAKER_00\]: The clowns perform, dazzling with their technological brilliance, blurring children in with promises of ice cream and wonder, but beneath the cheerful facade lies a trap.
[20:52] \[SPEAKER_00\]: Those who step too close are not just entertained.
[20:56] \[SPEAKER_00\]: They are kidnapped, imprisoned,
[20:59] \[SPEAKER_00\]: and ultimately consumed.
[21:13] \[SPEAKER_00\]: Now you may be asking, what exactly do I mean by that last part?
[21:18] \[SPEAKER_00\]: To answer that, we need to take a closer look at the fun time and electronics themselves.
[21:25] \[SPEAKER_00\]: We now understand that the closure of Circus Baby's Pizza World, it wasn't just due to the disappearance of William Appton's daughter.
[21:33] \[SPEAKER_00\]: It was because of what caused her disappearance.
[21:37] \[SPEAKER_00\]: But that raises an even more chilling question.
[21:41] \[SPEAKER_00\]: Why are the fun time animatronics not only self-aware, but also so violent?
[21:49] \[SPEAKER_00\]: We know William Afton personally designed this line of animatronics.
[21:54] \[SPEAKER_00\]: They are state-of-the-art, capable of sophisticated movements, speech, and highly advanced AI.
[22:01] \[SPEAKER_00\]: But beneath their polished exteriors in entertaining personas, they are programmed for something far more sinister.
[22:09] \[SPEAKER_00\]: They don't just perform.
[22:12] \[SPEAKER_00\]: They hunt.
[22:14] \[SPEAKER_00\]: Their actions are not random.
[22:16] \[SPEAKER_00\]: They operate based on specific parameters, coldly executing whatever commands have been coded into them.
[22:24] \[SPEAKER_00\]: We get a glimpse of this in Sister Location.
[22:27] \[SPEAKER_00\]: When we hear the board members discussing their true capabilities in Episode Six, William Afton did not just create entertainment.
[22:36] \[SPEAKER_00\]: He engineered Proletters.
[22:41] \[SPEAKER_03\]: No doubting what you've achieved on a technical level.
[22:44] \[SPEAKER_03\]: These aren't clearly stated the art.
[22:47] \[SPEAKER_03\]: There are just certain design choices that were made for these robots that we don't fully understand.
[22:55] \[SPEAKER_03\]: We were hoping that you could shed some light on those.
[22:59] \[SPEAKER_03\]: Shaking dots, shaking things.
[23:01] \[UNKNOWN\]: Shaking things.
[23:02] \[SPEAKER_03\]: Shaking things.
[23:02] \[SPEAKER_03\]: Shaking things.
[23:03] \[SPEAKER_03\]: Shaking things.
[23:03] \[SPEAKER_03\]: Shaking things.
[23:03] \[UNKNOWN\]: Shaking things.
[23:04] \[UNKNOWN\]: Shaking things.
[23:04] \[UNKNOWN\]: Shaking things.
[23:05] \[SPEAKER_03\]: Shaking things.
[23:05] \[SPEAKER_03\]: Shaking things.
[23:07] \[SPEAKER_03\]: She can take some requests.
[23:09] \[SPEAKER_03\]: She can even dispense a nice crew.
[23:12] \[SPEAKER_03\]: With all due respect, those are the design choices we were curious about Mr. App.
[23:18] \[SPEAKER_00\]: Exactly, with the design choices that had the board directors so concerned, so concerned that they felt compelled to question William Afton directly.
[23:29] \[SPEAKER_00\]: Well, luckily for us, we don't have to speculate.
[23:33] \[SPEAKER_00\]: While these answers are not provided in the game itself, they do exist.
[23:38] \[SPEAKER_00\]: It didn't deep within Sister Location's Game Biles.
[23:42] \[SPEAKER_00\]: Scott Coffin must have anticipated that dedicated players would eventually uncover them.
[23:47] \[SPEAKER_00\]: And what these Blueprints reveal is nothing short of terrifying.
[23:52] \[SPEAKER_00\]: Each fun time animatronic is equipped with an array of unsettling features.
[23:58] \[SPEAKER_00\]: Fun time Freddy, just by himself, both proximity sensors, the rest sixty degree parental motion tracking, and a voice modulator designed for mimicry and luring.
[24:11] \[SPEAKER_00\]: other fun times have deterre a misdirect activation.
[24:14] \[SPEAKER_00\]: Parental voice sync and replay systems, in something ominously labeled, variables sent release, which could be anything from an enticement measure to something far more sinister like chloroform.
[24:29] \[SPEAKER_00\]: By now, it's clear.
[24:32] \[SPEAKER_00\]: These machines were not just advanced and matronics.
[24:36] \[SPEAKER_00\]: They were designed to kill, to abduct, to leave, no trace.
[24:45] \[SPEAKER_00\]: In the Blueprints Guild even further, revealing exactly how they were meant to operate.
[24:51] \[SPEAKER_00\]: Inside of both Circus Baby and Funtime Freddy, we find storage tanks, chambers, disturbingly shaped to fit small children.
[25:01] \[SPEAKER_00\]: Some versions of the blueprint, even to pick big ears already inside them.
[25:07] \[SPEAKER_00\]: This was suggest that the Funtime animatronics worked in tandem.
[25:11] \[SPEAKER_00\]: Puntipoxy would alert children away.
[25:14] \[SPEAKER_00\]: Puntipherty would separate and isolate his target.
[25:18] \[SPEAKER_00\]: Blower and Circus Baby would function the same way, with Blower and Baby working in Tando.
