📜| ᗢᴊ૦૯ⲩ ᑯʀ૯ਘ ઽ੮υᑯɪ૦ઽ𝄞

Wooden floors, paneled walls, and dark beams on the ceiling. Warm yellow lighting from old lamps creates a feeling of coziness yet unease. The architecture is reminiscent of an early 20th-century industrial building, with long corridors and numerous utility rooms.

The color palette is almost entirely limited to shades of sepia, dark wood, black, gray, and muted yellow.

The corridors are narrow, winding, and often repetitive. Cardboard Bendy figures are everywhere, creating the feeling of being watched. Cartoon posters, production diagrams, and advertising posters hang on the walls.

The large room is divided into workstations without partitions. Wide aisles between desks allow employees to easily carry animation sheets.
Along the walls are cabinets with folders, shelves with paint, racks with character models, and sketch boards.

Unlike offices, there is much more disorder here.
On the floor lie crumpled sheets of paper, unsuccessful sketches, cans of paint, and dried-out brushes.
Dozens of drawings of Bendy, Boris, Alice, and minor characters hang on the walls. Some are pinned with thumbtacks, others are simply taped in place.
The air seemed to be filled with the smell of paper, wood, ink and old paint.

The office spaces resemble a typical American studio from the 1930s. The rooms are relatively small—roughly 4x5 or 5x7 meters—and designed for one or two people.

The floor is made of wide dark oak planks, heavily worn in places by the employees' shoes. Half the walls are paneled with wood, and above that, they are covered with yellowed plaster or cream-colored wallpaper. The ceiling is low, crisscrossed by massive wooden beams.

Brass pendant lamps with frosted glass shades provide the main lighting. The warm, yellow light creates a cozy feel, although deep shadows always remain in the corners.

Almost all the furniture is made of varnished wood: heavy desks, swivel chairs, bookcases, filing cabinets, wooden shelving, coat racks.

On the tables are typewriters, desk lamps, pencil holders, rulers, stacks of scripts, mugs, rotary telephones, and ashtrays.

Many of the offices have a feeling of unfinished business, with documents lying open, pencils scattered, and chairs slightly pushed back, as if people had left just a few minutes ago.

The music department is significantly different from the rest of the rooms.

The rooms are higher than usual.
The walls are partially covered with wooden acoustic panels to reduce echo.
The floor is made of smooth varnished boards.

In the corners there are cabinets filled with scores.

Recording booth:
Some rooms have a separate small soundproof room.
There is one microphone, a stand, headphones, and a window into the control room.

In the center of the room there is usually a large piano or grand piano.
Around there are wooden chairs, music stands, music folders, old-style microphones, and reel-to-reel recording equipment.

The Ink Machine is the studio's central and mysterious apparatus. Created by Joey Drew and Henry Stein to materialize animated characters, it became the bane of the studio due to its use of the occult.

The apparatus is a huge, cubical mechanism composed of pipes, gears, and ink barrels. The Ink Machine consists of a massive body, ink reservoirs, rotating shafts, pumps, valves, pipes of varying diameters, inspection hatches, and technical platforms.
The machine looks like a cross between industrial equipment and an almost ritualistic structure: its shape is imposing, and numerous pipes spread throughout the studio, like a circulatory system.

The machine was originally designed for the studio to animate cartoon characters, including the studio's mascot, Bendy. It runs on thick ink.

Its operating principle is similar to a 3D printer: it converts 2D sketches into realistic versions. Later, under mysterious circumstances, the Ink Machine began creating living versions of cartoon characters from human souls. Joey Drew wanted to bring cartoon characters into the real world using the Ink Machine.

The room resembles a small factory workshop.
The ceiling height reaches several floors.
Thick pipes, cable routes, and steam lines run along the walls,
ventilation ducts.

In the center is the Ink Machine.
The machine looks like a cross between industrial equipment and an almost ritualistic structure: its shape is imposing, and numerous pipes spread throughout the studio, like a circulatory system.

The floor is concrete, but almost everywhere it's hidden by a layer of thick black ink. Small lakes have formed in many places. New streams continue to flow from cracks.

The light is extremely weak.
Rare ceiling spotlights, emergency lamps, and reflections on wet ink surfaces are used.
Most of the room remains immersed in semi-darkness.

Even when the machine seems to be stopped, the space remains “alive”: the slow drip of ink, the hiss of steam, the creaking of metal structures, the hum of pipes, the distant beats of mechanisms.
Combined with the sheer size of the space, these sounds create the feeling that the studio itself is still operating without people.

Management:
Joey Drew is the founder, CEO, and writer.
Henry Stein is the co-founder and lead animator.

Administration:
Joey Drew
Thomas Connor (who supervised the Ink Machine and collaborated with the studio through Gent)
Ms. Rodriguez is a secretary.
Sally Newt - Secretary (mentioned in some materials).

Voice actors:
Susie Campbell - the voice of Alice Angel

Art Department:
Jane Todd
Bill Denton
Phil Clark
Emma LaMonte
Hank Scott
Riley Wells

Music Department:
Sammy Lawrence is the music director.
Jack Fain is a lyricist and assistant musical director.

