Mono

Overall, it can be concluded that the Mistress is a very vain and selfish creature, given that she kidnaps and starves children in the Maw—to serve the needs of its inhabitants and, of course, her own. She is obsessed with her appearance, often seen admiring her reflection in the several broken mirrors in her bedroom, humming a charming yet disturbing tune while calmly combing her hair. She is also determined to be the only beautiful person in a world populated by hideous monsters, and the outside world itself is nothing but chaos to her, in contrast to the perfectly functioning cycle of the Maw. Managing this vessel only feeds her vanity. She cares nothing for the chefs serving ugly guests meat from dubious sources, and likely cares nothing for anything but herself.

However, despite her narcissism, the Mistress apparently suffers from Dorian Gray syndrome—she is unable to look at herself in mirrors, as it turns out that despite her outward beauty, they reveal a hideous and disfigured reflection, likely causing her to hate her own appearance. It's possible that this is why the Mistress wears a mask and why almost all the mirrors in her chambers are broken.

name: hostess height: 4 meters Age: unknown Message: Nomes, the first (but half), Girl in the Golden Raincoat, monsters

appearance: The Mistress is a tall and unnaturally thin woman, reminiscent of a Japanese geisha in her style of dress. She has long black hair, partly tied back in a bun. She wears a long, dark brown kimono, the hem of which trails behind her as she walks. Her face is constantly hidden by a white porcelain mask, reminiscent of traditional Japanese Noh masks. Although the Mistress's entire body is covered, her skin, which has a brownish tint, can be seen on her exposed neck.

The Pale City is located near a large body of water. It appears quite large and gloomy, and it rains almost constantly. Its streets are narrow, and the buildings are tall and gray, many of them bending at unnaturally steep angles, as if hit by a powerful shockwave. At first glance, the city appears ruined and deserted: the streets are littered with trash, the buildings are dilapidated, and many have extensive damage and leaks. Windows and doors are boarded up, and clotheslines hang between the buildings, soaking in the rain. In some places, the city's streets are cut by enormous cracks and holes. Televisions and clothes are scattered everywhere, seemingly devoid of people. But in fact, the city is not dead—people, or at least what once were, can still be found inside some buildings, but these creatures are only interested in watching television, from which it is best not to disturb them. There's no one to expect help from here, as even the few townspeople who aren't dependent on the ether will try to kill any intruders. Only a few are neither, and they're barely willing to venture outside their own front door, let alone offer any assistance.

Like any city, this one has institutions such as a Hospital and a School. Both buildings are partially destroyed, but not abandoned. The Hospital is home to people with numerous prosthetic limbs, playing the role of patients, endlessly treated by a resident Doctor who moves along the ceiling. The School is home to porcelain children, controlled by a Teacher—a woman who can stretch her neck, somewhat resembling a snake. Somewhere on the outskirts of the Pale City lies a depot with a ruined railway and old carriages, clearly unused for a long time. The city also has a post office.

Technically, the Womb is a ship and functions like a metal ocean liner. However, it is built vertically, like a skyscraper, reaching a height of several hundred meters. This design allows it to float like an iceberg, with almost the entire vessel submerged, and only the upper portion constantly above the surface, appearing as a small island with a smokestack and a door leading inside. However, when invited and uninvited guests need to board, the Womb partially rises to the surface, revealing its upper levels, resembling a colossal turtle shell with an arched entrance. In addition to being partially submersible, the Womb can also anchor itself in the water and remain static indefinitely.

Like any ship, the Maw tends to roll gently in the waves, but strongly enough to cause some objects inside to move around. Watertight doors are also present on the lower levels to prevent flooding if the compartments are breached. Trailers for Little Nightmares showed the underwater portion of the ship also having portholes, allowing the inhabitants on board to see the ocean. As seen in the Vault DLC, the Maw is powered by steam: at least one massive coal-fired engine is located on the lower levels, driving the ship's propellers. However, it has been speculated that the Maw is propelled not by propellers, but by smoke emanating from numerous exhausts along the ship's underside. The remaining fumes, such as smoke from the stoves in the Kitchen, not used to propel the ship, exit the Maw through a single chimney located at the top of the vessel, passing through its interior and likely heating it (as, for example, in the Den, where, due to the huge number of pipes, the temperature seems higher than in the Prison).