[25:24] \[SPEAKER_00\]: Even Baby herself hints at this in Sister Location, reminiscing about the day William Afton's daughter died.
[25:31] \[SPEAKER_00\]: She recalls how the other children left, but never explains why.
[25:36] \[SPEAKER_00\]: Perhaps because Blower was leading them away.
[25:43] \[SPEAKER_05\]: Considering the evidence, there appears to be a conspiracies surrounding Circus Baby's Pizza World.
[26:09] \[SPEAKER_00\]: one that involves the kidnapping of children, and disturbingly, William Afton himself seems to be at the center of it.
[26:19] \[SPEAKER_00\]: Based on the evidence presented, we can only confirm one definitive victim of the fun time animatronics, William's own daughter.
[26:29] \[SPEAKER_00\]: At most, a second victim might exist, one who inhabits fun time Freddy if the blueprints are to be believed.
[26:37] \[SPEAKER_00\]: But that brings us to a critical question.
[26:41] \[SPEAKER_00\]: If these animatronics were so dangerous, why would after robotics moved forward with circus babies entertainment and rentals?
[26:49] \[SPEAKER_00\]: Why invest money, resources, and secrecy into a project that, de-down, the already new was deadly?
[26:58] \[SPEAKER_00\]: Fazbear Entertainment has always been a company of blatant negligence, cutting corners, covering up crimes, and doing whatever it takes to maintain the illusion of a safe family-friendly brand.
[27:10] \[SPEAKER_00\]: Their disregard for human life is almost comically evil, but that negligence has always been in the context of the supernatural element they didn't fully understand.
[27:21] \[SPEAKER_00\]: The Aton Robotics Board, however, knew exactly what these animatronics were capable of, so why keep them around?
[27:31] \[SPEAKER_00\]: Now, before we go any further, I need to clarify.
[27:35] \[SPEAKER_00\]: What I'm about to propose is a theory.
[27:38] \[SPEAKER_01\]: This is not confirmed canon, but I believe the evidence supports it, and it's worth a series consideration.
[27:47] \[SPEAKER_01\]: Are you ready?
[27:49] \[SPEAKER_01\]: Here it is.
[27:51] \[SPEAKER_00\]: If the fun time animatronics were so apparent, why not simply scrap them?
[27:57] \[SPEAKER_00\]: If after robotics went to erase evidence, why not dismantle the robots, toss them into a landfill, and let them rust away.
[28:07] \[SPEAKER_00\]: or if secrecy was the concern, why not do what Bazbear Entertainment had done before?
[28:13] \[SPEAKER_00\]: Should everything down and leave the pizzeria to rot and move on?
[28:18] \[SPEAKER_00\]: Why instead go through the effort of building an elaborate underground facility to house them?
[28:23] \[SPEAKER_00\]: Sure, it's likely that the underground structure already existed, but why not repurpose it into something far more lucrative?
[28:33] \[SPEAKER_00\]: Unless...
[28:34] \[SPEAKER_00\]: There was a benefit to keeping the fun time animatronics around.
[28:40] \[SPEAKER_00\]: I submitted this theory.
[28:43] \[SPEAKER_00\]: Circus babies entertainment and rentals was never a real business.
[28:50] \[SPEAKER_00\]: It was a cover up.
[28:52] \[SPEAKER_00\]: A front design not just to hide the fun time animatronics from public scrutiny, but to experiment on them, dissect them and study them.
[29:04] \[SPEAKER_00\]: because whatever adorabonics was doing down there, they weren't done yet.
[29:09] \[SPEAKER_00\]: When we look at the previous instalments in the franchise, there's something we know about the possession of animatronics.
[29:16] \[SPEAKER_00\]: We understand that a soul is bound to the rules of their new vessel.
[29:21] \[SPEAKER_00\]: This explains why the animatronics infinite one always return to their original positions at six a.m.
[29:28] \[SPEAKER_00\]: Or why Springtrap can't resist moving toward the sound of children.
[29:33] \[SPEAKER_00\]: His suit's automated systems are still tuned to respond to it.
[29:38] \[SPEAKER_00\]: However, while these spirits fall the rules of a machine, they still retain their supernatural effects due to the souls possessing them.
[29:49] \[SPEAKER_00\]: Now, let's take a step further into Circuit Baby's entertainment and rentals.
[29:55] \[SPEAKER_00\]: What if?
[29:56] \[SPEAKER_00\]: For some reason, after robotics couldn't turn off the fun time animatronics.
[30:03] \[SPEAKER_00\]: What if they kept operating even without power?
[30:07] \[SPEAKER_00\]: This could explain why the entire facility operates more like a zoo.
[30:12] \[SPEAKER_00\]: The animatronics are still active at night, despite known visible power solvers.
[30:18] \[SPEAKER_00\]: After robotics would need to control them, forcing them into the designated positions using electronic shocks to force them to behave.
[30:27] \[SPEAKER_00\]: Now you might be thinking.
[30:29] \[SPEAKER_00\]: Hold on, night three is all about maintenance right?
[30:32] \[SPEAKER_00\]: The objective is to remove the power modules from runtime pretty and his hand puppet bond bond.
[30:39] \[SPEAKER_00\]: This is true, but there's a catch.
[30:42] \[SPEAKER_00\]: Hand unit are guiding the facility, is far from trustworthy.
[30:48] \[SPEAKER_00\]: Think about it.
[30:49] \[SPEAKER_00\]: Even after Balor was scooped, she was still active.
[30:53] \[SPEAKER_00\]: Not only that, but inhered, it can glomerate of animatronic parts, was able to remain active, despite being inside of Michael's body for several days.
