#jentleman analyses

I believe that the Tims are likely a hand-me-down, just like Keyes. This would also probably mean they're quite old. (Especially if they're an older model)

If the Tims are one of the older models, that would mean they would be one that was manufactured somewhere in the 30s to the early 50s... and if Date Everything takes place in the year of its release (2025)... that would mean the Tims are...

AROUND 70-92 YEARS OLD!

Their oldest possible age might only be 20 years younger than Keith!

But wait... why do they look no older than some of the newer objects like Mateo or Mac? As we know Keith's object is 114 years old and his body also ages similarly.

Maybe a certain design element of the Tims might explain this..

Bowties.

As one might know, bowties were an accessory that wasn't added to the cat clock until the newer models of presumably the late 1950s until the 80s (the clock got its name "Kit-Cat Klock" in 1982). This is an interesting choice considering the model of clock in the kitchen is an older model.

Is this because the bowtie adds that much personality to the dapper clock and was just added there despite being inaccurate to their original object? Maybe. Or could it hint them being a newer model from the modern days? This doesn't make much sense. What about the other clocks in the house? They're all different models, yet are the same character.

Now hold on... Let's look at another character who should be old like their object but look like they haven't aged.

Bodhi is a time capsule that was hidden in the crawlspace from all the way in the 80s. This probably makes him in his 50s. But he looks like he's still in his prime. Rad, tubular and pumped up!!

I think this is a similar situation to the Tims.

Since Bodhi is a time capsule, he's become much more than just a little box with items in it. He becomes a CONCEPT. An EMBODIMENT of a past time.

Now, if we look at the other clocks in the Date Everything... They're all different clocks.

The Tims aren't limited to one object. I believe they are a CONCEPT. An EMBODIMENT. Just like Bodhi (and Memoria perhaps).

The Tims are not just one tangible clock, they're an embodiment of time itself. Because they don't seem to age like other old objects in the house.

Timothy has even referred to himself as "time" itself.

Something else is they're not only clock but also cat. There is a cat feature in every clock in the house. No matter what model the clock is, wherever it is in the house... Quartz, digital, mechanical, it's always going to be them. The cat part (Timmy) and also the clock part (Timothy). Because this specific house has this specific embodiment of time (the Tims).

"On Schedule"

(intro)

Begins with a classic clock chime with ticking sounds of a clock for a few seconds. The music then has a short sound effect that sounds like a time reverse that pushes it into this first section of the theme.

(First part)

The theme's rhythm is strongly defined with that ticking and after every two bars, there's a drum beat and staccato (?) of some lower strings that carry the rhythm back to the first beat.

It has a rhythm very similar to a march (Conforming, strict and steady).

Even though the rhythm is very steady and encourages conformity, there are many different sounds in this section of the song, including an alarm clock ringing, a triangle being hit, a guiro being scratched, the main melody being played by a cute synth that eventually gets accompanied by a sort of woodwind, and other various percussions that sound all sorts of different than the ticking clock.

All these sounds, seemingly busy, still conform to the ticking clock/marching beat. It gives a visual somewhat like a factory (just like a clock). Many different things happening, many gears turning at once, but still in an orderly fashion.

This is can be related to the many things Timothy needs to do. He juggles them all and somehow keeps it all conformed in his schedule. Just like the many sounds in this first section of the theme. But interestingly, this section only takes up about less than a quarter of the theme. It ends to go to the next section with a quick little piano improvisation. (Which is something that isn't exactly conforming in the strict rhythm!)

(Second part)

Starting distinctly with the ringing of the alarm clock, the second part opens with a happy, sort of ragtime-y melody. The rhythm of the ticking clock is kept but the theme seems to go for a different take on the rhythm. More of a ragtime rhythm this time. It's much less steady and conforming than the marching rhythm in the first part.

This rhythm shift makes the ticking sound of the clock less of a dictator of the rhythm but more like a metronome to be drowned out by the improvisation of the piano and woodwinds in the melody.

Something else interesting is that some of the sounds from the first part (like the alarm clock ringing) aren't used anymore. Instead, it uses more of the musical sounds (like the guiro and triangle).

The ragtime melody and rhythm makes one visualise more of a silly/cute little ragtime cabaret show, quite the contrast to the steady marching rhythm of the first part.

The ragtime and improvisation could probably be telling of Timothy's other side of himself. And according to how much of his theme this ragtime section takes up, it also could hint out that Timothy truly likes (or maybe secretly prefers) being spontaneous and playful just like the ragtime tune, despite always saying he cares most about being punctual and extra careful about his time and schedule.

His love ending is also relevant to this.

(To add more context, in Timothy's love ending, he decides to alter his schedule and move his work to the evening so he can spend more time with the MC..