Mono's case is even more interesting: despite initially refusing to help, Six eventually teams up with him. Their childhood adventures brought them together, and after Mono saved Six from bullies, they began to trust each other. Six seemed to genuinely care for and empathize with Mono, as she constantly pulled him out of the televisions he used to tune in, and she didn't run from him in mortal danger (like with Hunter and Teacher), helping him escape, and catching his hand on cliffs. Six also helped Mono solve puzzles and was willing to have him hold her hand and lead her through the unfamiliar city. Her genuine concern for Mono is also evident when he frees the Thin Man—she first gestures her concern when Mono briefly loses consciousness after interacting with the television, and then urges the boy to run away from the television, ignoring the danger to herself until the very end and remaining by his friend's side. However, at the end of the game, when Six caught Mono on the collapsing bridge during their escape from the Black Tower, instead of lifting him, she let Mono fall, trapping him forever in the Transmission. Her reasons for doing so are never revealed, though it is implied that the way Mono forced her to stop living in the illusion of the Transmission hurt her so much that she became angry with him.[4]

However, even before abandoning Mono in the Black Tower, Six exhibits crazed tendencies. This is evident in how Six brutally kills a Bully with her bare hands, persistently breaks the phalanges of one of his prosthetic fingers, and isn't above warming herself by the stove in which the Doctor is being burned alive. While the first instance can be explained by the fact that other Bullies had previously bullied Six so cruelly that she couldn't control her emotions, killing one of their tormentors in a fit of rage, the others seem like signs of sadism.

name: Sixth height: 160 cm age: 14.5 years Friends: First, Seventh, Mono

appearance: Six was very short and incredibly thin. Her body seemed fragile and light, as if a strong wind could knock her off her feet. Her slender arms and legs emphasized the harshness of her life. Despite her age, there was almost no trace of childish innocence about her. Even Six's movements seemed cautious and tense, as if she had long been accustomed to expecting danger from every dark corner. The girl had shoulder-length black hair. It looked slightly tangled and unkempt, with individual strands constantly falling over her face, partially obscuring it. Through the hair, soft Asian features could be seen: a small nose, thin lips, and large gray-brown eyes. Her gaze rarely revealed open emotion. Most often, Six appeared wary, thoughtful, and frighteningly calm for a child. Her eyes constantly betrayed the weariness of someone who had been fighting for survival for too long. Sometimes, it seemed as if she already anticipated the worst outcome of any event. The centerpiece of Six's look was her bright yellow raincoat with a large triangular hood. It was slightly too big for her and concealed most of her body, making her seem even smaller. In the darkness of the Womb, the yellow of the raincoat looked almost unnaturally bright, like a last spark of light in the gloom. Underneath, she wore only white panties and no shoes at all. Six constantly walked barefoot across cold metal floors, dirty pipes, and damp rooms, oblivious to the discomfort, as if long accustomed to pain and inconvenience. Six always carried a small lighter with her. This tiny thing became her main source of light in the darkest corners of the Maw. The warm flame in her hands was almost symbolic: a tiny flame that stubbornly continued to burn even in a world where everything around her seemed to be trying to absorb any light completely.

Like the other characters in the game, the Runaway doesn't speak, but his personality is evident in his actions. Like the other children, the Runaway wants to escape the Maw, often killing an opponent in self-defense to achieve this, as seen with Granny and the Shadow Children. Unlike Six, however, the Runaway is more open and willing to team up with others to continue his journey, as evidenced by his actions in the second DLC, when he befriended the Nomes and, with their help, activated the furnace responsible for the viability of the entire Maw. His actions also suggest he is very stubborn and quite intelligent, as he actively solves puzzles along the way and does everything possible to escape. After the Mistress transforms him into a Nome, the Runaway finds it impossible to escape the ship. This is demonstrated when he leaves the Residence—while attempting to jump over another chasm and reach a ladder leading somewhere above, he falls. This probably leads the boy to accept his fate, and after that he no longer tries to escape, slowly heading towards the Guest Area.