[31:05] \[SPEAKER_00\]: There's something much more going on here, something supernatural, remnant.
[31:12] \[SPEAKER_00\]: Now, Remnant doesn't fully enter the canon until thirty fowsebear's pizza rea simulator, and because it's such a strange element in the fanath world, I won't be diving into it here, but those of you are curious.
[31:26] \[SPEAKER_00\]: We will have an entire episode later in the series, we will discuss Remnant's an agony in depth, exploring their supernatural influence both from a lore perspective and through symbolic meta-narrative linds.
[31:39] \[SPEAKER_00\]: For now, let's focus on the animatronics themselves, which brings us to another important aspect of this theory, the placement of social occasion in the timeline.
[31:54] \[SPEAKER_00\]: The timeline for this game isn't perfectly clear, but we do know that it takes place after fine arts at Freddy's full war.
[32:03] \[SPEAKER_00\]: The question is, does it occur before, or after the other fanath games?
[32:10] \[SPEAKER_00\]: I would argue that it does fit in between some of the others.
[32:15] \[SPEAKER_00\]: We know from Michael's final line of the game that he's aware of his father's dark deeds and is playing to confront him.
[32:34] \[SPEAKER_00\]: This line tells us that Michael knows what his father has done, and he's now on a path to stop him, which ties into the larger timeline.
[32:42] \[SPEAKER_00\]: We also know that this location takes place during a time when pretty fastbears pizza is closed down.
[32:50] \[SPEAKER_00\]: Handied it, are somewhat unreliable narrator, even mentions this.
[32:56] \[SPEAKER_04\]: The massive success, even more so at the unfortunate closing of Freddie Aspere's pizza, it was clear that the stage was put on intended for another contender in children's entertainment.
[33:07] \[SPEAKER_00\]: But by this point, Freddy Fazbear's pizza has closed down three times already.
[33:12] \[SPEAKER_00\]: The first closure happened in nineteen eighty-five after the missing children's incident, followed by a rebrand.
[33:19] \[SPEAKER_00\]: The second closure was in November, nineteen eighty-seven, with the launch of the new Freddy Fazbear's pizza featuring the toy animatronics, a failure marked by the second missing children's incident, and the infamous bite of eighty-seven.
[33:34] \[SPEAKER_00\]: The third closure occurred in nineteen ninety-three, when the last surviving Freddy Fazbear's pizza shut down, marking the setting but the original five minutes at Freddy's.
[33:45] \[SPEAKER_00\]: Considering handing his statement about Freddy's being, successful before things went to hell, it doesn't make sense for him to reference it after two or FNAF one, given how disastrous the brand had become by then.
[33:58] \[SPEAKER_00\]: Additionally, we know that Michael is the nightguard in FNAF one.
[34:03] \[SPEAKER_00\]: given the similarities between the pink slopes attained in both that app one and two's customite mode.
[34:08] \[SPEAKER_00\]: Things like tampering with animatronics and foul odor.
[34:11] \[SPEAKER_00\]: It adds up this is relating to Mike for his rotting stench, and the result of his own curiosity of his past actions.
[34:19] \[SPEAKER_00\]: My Exposition if an F-II also makes more sense to occur after Sister Location.
[34:24] \[SPEAKER_00\]: He would have arrived at the location after the events of the second missing children's incident.
[34:29] \[SPEAKER_00\]: And by the time of an F-I, we know that William Afton is trapped behind the walls of the restaurant from F-I-F-III.
[34:36] \[SPEAKER_00\]: This makes Sister Location that logically before the events of an F-II.
[34:41] \[SPEAKER_00\]: meeting that by this point in the timeline.
[34:44] \[SPEAKER_00\]: Michael had accidentally killed his younger brother, but had not yet taken out the position of a night guard at Freddy Fazbear's Pizza, even if you disagree with that assessment.
[34:55] \[SPEAKER_00\]: This still creates a window of time spanning from Ninety-E-E-III to Ninety-E-III, a ten-year window.
[35:04] \[SPEAKER_00\]: If we accept this, you must also acknowledge something crucial.
[35:09] \[SPEAKER_00\]: have remarkably advanced the technology in robots are in instillocation.
[35:15] \[SPEAKER_00\]: The fun time animatronics are arguably the most advanced machines in the entire fun as a pretty series, potentially even rivaling the glam rock animatronics in the future in terms of capability.
[35:27] \[SPEAKER_00\]: These robots are at only capable of performing multiple complex actions and functions, but also possess an AI system that borders on self-awareness, mimicking a human conscience.
[35:40] \[SPEAKER_00\]: Given this, could one reason, for after-a-bots reluctance to destroy the fun-time animatronics, be that they're trying to replicate their technological advancements.
[35:52] \[SPEAKER_00\]: Remember, the fun-time robots were originally designed and created by a William Afton himself.
[35:58] \[SPEAKER_00\]: However, after the true purpose of these animatronics was uncovered by the board of after-a-bots, William was likely fired.
[36:09] \[SPEAKER_00\]: It's possible they didn't arrest him, as doing so would expose their involvement in the child murders, ruining Fazbear Entertainment and Adrobatics for good, with William out of the picture.
[36:21] \[SPEAKER_00\]: Adrobatics may have struggled to recreate the level of AI and robotics they had once had, particularly their Billy Demimic Advanced AI.
[36:30] \[SPEAKER_00\]: This could explain why after robotics chose to lock the fun time animatronics away underground, restricting access to only a handful of engineers.
[36:39] \[SPEAKER_00\]: They likely did this to maintain secrecy, working to understand and replicate the technology William had developed.
