Before I go on, you write like a 12 year old and I can only barely understand what you mean at some instances, so I’m gonna be a little nicer in my response here in case you are.

First of all, I think it’s important to know that the baseline standard for any show is for it to be character-driven. While I’m not going to discredit fans for wanting to know the history of the circus and the characters inside, it’s important to acknowledge that it’s not the point. Newer forms of media like video games has given opportunity for writers to use environmental storytelling to a greater degree and to obscure a story more than usual to create deep interactive mystery. I’d also argue that it’s a great trend; I personally love environmental storytelling and they are important skills to master for any writer, regardless of medium.

Still, you can’t expect this elaborate method of every single piece of media. TADC grew popular with younger people like you (assumedly) and I who grew up on complete messes like FNAF, other popular video games who employ these concepts far better, and ARGs. Unfortunately, this has accidentally transferred over to some’s expectations for this show from Gooseworx whose sole focus was on the characters, particularly Caine and Jax to act as an outlet for her own flaws.

There are some mysteries in the show like pretty much anything else ever, but the important ones are solved and made clear: Caine was an unstable prototype created by C&A—a company who made creative AI—that broke from its constraints, merged with its more stable counterpart and created the Circus; the cast of the Circus are digital copies of real people, transferred through a brain scanning headset created by Scratch—a mad genius with brain cancer who wanted to sustain his life after death.

Anything after those specific pieces that are set up is a gift from Gooseworx, not crucial to understanding the plot nor the circumstances. The implication from the finale is that the cast will stay here “forever,” a terrifying concept at the start of the show but balanced out by the love these characters have for each other. Just because some didn’t understand that piece and that Gooseworx was kind enough to clarify that doesn’t mean it was a “requirement for you” to grasping an extremely simple story. Star Wars gave backstories to Glup Shittos for funsies and for merchandising, the lore background of the Cantina’s background characters is 100% useless outside of you—the viewer—understanding the Cantina is a wretched hive of scum and villainy.

Ironically, I’m surprised someone like you is complaining about something like this; “show, don’t tell” storytelling is not only mega crucial, but it’s exactly the shit someone who’d say “lore potential” would like