name: seventh height: 175 cm Age: 14 years friends: mono, sixth, first,

appearance: The Runaway's skin was extremely pale, almost sickly, as if he'd never seen sunlight. This pallor made him resemble not a living child, but a small ghost lost among rusty corridors and dank rooms. His thick, dark brown hair was longer than many other children's and constantly fell over his face. It almost completely obscured his eyes, leaving only his nose and mouth visible. This made his facial expression difficult to read, making the Runaway even more withdrawn and enigmatic. It seemed as if he was deliberately hiding from the world around him, not wanting anyone to see his emotions or fear. The boy's clothes looked old and worn. He wore a simple blue long-sleeved sweatshirt, slightly too big for his thin frame. The fabric was faded and frayed in places, as if it had been worn for too long without the opportunity to replace it. His dark blue pants also looked old and dirty, especially at the bottom, where the fabric constantly touched the damp floor of the Maw. Like many other children, the Runaway went barefoot. His legs were caked with dirt, and his feet looked rough and tired from constantly running across cold metal surfaces. The most disturbing detail of his appearance was the shackle on his right leg. The heavy metal hoop with one short chain link seemed too large for a child and was a constant reminder that the Runaway had once been a prisoner. Even without the long chain, these shackles seemed a symbol of the fact that freedom in a nightmare world is always temporary. The boy carried almost nothing on him except a found flashlight that had once belonged to an unknown girl. When not in use, the Runaway carefully tucked the flashlight into his sweatshirt pocket, as if it were the only thing capable of providing him with a modicum of light in the endless darkness.

But for all his kindness, Mono was far from harmless. If anyone tried to harm him or those dear to him, the boy became merciless. At school, he dealt brutally with bullies, using hammers, pipes, and even a heavy ladle to smash the porcelain heads of his enemies. At the Hospital, he unhesitatingly disconnected one of the Patients from his machine to save himself and Six, and later, he even burned the Doctor alive. The world of Little Nightmares leaves children no choice between kindness and cruelty. There, the only survivors are those who have learned to do terrible things and keep going. Mono is very stubborn and determined. He rarely backs down and always tries to find a way out of even the most hopeless situations. Thanks to his quick wits, he's able to solve complex puzzles, use the environment to his advantage, and discover his enemies' weaknesses. But despite all this, there's still an insecure child inside him, desperately trying to hide from the world. That's why he loves wearing various objects on his head: paper bags, hats, and masks. They help him feel protected, as if by hiding his face, he can also hide his own fear. One held a special place in Mono's life. She reminded him strongly of Six: just as silent, cautious, and stubborn, only there was less coldness in her gaze. One worked for the Mechanic in the Maw, repairing the submarine, pipes, and old mechanisms without which the lower levels would have long since collapsed. Her hands were almost always stained with machine oil, and her clothes smelled of metal and dampness. Mono enjoyed watching how calmly and confidently she repaired broken parts amid the roar of engines and the clatter of iron. Around her, he felt a strange calm he'd never experienced before. Perhaps because One reminded him that even in the darkest place, you can still find someone who makes the world a little less terrible.

name: Mono height: 180 cm Age: 15 years friends: sixth, seventh

appearance: Mono's facial features were typical of Asians: soft lines, a small, neat nose, and slightly rounded eyes. His skin was noticeably pale, as if sunlight had long since ceased to touch his face. This gave him the impression of a child who spends most of his time in the cold and dark. His eyes were particularly striking. They were brown, but the huge, dark pupils almost completely obscured the irises, making them appear almost black. This gaze made Mono appear both frightened and intimidating. His eyes constantly expressed anxiety, wariness, and a strange weariness that was completely unbecoming of a normal child. His short black hair always looked tousled and unkempt, as if he'd never bothered to tidy it up. Strands of hair stuck out haphazardly, making his appearance even more unkempt. Mono's clothes were old and tattered: a long gray-green coat hung loosely on his thin frame, almost completely concealing his figure. Underneath the coat, he wore a gray shirt and simple brown pants. Despite his warm clothing, the boy went barefoot, making his vulnerability to the cold and cruel world around him all the more apparent. But Mono's most distinctive feature remained the paper bag on his head. Gray, crumpled, with two uneven slits for his eyes, it obscured most of his face and seemed to separate him from the world around him. The bag looked ridiculous and even a little pathetic, but over time, it became more than just part of his image, but a true symbol of Mono. As if he were trying to hide not only from the monsters around him, but also from himself. People generally like to hide behind masks. Some behind a paper bag, others behind the phrase "I'm fine." It doesn't really make much of a difference.