[36:47] \[SPEAKER_00\]: Meanwhile, they used hand unit to manage the day-to-day operations of circus babies entertainment and rentals, while utilizing the skipping room to dissect the entrance with that destroying their familiar exteriors.
[37:01] \[SPEAKER_00\]: This could also shed light on several oddities and inconsistencies that Michael experiences during his time as such a location.
[37:09] \[SPEAKER_00\]: For example, the danger tape blocking the vent shaft Michael crawls through, or the fact that he needed insist on shocking the robots to force them to comply.
[37:19] \[SPEAKER_00\]: These actions can be part of after Robotics efforts to rediscover the secrets of how William built the fun time animatronics, all while maintaining control over their precious creations, while obfuscating and deterring anyone who wishes to venture forward.
[37:36] \[SPEAKER_00\]: This theory could also explain why Fazbear entertainment invested so heavily, the toy animatronics.
[37:44] \[SPEAKER_00\]: As phone guy mentions in FNAB II, these robots cost a small fortune, and it's clear that the fun time animatronics were far more expensive to build a main team.
[37:55] \[SPEAKER_00\]: So, it stands to reason that After Robotics could have replicated some of the fun time technology, when developing the toy animatronics for bazwares, perhaps even successfully so.
[38:07] \[SPEAKER_00\]: If sister location takes place before for an app too, it's conceivable that After Robotics was able to transfer some of the fun time advancements into the toy models.
[38:19] \[SPEAKER_00\]: However, there are still holes in this theory.
[38:23] \[SPEAKER_00\]: A key point of contention comes from the novella ditto fubia, which suggests that circuit babies entertainment and rentals was abandoned at one point.
[38:31] \[SPEAKER_00\]: with the fun time animatronics, still present, but strangely inactive.
[38:37] \[SPEAKER_00\]: This could explain the caution tape found around the primary control module, at the start of the location, indicating that the animatronics were shut down for some reason, and the site abandoned.
[38:48] \[SPEAKER_00\]: Unfortunately, we never really learned what happens to after robotics after this, as the company doesn't feature prominently in the main line games.
[38:57] \[SPEAKER_00\]: in many instances, Fazbear Entertainment and Natural Botics seem almost interchangeable, but this blending of companies make a certain kind of sense given their intertwined histories.
[39:10] \[SPEAKER_00\]: And before we move on from this, I'll leave you with one of my favorite Banath Easter eggs.
[39:16] \[SPEAKER_00\]: One that's easy to miss at first.
[39:19] \[SPEAKER_00\]: There are two main companies throughout the series, Fazbear Entertainment, and after robotics,
[39:26] \[SPEAKER_00\]: If you take the first initials of each part of their name, you get F-E-A-R-Feer.
[39:43] \[SPEAKER_00\]: After completing the circus baby death mini game, players unlock a secret ending in such a location.
[39:49] \[SPEAKER_00\]: While this fake ending is in the true conclusion, it still carries canonical weight, offering a what-if scenario that enhances the story's complexity.
[40:01] \[SPEAKER_00\]: Let's revisit Night Five, shall we?
[40:03] \[SPEAKER_01\]: Question trigger, parts and surveys.
[40:12] \[SPEAKER_00\]: As Michael makes his way through person's service, having crawled through fun time auditorium to reach the maintenance room, it comes face to face with a decommissioned circus baby.
[40:23] \[SPEAKER_00\]: She's a limp and lifeless, a hollow shell of her former cell.
[40:29] \[SPEAKER_00\]: Yet her voice still emerges from within her body, a haunting remnant of her former consciousness.
[40:36] \[SPEAKER_00\]: She attempts to appeal to Michael, claiming that something terrible has happened, that something dark resized deep within her, that it must be destroyed.
[40:48] \[SPEAKER_00\]: She urges him to rid her of it, but insist that the good must be preserved.
[40:56] \[SPEAKER_00\]: Michael, however, isn't easily convinced.
[41:01] \[SPEAKER_00\]: He have heartily complies with baby's request.
[41:04] \[SPEAKER_00\]: Though his actions are different more by unsettling feeling that something is a watching him, something in the shadows, thin in large, swaying back and forth, almost like a metronome, observing his every movement with quiet intensity.
[41:25] \[SPEAKER_00\]: Once Michael is allowed to leave Carson's service, baby directs him to the scooping room to the south of fun time auditorium.
[41:34] \[SPEAKER_00\]: However, as she distracts him with instructions, Michael sees his opportunity to escape, instead of heading south, he makes a swift turn to north, where he encounters a steel security door in a keypad.
[41:50] \[SPEAKER_00\]: He inserts the keycard, and enters a private room, unlocking the door behind him.
[41:58] \[SPEAKER_00\]: as Michael takes in the unfamiliar surroundings.
[42:02] \[SPEAKER_00\]: He struck by a sense of... deja vu.
[42:07] \[SPEAKER_00\]: The room looks eerily similar to the security offices from pretty fast bears pizza, soda cups, bits of trash here and there, and pictures hanging along the walls.
[42:19] \[SPEAKER_00\]: Three monitors display nothing but static sit on a small desk, alongside a security tablet that gives him access to the facility's cameras.
[42:29] \[SPEAKER_00\]: Perhaps the most heart-wrenching item in the office is a golden Fredbear plush, leaning against the monitors.
[42:39] \[SPEAKER_00\]: The plush is lifeless, is yellow fur faded and worn.
[42:44] \[SPEAKER_00\]: In its stubby paws, is a small rectangular device, possibly a remote or communication radio, that which exact function remains unclear.
