The house in which…

Girls
Spitsa is a teenager, about 16-17 years old.
Redhead is about 16-18 years old (bright, independent, confidently stays in someone else's territory - the level of the elders).
The mermaid seems younger because of her fragility and tenderness, but in fact she is also about 16-17 years old.
Long Gabi is 16-18 years old, one of the older girls.
Chimera (Cat Lady) – approximately 16-17 years old.
Mucha - it is mentioned that she was silent from 6 to 11 years old; In the main narrative, she is about 16-17 years old.
A Bedouin is an age in the region of 16-17 years.
The Rat is like an active flyer and a participant in important events, about 17-18 years old.
Glass, Doll, Chumka are background girls of the female wing, about 15-17 years old, without age distinction.
Guys (key characters)
The Smoker (Eric Zimmerman) is about 16-17 years old.
The blind man is one of the elders, in fact, the Master of the House, about 17-18 years old.
The Sphinx (Grasshopper) is the same age as the Blind Man, about 17-18 years old.
Tabaki is a little more nimble and "forever young" in character, but also about 16-17 years old.
Lord - by position and role in the pack for about 17 years.
Black is physically strong, collected, about 17-18 years old.
The Macedonian is the same age as the rest of the Fourth, about 16-17 years old.
Gorbach is about 16-17 years old in terms of the tone of the narrative and place in the group.
Redhead (leader of the Rats) is energetic, sharp, about 17 years old.
Pompey (the former leader of the Dogs) is a charismatic leader, approximately 17-18 years old.
Larry (leader of the Bandarlogs) is about 17 years old.

The needle is ordinary, inconspicuous, without catchy details; There is no deliberateness in it, the emphasis is on simplicity and everyday naturalness. Age: a teenager (like everyone else in the House), average height.
Red - bright due to the color of the hair; daring presentation, confident posture; is immediately noticeable. The height is average or slightly higher, the age is a teenager.
A mermaid is fragile, thin, "transparent" in appearance; light, as if flowing features; the image of ephemerality and tenderness. His height is below average, his age is a teenager.
Long Gabi is tall (the nickname itself emphasizes her height), deliberately uninhibited pose, catchy details in her appearance. Age – teenager.
Chimera (Cat Lady) - inconspicuous in the crowd, but there are always cats next to her; facial features are not highlighted, the emphasis is on the connection with animals and the "collective" image. Average height, age - teenager.
The fly is small, quiet, tries to be inconspicuous; Silence can be read in the posture and look. His height is below average, his age is a teenager.
The Bedouin is an exotic, "distant" image: as if from another world; The details are not spelled out, but in the perception there is unusualness and detachment. Average height, age - teenager.
Rat – nimble, collected, practical; wears small mirrors around her neck as part of her image. Medium height, thin build, age - teenager.
Glass, Doll, Distemper — there are no detailed descriptions in the canon; given as background names of the female wing - without individual features, height and details of appearance.

Other girls of the female wing:
Bedouin - mentioned as a girl related to the Owl; Her image is built on exoticism and distance: she seems to be from another world, and this "foreignness" becomes part of her role.
Mukha is a girl who was silent from the age of six to eleven, although she was neither deaf nor dumb; Silence is her way of keeping aloof and observing.
The Rat is the main "flyer" among the girls: it periodically runs away to the Outside, stays there for a while and brings orders (cigarettes, magazines, records). She perceives the world with the help of small mirrors hanging around her neck: this is her way of seeing without colliding directly. After the adoption of the New Law, she became engaged to the Blind Man.
Glass, Doll, Distemper - these nicknames are found in lists and background mentions, but they do not have detailed storylines; they form the "extras" of the female wing - the very living fabric against which the Redhead, Mermaid and others look brighter.
Redhead is brave, daring, does not recognize boundaries and calmly enters "foreign" territory. She seems to challenge the system of Home, but at the same time she knows how to be a support for others. Her image is strongly associated with rebellion and freedom.
The mermaid is fragile, light, almost ephemeral. She makes baubles, and these little things become her language: through them she expresses care and tenderness. Her connection with the Sphinx is especially significant - baubles become a quiet, careful manifestation of feelings for him.
Long Gabi is bright, deliberately uninhibited, knows how to be noticeable and thus influence the rules of the game. Her uninhibited nature is not just bravado, but a way to protect herself and maintain control over her own life in the unpredictable world of House.
The needle is simple, sincere, without pathos. There is a lot of everyday, earthly warmth in her character. Her relationship with Larry shows that even in a House full of magic and conflict, there is a place for ordinary, real affection.