He even says something along the lines of "I never knew a break from the schedule would be so... intoxicating." It shows that he does enjoy being more playful and less serious about his time just like his theme hints out.)

I want to say this section of the theme goes on for a while before it ends with that classic chime of the clock and carries on the the "bridge" of the song.

(Bridge (third part))

The melody becomes a little slower and the chords shift, making this part feel a little more emotional than the jaunty, quick tune in the previous part. It leans more to jazzy feel and ultimately sounds very sweet but also thoughtful. The bridge then cascades back into the ragtime melody.

The theme ultimately ends with a single beat, stopping the theme with two final ticks of the clock. Just like in many ragtime pieces, it ends quite quickly.

"Nyan Schedule"

Now, Timmy's theme (Nyan Schedule) shares a leitmotif with the ragtime melody of On Schedule but it seems like it was made with a lot less effort. This makes sense because Timmy is portrayed to be the lazier, more careless version of Timothy.

The rhythm of this theme is not only much slower than On Schedule but it's also a lot less steady. It misses beats and sounds quite sleepy. The fact that the theme is made with only one instrument also contributes to the lazy and sleepy feel.

Springtrap.. the gross, decaying bunny we all know and love. Perhaps he's not actually the man behind the slaughter? Perhaps he's a victim himself?

According to my questions earlier, Springtrap must be someone who:

1. Has a grudge against/wants to kill the nightguard (or whoever he might think it is).

2. Has come back from the dead before.

3. Thinks the nightguard (or whoever he might think it is) knows him.

The man in question is a character we know. Someone who knew William Afton. Someone who wants to find him.

Someone like...

...His own son.

That's right, folks. My theory (similar to some other people's theories) is that Michael Afton, William's own son is the real one inside the Springtrap animatronic. Let us break this down.

Targetting the Nightguard

We know that most the animatronics target the nightguard because he wears a purple uniform just like their murderer (William). Most these kids' souls probably don't remember his face and only remember the fact that his uniform is purple. That is why they target the nightguard.

Now, my question was WHY would William attack the nightguard when his main targets were children? WHY would he as Springtrap attack a random nightguard if they posed no threat to him? Simple. He just isn't Springtrap.

Springtrap is someone who believes the nightguard to be a deserving target for his violence. Just like the other animatronics who think the nightguard is their murderer, he is looking for his father to probably kill. This is reinforced by...

Michael's End Voiceline

After you complete all of Sister Location's custom night, you get a message from Michael along with an image of guess who? Springtrap in the Fazbear Frights attraction. The message is as follows (script taken from the book, FNAF: The Freddy Files, page 137):

(Very sorry for the glaring light)

I underlined a few words we have to pay attention to, especially as it points to his objective (finding William) and ALSO matches some voicelines that Scraptrap/Springtrap says. (I also think Michael's voice kinda sounds like Springtrap/Scraptrap but he also probably sounds like his father)

"I always come back"

The words "I always come back" comes from Scraptrap's mouth. There is also the Springtrap alternative, "I'm back!" This suggests he has come back from a horrible situation before, call it death, call it a job at the sister location's maybe... (wink wink)

Michael Afton is a man who has came back from Ennard wearing his body. He has come back from the guilt of killing his younger brother (the crying child). He has come back before. And now, he has come back to find William.

He "always comes back" because he cannot rest. He cannot rest because (according to the Michael end voiceline previously) "there is one thing left for him to do," to find William and kill him.

Other Voicelines

Another thing that Scraptrap says is "You may not recognise me at first, but I assure you, it's still me." This is similar to Michael's end voiceline as shown previously. "...They didn't recognise me at first—but then they thought I was you."

Scraptrap says that line "you may not recognise me at first.." to the nightguard, implying that he thinks the nightguard knows him. (He thinks it's his father just like the other animatronics do).

There is another Springtrap voiceline, "I've been living in the shadows.." which also matches perfectly in Michael's message as shown previously.

In general, most of Springtrap's and Scraptrap's voicelines are all things a vengeful spirit might say. William hasn't had a thing to be vengeful for. He IS the one all the animatronics want revenge on. So it makes more sense that Springtrap is possessed by a victim rather than the man himself.

Some examples of Springtrap (from FNAF AR: Special Delivery because he barely speaks in any other game):

1. "I will make you suffer! Suffer like so many of the others!"

2. "Suffer now! Like all who have stood before me!"

3. "Your time.. is up!"

4. "Hide if you want.. It did not save the others.. it will not save you!"

5. "They will come to find you!"

6. "And now you are mine!"

Etc.

Other Things to Note

Some other things I want to note about Michael:

1. In the end voiceline he says, "I put her back together" presumably referring to Elizabeth, whom he set free in Sister Location. This is the same thing his little brother hears from the plush Golden Fredbear. I believe it is actually Michael who was talking to his brother and the voice was just processed to become Fredbear in his brother's dreaming mind.