[42:56] \[SPEAKER_00\]: Besides the plush mounted on the wall, is a small numerical keypad.
[43:02] \[SPEAKER_00\]: Michael approaches and enters, one nine eight three.
[43:09] \[SPEAKER_00\]: Immediately, the static monitors flicker to life.
[43:13] \[SPEAKER_00\]: But what they display isn't the facility he's currently trapped in.
[43:17] \[SPEAKER_00\]: Instead, the strange shall black and white footage of a child's bedroom.
[43:24] \[SPEAKER_00\]: One camera shows the bed.
[43:26] \[SPEAKER_00\]: The other, the general layout of the room.
[43:30] \[SPEAKER_00\]: A third camera shows a hallway with various doorways, and alone share the end of the corridor.
[43:38] \[SPEAKER_00\]: This is the bedroom in five nights at Freddy's floor, and that plush Fredbear must have belonged to the crime child, his only companion.
[43:51] \[SPEAKER_00\]: While psychological distress was clearly at play, no concrete explanation was ever provided for how the plush bear managed to appear in every room of the house.
[44:02] \[SPEAKER_00\]: Was it teleporting?
[44:04] \[SPEAKER_00\]: Was it merely in illusion a hallucination about the boy's tortured subconscious?
[44:10] \[SPEAKER_00\]: But what if the answer was far simpler?
[44:14] \[SPEAKER_00\]: What if this bear wasn't just emotional support?
[44:18] \[SPEAKER_00\]: But actually, hiding any cans.
[44:22] \[SPEAKER_00\]: Perhaps the plush Fredbear's report and elaborate surveillance system designed to keep tabs on the children.
[44:29] \[SPEAKER_00\]: The eyes of the Fredbear plush, following the crying shallower ever he goes.
[44:35] \[SPEAKER_00\]: Could it be that there was no supernatural element to play there at all?
[44:39] \[SPEAKER_00\]: Just a deepling, unsettling form of surveillance?
[44:44] \[SPEAKER_00\]: as Michael continues to watch the monitors.
[44:47] \[SPEAKER_00\]: The familiar static buzz fills the air, and then, with a crackle, the voice of Hanyu comes online.
[44:55] \[SPEAKER_00\]: This time, colder, more stern and direct than before.
[45:00] \[SPEAKER_04\]: It seems that you have accidentally wandered into a restricted area.
[45:06] \[SPEAKER_04\]: of nature of the material that you may be exposed to fear.
[45:09] \[SPEAKER_04\]: You will not be allowed to leave until the cleanup crew arrives at six a.m.
[45:13] \[SPEAKER_04\]: So take time.
[45:14] \[SPEAKER_04\]: Rest assured that you will be properly rescued, fired, then said hope.
[45:19] \[SPEAKER_04\]: Thank you for being on it for you.
[45:21] \[SPEAKER_04\]: We hope that your experience has not been as irreplaceable as ours.
[45:27] \[SPEAKER_00\]: The sound of scrapes and mechanical squeaks echoed to the holes.
[45:32] \[SPEAKER_00\]: Michael checked the cameras and froze.
[45:35] \[SPEAKER_00\]: There, turned directly at him from the tablet screen.
[45:40] \[SPEAKER_00\]: Was the mechanical mess that was entered?
[45:45] \[SPEAKER_00\]: The wires hung like muscle tissue, twitching like a sickly organic mass.
[45:51] \[SPEAKER_00\]: In the harsh light, Michael could finally make out the grotesque shape of the creature.
[45:57] \[SPEAKER_00\]: Its bulky humanoid form was a natural and horrifying.
[46:02] \[SPEAKER_00\]: The face was hidden behind a white porcelain clown mass.
[46:07] \[SPEAKER_00\]: One Michael had passed many times in the primary control module, topped with a bright neon party hat and a button red nose.
[46:16] \[SPEAKER_00\]: beneath the mask, the Indosculton's head was fragmented.
[46:20] \[SPEAKER_00\]: It's a lower jaw ripped off, sparking wires hanging from the gaping hole.
[46:26] \[SPEAKER_00\]: It's a right eye dangling by the optic nerve leaking some sort of fluid.
[46:33] \[SPEAKER_00\]: But there was more than just one set of eyes.
[46:36] \[SPEAKER_00\]: The fun time animatronics, the amalgam of horrors that made up inner form, had their eyes scattered across its body, on its chest, its arms, its legs, even its back, all blinking erratically.
[46:53] \[SPEAKER_00\]: As the creature began to creep forward toward the private room, Michael could hear babies' voice ring out.
[47:01] \[SPEAKER_06\]: Why didn't you trust me?
[47:04] \[SPEAKER_06\]: Why didn't you believe me?
[47:09] \[SPEAKER_06\]: Sometimes I don't understand why people do things that they do.
[47:15] \[SPEAKER_06\]: I thought you liked me.
[47:17] \[SPEAKER_00\]: Inert's presence grew more medicing as a crept closer.
[47:21] \[SPEAKER_00\]: It moved from the east and west hallways and to the vent above the room.
[47:26] \[SPEAKER_00\]: It's movement slow but deliberate.
[47:29] \[SPEAKER_00\]: Always drawing closer.
[47:32] \[SPEAKER_00\]: Michael desperately used the steel security doors to bend off the creature.
[47:36] \[SPEAKER_00\]: But as the night dragged on, Inert grew more and more restless.
[47:41] \[SPEAKER_06\]: You don't want to hurt anyone.
[47:44] \[SPEAKER_06\]: I can need you.
[47:48] \[SPEAKER_06\]: We need you so that we can live.