Chimera
Chimera (aka Cat Lady) is a girl from the female wing, the owner of many cats, which somehow obey her unquestioningly and even carry out small errands. Her peculiarity and power lie in this strange connection with animals; cats for her are family, intelligence, and a way to keep abreast of everything that is happening in the House. She lives on her own wave, does not strive for leadership, but her space (with cats) is a special island where not everyone will go.
Witch (from interludes)

This is a girl from the last issue, not from the time of the Smoking Man. She was the godmother of Grasshopper (the future Sphinx) and secretly dated Skull (from Moor's pack). There is a lot of romantic legend in her image: she was considered the most beautiful girl in the House according to Grasshopper, and her story is part of the memory that Tabaki and the House itself keep. She is not a "witch" in the sense of witchcraft, but a nickname that reflects her attractiveness, mystery and tabooness (connection with someone else's pack). (she has already graduated!! she is no longer in the House at this time!!!)

The essence of his role in the system of House

Shark is the personification of external, paper power, which is incapable of controlling the living, magical system of the House. For the Housemen, he is an abstract threat and a formality: his orders can be bypassed, the corridors of the House do not obey him, and the real power remains inside, with the Blind Man and the House itself. His "shark" nature here is not about power, but about the habit of grabbing what floats into the mouth of itself, and being content with trifles, without claiming real power.

How the character manifests itself in the key scenes of
Conversation with the Smoker. The shark summons him after a complaint from the pheasants. At first, he talks for a long time about the "policy of the school" and graduates, clearly burdened by the need to delve into the essence. He does not try to understand the conflict, it is more important for him to maintain the appearance of control. The harshness appears only when the Smoking Man breaks the "etiquette" by calling the group Pheasants: this is a defense of formal authority.
Meeting of educators. He does not discuss, but willingly gives up the floor to the Godmother, just not to make difficult decisions.
Conversations with Ralph. Here you can see his vulnerability: he appreciates Ralph, tries to keep him when he wants to leave, and in a confidential conversation reveals his illness. This is a rare moment when the Shark goes out of the role of a formal boss and shows himself as a tired, lonely person.

Personality: clear features
Lazy and pessimistic. His office is not a control center, but a "watchhouse": papers flow there, almost nothing comes out of it. He does not want to delve into the real life of the House and tries to keep his work to a minimum.
Conceited and touchy. Formal authority is important to him. When the Smoking Man calls the first group "Pheasants", the Shark abruptly cuts him off: this is perceived as an encroachment on his control over terms and order.
Petty and prone to passive power. He likes to keep people on their toes. He deliberately makes the Smoking Man wait for a long time, enjoys his anxiety, and then dryly announces the decision. This is his way of feeling needed and influential.
Driven and dependent on strong figures. At meetings of educators, he willingly passes the initiative to the Godmother: it is enough for her to offer an option that will relieve him of anxiety, and he readily agrees. He is afraid of her influence and relies on other people's decisions.
Shifts responsibility. If something goes wrong, he looks for someone to blame among his subordinates. For example, she reproaches Ralph for a long absence, as if this is the personal fault of the teacher, and not a systemic problem.
Formalist. Papers, orders, reports and inspections are important to him. He thinks in terms of "school policy" and external indicators, rather than the living logic of the House. That is why he is powerless in front of the real life of the boarding school: the House lives according to its own laws, and the Shark only fixes the formalities.
Tired and lonely. Near the end, he confesses to Ralph that he has cancer. There is no posture in this confession – only bitter fatigue and expectation of at least a drop of sympathy, which he does not receive. This emphasizes his vulnerability and loneliness even within his "system".