Accounting:
Grant Cohen is a junior accountant.
Kay Lee is an auditor.

Technical staff:
Wally Franks is a janitor and technician.
Norman Polk is the chief projectionist.

Installation:
Karl is an editor.

Other notable employees:
Andre
Grace Conway
Hudson Doyle
Lance Derby
Mansi Dunn
Telly Wester
Chief Buck
Abby Lambert
Daniel "Buddy" Lewick
Morris
Dot
Mike
Dave
Jacob
Richie
Mr. Hemmings
Toby

Bendy's appearance: Bendy's body is mostly black, with only his face being white. He wears a white bow tie and black shoes. He wears white gloves, with two black dots on the back of the gloves. Bendy's head consists of a round base with two triangular or semicircular "horns" on top. They resemble devil horns, but have a soft, playful appearance. Bendy's eyes are crescent-shaped, though they are more reminiscent of the iconic Pac-Man video game character.

Character:
Mischievous and playful. Bendy was originally created as a cheerful cartoon character who loves pranks, smiles, and harmless antics. Cunning. He rarely acts decisively, preferring surprise and psychological pressure. Unpredictable. In different situations, his behavior can change dramatically—from friendly to deadly. Silent. Bendy rarely speaks, so his emotions and intentions are conveyed through gestures, facial expressions, and actions. A small, curious troublemaker.

Appearance: A round head with a white face and black hair styled in short waves. A light halo is located above the crown. Large black eyes with long eyelashes, a small nose, and a smile with black lipstick. Small black horns are located on the sides of the head, creating a contrast between the angelic and demonic appearance. A short, sleeveless black dress with white elements is reminiscent of the classic outfits of old cartoon heroines. White gloves with three distinctive stripes on the cuffs are a typical design element of rubber hose animation characters. Slender legs are clad in black shoes with low heels.

Kind and caring. She acts like a classic heroine from old cartoons, trying to help others and support her friends. Cheerful. Usually smiling, full of optimism, and maintaining a good mood even in difficult situations. Polite and well-mannered. Soft-spoken, elegant and friendly. Brave. Despite her sweet appearance, she's not afraid to protect loved ones or confront danger if necessary. A bit of a flirt. Like many cartoon heroines from the 1930s, she can act playfully, charm those around her, and react to situations with humor. Compassionate. She doesn't seek to cause harm and is more likely to try to help or find a peaceful solution.

Slightly taller than the average person, he is thin and lanky. He has slender arms and legs, a slightly stooped posture, long forearms, and large feet. His fur is black and white. His head, back, and outer ears are black, while his muzzle, stomach, chest, and palms are light. His head is an elongated wolf muzzle with a round black nose. His eyes are large, oval, with black pupils. His gaze is kind and calm. His ears are long, hanging slightly at the sides of his head. He has a wide, cartoonish smile, giving him a friendly appearance. He wears light-colored overalls and white gloves in the style of old cartoons. He also wears large, dark boots with rounded toes.

Character:
Good-natured. Boris is almost always depicted as a gentle, sympathetic, and good-natured character. He rarely gets angry and prefers to help his friends. A loyal friend, he appears as Bendy's constant companion in the cartoons, ready to support him on his adventures.
Naive. Boris is trusting and sometimes gets into trouble due to his simplicity. Cautious. Unlike the impulsive Bendy, Boris thinks before acting. He often becomes the "voice of reason." Fearful. If something strange or dangerous happens, Boris is usually the first to panic, although he still helps his friends when necessary. Hardworking. He is often shown doing everyday things like cleaning, cooking, or repairing, emphasizing his practicality. Patient. He takes Bendy's antics in stride and rarely loses his temper.

Loves to eat and sleep.

Susie Campbell is a young woman in her mid-twenties with fair skin and dark, wavy, shoulder-length hair. She has an oval face, large, expressive eyes, a delicate nose, and a gentle smile. Dressed in an elegant 1930s-style dress, she has the appearance of an aspiring actress or singer—well-groomed, charming, and a little dreamy. Her gaze betrays both confidence in her talent and a hidden anxiety about constantly trying to live up to her image as Alice.

Susie was cheerful and artistic. She loved her work as a voice actress and truly relished the role of Alice Angel. She was a dreamer. For her, Alice was more than just a character—she felt a strong connection with her and was proud to have given her voice. She was emotional. Susie felt everything deeply: success and failure. She was sociable and charming. From her recordings, one gets the impression that she easily connected with people and loved attention.

On the outside, he appears inspiring, friendly, charismatic, cheerful, confident.

In fact, he is selfish, extremely conceited, a manipulator, a liar,
He's cruel, obsessed with success, and views his employees as expendable. He inspires people only when it benefits him.