[47:51] \[SPEAKER_06\]: We need you so that we can hide.
[47:54] \[SPEAKER_00\]: At first, these lines might have seemed like a last-edge attempt for sympathy, but Michael quickly realized the truth.
[48:02] \[SPEAKER_00\]: She was no longer his sister.
[48:04] \[SPEAKER_00\]: She was a machine trying to manipulate him to use his emotions against him.
[48:11] \[SPEAKER_06\]: We need you so that we can look like you.
[48:16] \[SPEAKER_06\]: If they find us like this, we won't be able to try again.
[48:23] \[SPEAKER_06\]: If they find us like this, we won't be able to try again.
[48:29] \[SPEAKER_06\]: You must help us.
[48:31] \[SPEAKER_06\]: You must let us inside the room.
[48:36] \[SPEAKER_00\]: The deeper Michael dealt into the night, the more desperate and emotional baby became, pulling out every psychological trick she could.
[48:45] \[SPEAKER_06\]: I don't understand.
[48:46] \[SPEAKER_06\]: You won't die.
[48:50] \[SPEAKER_06\]: And if it will only hurt for a moment, isn't this why you came here to be with her again?
[48:58] \[SPEAKER_00\]: Then suddenly... Hello?
[49:01] \[SPEAKER_00\]: Baby's always shifted.
[49:03] \[SPEAKER_00\]: Hello?
[49:03] \[SPEAKER_00\]: And it now carried the voice.
[49:10] \[SPEAKER_00\]: of Michael's sister, the soul trapped within Circus baby's brain.
[49:17] \[SPEAKER_00\]: Michael must have felt an overwhelming wave of torment.
[49:21] \[SPEAKER_00\]: The voice of his beloved dead sister, long thought dead, twisted and corrupted into something horrific.
[49:28] \[SPEAKER_00\]: His heart must have been racing, tears welling in his eyes as the creature, now both familiar and monstrous, used their voice against him.
[49:38] \[SPEAKER_00\]: He would have never imagined that we hear his sister again, let alone in such a twisted nightmarish form.
[49:50] \[SPEAKER_03\]: inside the room.
[49:52] \[SPEAKER_02\]: Isn't this way easy?
[49:54] \[SPEAKER_06\]: To be with me.
[49:57] \[SPEAKER_06\]: Everything is okay.
[49:59] \[SPEAKER_06\]: I'm still here.
[50:02] \[SPEAKER_00\]: as the Night War on.
[50:04] \[SPEAKER_00\]: Energy movement grew faster, more frantic, more desperate.
[50:09] \[SPEAKER_00\]: It charges the security doors at every opportunity.
[50:12] \[SPEAKER_00\]: The sounds of creaking metal and grinding gears grew louder, faster, as the power drain from the steel doors that reserves to windling to single digits.
[50:23] \[SPEAKER_00\]: The tension reached its peak when finally, the lights flickered.
[50:30] \[SPEAKER_00\]: The steel door behind Michael unlocked, and he made his escape as the clock struck six a.m.
[50:47] \[SPEAKER_00\]: Later, Michael is seen at home, casually watching his soup operas, sitting with a fresh bowl of popcorn.
[50:56] \[SPEAKER_00\]: This time with a exotic butter, and enjoying the immortal and the restless.
[51:01] \[SPEAKER_00\]: The show plays out a cheesy happy ending, with a bladder and clower reconciling over the most absurd of chestures, led buying a kid's meal of all things.
[51:12] \[SPEAKER_00\]: It's tacking me in a bit cliche, but there's something on the comforting and a simplicity.
[51:18] \[SPEAKER_00\]: Echo smiles faint, but it is the hair.
[51:30] \[SPEAKER_00\]: As the TV turns the static, metallic sounds draw closer from the hallway.
[51:38] \[SPEAKER_00\]: As Michael turns, he sees and heard, disheveled and crawling toward him.
[51:46] \[SPEAKER_00\]: Although it doesn't act aggressively, it's simply stairs, moving in an almost non-threatening way.
[51:55] \[SPEAKER_00\]: When it's eyes flickers, lights flashing on and off.
[52:00] \[SPEAKER_00\]: Enter crawls beside my coal, moving in front of the TV.
[52:05] \[SPEAKER_00\]: It's a gaze unblinking.
[52:08] \[SPEAKER_00\]: The static on the TV grows louder as the screen fades to black.
[52:13] \[SPEAKER_00\]: leaving only the unsettling image of the creature's eye.
[52:28] \[SPEAKER_00\]: What did that cliffhanger truly signify?
[52:31] \[SPEAKER_00\]: Well, to gain clarity, let us revisit the key elements surrounding the immortal and the restless.
[52:37] \[SPEAKER_00\]: As discussed in the previous episode, the show serves as symbolic lens to which we can view Michael's formative years.
[52:45] \[SPEAKER_00\]: In this framework, Blad the Vampire represents his father, Clara symbolizes his mother, and the baby embodies Michael himself.
[52:55] \[SPEAKER_00\]: By interpreting the narrative through this metaphor, we can confidently assert that extends to the overarching storyline.
[53:02] \[SPEAKER_00\]: Michael's parents, Vlad and Clara, in this instance, has separated for reasons unknown, but has occurred shortly after or before Michael's birth.
[53:13] \[SPEAKER_00\]: The child's resemblance to his father was undeniable, almost every characteristic of his father was mirrored in Michael.
[53:22] \[SPEAKER_00\]: yet a William, steadfastly denied his paternity, vehemently arguing with his ex-wife over the matter.