2. In FNAF world, Springtrap's loading screen includes the line, "Cuter in person; still a killer." This throws the theory a little off balance... unless you consider that Michael unintentionally killed his little brother. He is "still a killer."

3. William wouldn't touch springlock suits again. If he's worried about his own safety and is aware that springlocks might kill him, he probably wouldn't use it to kill his victims again, especially when he has the Sister Location animatronics to kill children for him.

Michael, on the other hand has used a springlock suit before in the 4th night in Sister Location and survived. He probably believed that using another springlock suit (spring bonnie) to hide from the vengeful spirits, who mistook him for William, would be safe. Instead, he gets locked inside the suit and dies drowning in his own blood. Until he comes back. (You see?? He "always comes back" because "there is only one thing left for him to do")

4. Speaking of FNAF 3 minigame...

In the mini game the player has to play as each animatronic and to follow purple guy (we will assume it's Michael) who says "Follow me." In the end, he destroys each animatronic, thus setting them free. However, the spirits chase him (probably mistaking him for William), causing him to hide in the springlock suit and die.

Michael's objective was to kill William but also to set the souls free as stated in his voiceline, specifically "...She's free now," referring to Elizabeth being set free by Ennard wearing his skin. He wanted to set the victims free. But it didn't work because they were still enraged and restless.

5. Michael carries the guilt of accidentally killing his little brother by what was intended to be a harmless prank. My theory is that because of this guilt, he takes it upon himself that he must "put them back together." He tells himself that he must set them (all the victims) free from the chains of the mechanical prisons that is the animatronics.

6. In the Freddy Files (and blatantly said in other FNAF things like the movie), Scraptrap is referred to as "William Afton." I believe this to be a red herring that is very fitting.

I've already mentioned that the souls Michael set free likely mistook Michael for William and that's why they chased him. My theory is that Scott Cawthon wrote it like that on purpose because many of the souls and others already mistake him for William Afton and even outside of the canon, he is still only remembered and thought of as "William Afton" despite all the evidence. This fools people just like the souls were fooled about Springtrap's true identity.

If my theory is correct, I am so sorry, Michael Afton that so many souls blamed you for the things your father did. I hope one day, you and the other victims may find peace and finally rest...

So...

As long as I may talk about this theory.. Sadly, there are also some shortcomings like every theory has...

Shortcomings

1. Cassette man calls Scraptrap "old friend" and that he should burn in hell. I have no explanation for this except for he mistook Michael for William.. or he is not actually referring to Scraptrap but is referring to the nightguard (?).

2. I just solved this second shortcoming in the 6th "Other Things."

Again, my friends.. All of this is only a theory.. a GAME THEORY... thanks for reading.🫡

...

....He suffers... he is restless.

○ Harpsichord pieces

I just think harpsichords are a very royal, yet tender and light instrument fit for the young Tulu. They also have quite sombre tones in the classic pieces that are played in minor which kinda fits the heaviness of Tulu's backstory.

"Requiem" or "The Requiem" from Final Fantasy III (DS version) is played when the whole party dies in the game. It is a slow tune, reminiscent of classic harpsichord pieces, that fits Tulu for not only the choice of the harpsichord instrument but also because it is played at a dark time.

○ Church organ pieces

I've considered church organ pieces to be in his playlist because Tulu is a being that people worship and it makes sense to have an instrument associated with faith such as the church organ. This could work when the church organ is played in more lighter ways like in major scales because church organs can have a very heavy and dark feel when played in darker tones. The deeper and heavier-sounding church organ is a sound I associate more with a character like Goliath, who is haughty and larger than life.

At times, however, Tulu can be a heavier and darker being just like how the church organ can be either light or heavy depending on the scales.

○ Lo-Fi Hip-hop music

Lo-Fi is very popular for being calming and relaxing, often used to help focus on studying or to help one fall asleep. I believe this fits Tulu for his sleepy and sometimes careless behaviour.

"Insomnia" by One Hot Drink is a nice Lo-Fi piece which is quite calming. Even the title sorta fits.

○ Some specific stuff

"Define Dancing" is a track from Disney Pixar's Wall-e. It is quite a whimsical and dreamy tune I dunno it kinda feels like him (maybe in the past). The harps and light instruments hint his youth and perhaps his fleeting youth.

"Aquarium" from Carnival of Animals is a piece that is obviously associated with the ocean. It is mysterious yet played in light, high-pitched tones.

"The Boundless Ocean" from Final Fantasy III (DS version because the instruments are more diverse) is also obviously an oceanic track. This track plays in a segment of the game where the player travels across an empty abyss of ocean that has previously drowned out all other islands and societies. Sound familiar?