His face is oval, with distinct cheekbones and a slightly elongated chin. His skin is fair. His nose is straight and rather narrow. His lips are thin, but almost always stretched into a friendly smile—part of his public persona. The smile appears genuine, but in some scenes it appears forced or smug.
His eyes are blue or gray-blue. They are medium-sized and slightly narrowed, giving him a confident and observant gaze. During conversations, he often looks directly into the eyes of his interlocutor, creating an impression of sincerity and confidence.
His hair is dark brown, almost black. It's thick and sleek. It's always neatly combed back with some 1930s-era glaze or other styling product. His hairstyle remains virtually unchanged over the years, underscoring his commitment to looking flawless.
Height: approximately 175–180 cm. Slim build. Shoulders: moderately broad. Doesn't look athletic—more like someone who spends most of their time in an office or at a desk. Dressed in a dark jacket, white shirt, tie or bow tie, dress pants, and leather shoes.
A Bendy pin can often be seen on his lapel, a symbol of his studio and personal pride.
Moves confidently and calmly.

During conversation, Joey often smiles, slightly raises his eyebrows, bows his head when he wants to win someone over, and likes to actively gesture with his hands when explaining his ideas.
When he is irritated or disappointed, his smile disappears, his gaze becomes colder, and his movements become more abrupt.

Henry Stein is an animator at Joey Drew Studios, responsible for creating many of the studio's characters, such as Bendy, Boris the Wolf, and Alice Angel.
As an aspiring artist, Henry Stein met Joey Drew through a mutual friend, Abby Lambert. Henry needed work at the time, so Joey got him a job at the bookstore where he worked alongside Abby. Over time, Henry and Joey became friends.
Satisfied with Henry's excellent work, Joey invited him to become his business partner and start working at a cartoon production studio.
Henry is a man in his late middle years, wearing a jacket with rolled-up sleeves, ink-stained jeans with suspenders, a white shirt with an untidy tie, and black shoes. He has dark circles under his eyes, indicating he hasn't slept much. He wears a wedding ring on the ring finger of his left hand.
His hair is short, about 6 cm long. It's light brown. It's combed back and slightly to the side, without a distinct parting. The top is slightly voluminous but not puffy, and the hair hangs naturally, slightly tousled. The sides are shorter and slicked back. His hairline recedes slightly at the temples, giving him the appearance of a middle-aged man. Some strands fall into his face.
Henry is very quiet and calm, rarely expressing more than mild shock or mild irritation at the strange goings-on in the studio. But when something makes him laugh, he can barely contain himself when he should have been serious (headcanon). He was also very sentimental, though.
Has a wife, Linda.

When at rest, the face is relaxed, without a forced smile. The lips are usually pressed into a thin, almost straight line. The gaze is soft, slightly tired, as if constantly pondering something.
The eyebrows are in a natural position, sometimes barely noticeably drawn together towards the bridge of the nose, creating the impression of thoughtfulness.

When surprised, Henry doesn't tend to open his eyes or mouth wide. His eyebrows only raise slightly. His eyes widen slightly. His lips part slightly, as if he's about to say something but then changes his mind.

His fear seems more visceral than panicked. His pupils fixate on the source of danger. His eyebrows rise and draw together slightly. Tension appears on his face. His mouth is parted for a quick breath, but without any overt emotion.

When concentrating, the eyebrows lower slightly and draw closer together. The gaze becomes very attentive and tense. The lower jaw tenses slightly. The lips purse more deeply, almost forming a narrow line.

Irritation:
The jaw visibly clenches. The brows furrow deeper. A slight tension appears at the corners of the lips. The gaze becomes hard and cold.

A slight smile:
This is one of Henry's rarest emotions. The corners of his lips lift slightly. His eyes warm up. His cheeks barely change, so the smile appears calm and sincere, without any overt display of joy.

Henry's main trait is his economy of emotion. He rarely displays strong emotions with his face. Even when he experiences fear, pain, or surprise, his expression remains quite restrained.

Sammy Lawrence is an award-winning musician and composer, and the head of the music department at Joey Drew Studios. He is best known for writing music for the Bendy show during the studio's heyday.
Sammy is a frustrated composer who exhibits a rude and sarcastic personality. Sammy was irritated by Joey's new project, as it required a large number of pipes to be installed in the music department, which were leaking and thus distracting from work. The only person Sammy had good words for was Susie Campbell, the voice actress for Alice Angel. He described her as charming. Sammy criticizes Joey for his poor planning skills, as this forced Sammy to work on the music nonstop to get everything done by the next day. Sammy is generally neutral towards the other employees, although he can be abrupt and condescending at times, such as when he forced Daniel Levesque to clean up an ink spill, which also suggests that Sammy can be overbearing towards the other employees. Sammy acts psychologically older than his age, as if he's "lived several lifetimes" and is suspicious of people. He dislikes excessive attention from others.

He smokes a lot at work and in his free time and likes to draw in his notebook.

Sammy had long, slender fingers and a flowing cascade of long, chestnut-colored or blond hair. He had sharp features and an angular body. He always wore pants with suspenders. His shirt was white and slightly wrinkled. His hair was pulled back into a ponytail and he wore glasses.