[53:30] \[SPEAKER_00\]: Despite this conflict, they remained a bond between them, as evidenced by their eventual reconciliation and reunion.
[53:39] \[SPEAKER_00\]: However, with the rekindling of their relationship,
[53:43] \[SPEAKER_00\]: William continued to reject the notion of Michael being his son.
[53:49] \[SPEAKER_00\]: His negligence and lack of paternal involvement in Michael's upbringing would prove detrimental.
[53:55] \[SPEAKER_00\]: This absence of a proper and moral authority figure was further compounded when Michael's parents had two more children.
[54:04] \[SPEAKER_00\]: a blonde green eye daughter, and a small pale brunette boy, who would later be known as the crying child or the bite victim, from bribes at Freddy's four.
[54:15] \[SPEAKER_00\]: The emotional neglect Michael endured at the hands of his father, left a lasting impression, one that he would tragically replicate in his treatment of his younger siblings.
[54:26] \[SPEAKER_00\]: notably, his younger brother, with severed from Michael's cruel manipulations, exasperating that child's innate fear of ferties and electronic characters.
[54:37] \[SPEAKER_00\]: Before this familial breakdown could fully unfold, his sister vanished, abducted by Circus Baby during the grand opening of Circus Baby's pizza world.
[54:48] \[SPEAKER_00\]: In the aftermath of her disappearance, her parents left her room untouched, preserving it as a hollow shrine.
[54:56] \[SPEAKER_00\]: for reasons unknown.
[54:58] \[SPEAKER_00\]: After Michael's sister's disappearance, both pairs became increasingly absent from the lives of their son.
[55:05] \[SPEAKER_00\]: The father withdrew into his work, with a mother abdicated her responsibilities entirely.
[55:11] \[SPEAKER_00\]: whether she left due to a divorce, vanished, or passed away remains unclear, but her absence in the family home is undeniable.
[55:20] \[SPEAKER_00\]: This left in the now pre-pubescent Michael, to shoulder the responsibility of caring for his younger brother alone.
[55:28] \[SPEAKER_00\]: The combination of his sister's disappearance, the fragmented state of the family home, and then a collect in abuse of Michael's suffer at the hands of his father.
[55:37] \[SPEAKER_00\]: created a volatile emotional environment.
[55:41] \[SPEAKER_00\]: The absence of paternal affection compounded with a son and forced role of a guardian to his mentally scarred brother.
[55:50] \[SPEAKER_00\]: Undoubtedly, stripped Michael of any sense of control over his life.
[55:55] \[SPEAKER_00\]: In response to this powerlessness, he chose to assert himself in a manner that rejected the expectations imposed by both his universe and his father.
[56:06] \[SPEAKER_00\]: Michael's ego, bruised and desperate for validation, drove him to exert control over his younger brother, through fear and cruelty.
[56:16] \[SPEAKER_00\]: His bullying escalating to a level that some might deem sadistic, as he locked his younger brother in confined spaces, abandoned him in a place he feared, and even tormented him on his own birthday, by taking him to the very place that terrified him most.
[56:33] \[SPEAKER_00\]: It is plausible that, without intervention, Michael could have descended into a far darker path.
[56:39] \[SPEAKER_00\]: One that would lead him further into despair, one that would lead him to the same bad choice road that led to Williams' own mind.
[56:49] \[SPEAKER_00\]: However, it was a tragedy of his own making that haunted this downward spiral.
[56:55] \[SPEAKER_00\]: The death of his brother at his own hands.
[56:59] \[SPEAKER_00\]: It was an accident, a horrific prank gone wrong.
[57:03] \[SPEAKER_00\]: Michael never intended to harm him in such a manner.
[57:07] \[SPEAKER_00\]: Nor did he foresee that forcing his younger brother's head into Fridberg's mouth, result in a crushing battle injury to the skull.
[57:15] \[SPEAKER_00\]: The younger brothers succumbed to his injuries in the hospital, slipping into a coma from which he would never awaken from.
[57:24] \[SPEAKER_00\]: In his final moments, he faintly heard Michael's heartfelt apologies.
[57:30] \[SPEAKER_00\]: His brother's voice trembling with regret and hope for forgiveness.
[57:34] \[SPEAKER_00\]: As the heart monitor flatlined, the faint sounds of Michael's sorrowful pleas were drowned out by the loud silence of his brother's passing.
[57:47] \[SPEAKER_00\]: This left two remaining members of the family.
[57:50] \[SPEAKER_00\]: Michael and his father continue to live their lives in isolation, interacting probably only minimally, where the relationship produced the barest acknowledgment.
[58:02] \[SPEAKER_00\]: This continued for several years.
[58:05] \[SPEAKER_00\]: Only until one day, Michael's father made a request.
[58:10] \[SPEAKER_00\]: His sister was still alive, and he knew where she was.
[58:17] \[SPEAKER_00\]: She had been located in an underground facility known as Circus Baby's entertainment and rental.
[58:24] \[SPEAKER_00\]: In a desperate attempt to find some form of redemption, to absolve himself from the overwhelming grief and guilt consuming him, Michael ventured deep underground the facility in search of his sister.
[58:37] \[SPEAKER_00\]: His father's instructions were clear, but her back together,
[58:44] \[SPEAKER_00\]: However, upon arrival, Michael was shocked to discover not only the advanced technology in the scale of the facility, but also that his sister was nowhere to be found.
[58:57] \[SPEAKER_00\]: It wasn't until the third night, while Heidi beneath the desk in the Strikas Gallery control module, that Michael uncovered her whereabouts.
[59:07] \[SPEAKER_00\]: As baby recounted, the one time she performed on stage, the one time she made ice cream.
[59:17] \[SPEAKER_00\]: The memory of the time she killed in kidnapped, a young girl.
[59:24] \[SPEAKER_00\]: Michael then began to realize the horrifying truth.
[59:28] \[SPEAKER_00\]: His sister was no longer alive.
[59:31] \[SPEAKER_00\]: Her corpse had rotted and her soul absorbed into the machine.
[59:37] \[SPEAKER_00\]: She become part of the very animatronic apparatus that had ended her life.
[59:43] \[SPEAKER_00\]: Determined to save her.
[59:45] \[SPEAKER_00\]: Michael, on the fifth night, was further convinced when baby pleaded with him to save what was good and destroy what was bad.
[59:52] \[SPEAKER_00\]: Naively, he trusted his sister's new form.
[59:56] \[SPEAKER_00\]: Only to be betrayed, disemboweled his chest torn open, and his body becoming nothing more than a costume for sister inner cohorts to wear as they escaped.
[1:00:08] \[SPEAKER_00\]: But perhaps, in some small, tragic way, a part of his sister remained.
[1:00:16] \[SPEAKER_00\]: Despite the brutal attack, Michael did not die.
[1:00:20] \[SPEAKER_00\]: His body, hollowed and decaying, purple, rotting, and leaking of blood and death, was still somehow alive.
[1:00:30] \[SPEAKER_00\]: With his new rich existence, Michael's only remaining purpose was clear.
[1:00:37] \[SPEAKER_00\]: He had to find his father.
[1:00:40] \[SPEAKER_00\]: But why?
[1:00:42] \[SPEAKER_00\]: Why was his father so important that Michael needed to locate him?
[1:00:47] \[SPEAKER_00\]: And what would he do once he found him?
[1:00:51] \[SPEAKER_00\]: The answer, as it turns out, is painfully obvious.
[1:01:09] \[SPEAKER_03\]: We've all due respect, those aren't the design choices we were curious about, Mr. Afton.
[1:01:22] \[SPEAKER_00\]: William Afton.
[1:01:25] \[SPEAKER_00\]: Michael's father was the owner of Afton Robotics.
[1:01:31] \[SPEAKER_00\]: and a co-owner, a fast bear entertainment.
[1:01:37] \[SPEAKER_00\]: He was the mastermind behind the creation of fun time animatronics, machine designed with a horrific purpose to abduct and kill children.
[1:01:46] \[SPEAKER_00\]: William was also the man responsible for his own daughter's death, a tragedy he was willing to let his oldest son suffer in place of himself.
[1:01:55] \[SPEAKER_00\]: He manipulated Michael's guilt using him to free his monstrous creations.
[1:02:01] \[SPEAKER_00\]: But why?
[1:02:02] \[SPEAKER_00\]: Why would William Afton commit such unspeakable acts?
[1:02:07] \[SPEAKER_00\]: Did you ever consider this?
[1:02:10] \[SPEAKER_00\]: Why did Vlad wear a purple suit in the immortal and the restless?
[1:02:16] \[SPEAKER_00\]: Who do we know murdered children at a fast bear location and somehow escape justice?
[1:02:24] \[SPEAKER_00\]: who might understand that the souls of the deceased could persist, within the metal bones of animatronics, provided the right conditions were met.
[1:02:36] \[SPEAKER_00\]: The answer, as we've known for some time and you yourself are probably aware, is that William Afton,
[1:02:45] \[SPEAKER_00\]: is the purple guy.
[1:02:47] \[SPEAKER_00\]: This serial killer, who lured five children into the back room, where he slaughtered them, all while wearing his spring bunny suit.
[1:02:58] \[SPEAKER_00\]: He is the man responsible for destroying countless lives, families, and memories with his monstrous actions.
[1:03:06] \[SPEAKER_00\]: He is the man behind it all.
[1:03:10] \[SPEAKER_00\]: Michael's need to find his father is driven by his knowledge of his father's atrocities.
[1:03:17] \[SPEAKER_00\]: Michael, perhaps the only one with even a semblance of sanity left, understands what his father has done.
[1:03:25] \[SPEAKER_00\]: Now, once again driven by guilt and responsibility,
[1:03:29] \[SPEAKER_00\]: Michael must confront his father and end his reign of terror.
[1:03:35] \[SPEAKER_00\]: Put him down so that both he and his countless victims can finally find some measure of peace.
[1:03:52] \[SPEAKER_01\]: And with that, I think we have now found a perfect point to conclude both this location, and this episode, of Into the Night.
[1:04:03] \[SPEAKER_00\]: Next time, we will be continuing the story with the next chapter of the Finds at Freddy's franchise, the penultimate entry in Scott Cotton's Golden Age of Horror.
[1:04:14] \[SPEAKER_00\]: with Fires at Forty-Six, Birdy-Fazbares, Pizza Reas Simulator.
[1:04:20] \[SPEAKER_00\]: Thank you so much for listening.
[1:04:22] \[SPEAKER_00\]: If you like to stay updated please consider subscribing, following, or sharing this podcast.
[1:04:28] \[SPEAKER_00\]: It truly helps us broaden our reach.
[1:04:31] \[SPEAKER_00\]: Consider following us on our Twitter at FazbairePodcast, joining our Discord, or supporting us on our merch store or Patreon using the various links in the description of this episode.
[1:04:45] \[SPEAKER_00\]: I have been your host Nick, and I want to thank you all once again for listening.
[1:04:52] \[SPEAKER_01\]: Have a good night, and drive home safe.

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