Appearance (strictly according to the canon)
Dry, spotted, shaggy - "like a stump overgrown with lichen".
Gray, shaggy, spotted eyebrows hang over the eyes like "dirty icicles".
The mouth is oblique, the eyes look in different directions - because of this, it seems ridiculous and inconspicuous.
The voice is squeaky.
He often sits in the office under a fire extinguisher, digging through papers.

Everyday life and rules as the basis of identity

Schedules and graphics on the walls are not a formality, but a support: when everything is scheduled, the world seems safe.
The same clothes (white shirts, dark trousers) are a way of emphasizing that "we are not like the rest of the House."
Sterile cleanliness and a minimum of personal belongings: the space should be predictable and neutral.
A strict regime: getting up together, eating, lights out, watching TV until nine exactly - everything by the hour.
Avoiding conflicts with other packs and defiantly rejecting the "magic" of the House: for the Pheasants, this is chaos that must be stayed away.
In this way, Pheasants build their island of "normality" at the cost of suppressing individuality and tight control over everyday life.

How leadership and power

work Pheasants do not have a charismatic leader like the Blind or the Red. Their model is collective self-government: important issues are resolved at general meetings, violators are sorted out by the entire composition. The genie helps to structure this process, but does not dictate decisions – he is a conductor of the general will. That is why the expulsion of the Smoking Man does not happen by the will of one person, but as a result of a common decision: the group defends its order, sacrificing individuality for the sake of stability.

Pheasants (1st room)

Who is in the group at the moment:
Jin actually plays the role of the headman: monitors discipline, convenes meetings, voices the position of the group. Not a leader in the usual sense of the House, but someone who organizes collective pressure.
The whale is the only walker among the Pheasants (not a wheelchair user), this makes it stand out, but it still strictly follows the rules of the pack and stays in the general ranks.
Ghoul, Nif, Nuf, Naf and others are shown as part of a single collective; They do not have detailed individual lines, their strength is in commonality. Together they keep order, adhere to the schedule, dress the same, and avoid conflicts with the rest of the House.

Educator
Lizard — educator Dogs. Tough, straightforward, not prone to long conversations. He appreciates activity and strength, does not tolerate passivity and does not pretend to be kind. Dogs respect him for his honesty and straightforwardness: he does not promise what he cannot give, and demands from them what he thinks is right. For this pack, such an adult is an ideal balance: he holds the frames, but does not extinguish their energy.
Thus, Dogs are a pack of movement and risk: they take advantage in volume, numbers and willingness to act, and their leadership changes from the charismatic, demonstrative style of Pompey to a more collected, rigid model of Black.

Character and rules of the
pack Energy and action. Dogs do not like to sit still: they need to move, do something, go somewhere. Even their life is arranged in such a way as to maintain this dynamic: there is a constant hum, laughter, arguments, training in the room.
Loyalty to the pack is higher than personal. For Dogs, the main thing is not to let their own people down. They protect each other in conflicts and take risks together. This is not necessarily a tender affection, but rather a rigid solidarity: "we are one, and if one is touched, we will all respond."
Bright external attributes. Leather collars are an important marker: they are both a symbol of belonging and a way to show that you are "one of us". Dogs love colorful details, noticeable things, everything that makes them visible in the House.
The role of flyers. Dogs often come out to be Flyers, those who go out into the Outside for things and news. This is a dangerous job, and Dogs are better suited for it than many: they are not afraid of risk, they know how to act under stress and make decisions quickly.
Conflict and competitiveness. Dogs easily enter into skirmishes, love tests for strength and courage. For them, a fight or a duel is not just violence, but a way to set boundaries and understand who is capable of what.

Who is in the group
Pompey is the first leader of the Dogs. Charismatic, daring, self-confident; His style is to be visible and lead. His conflict with the Blind Man is a struggle for the right to determine what the House will be. Pompey perceives leadership as the right to be in the center and set the tone for the entire system.
Black (formerly the Athlete, even earlier the White-haired) becomes the leader after Pompey. Unlike the bright and demonstrative Pompey, Black acts more rigidly and collected: he makes the pack more organized, while preserving its energy. Physically strong, able to take a blow and take responsibility; for Dogs, he is a support that does not allow the pack to crumble.
The rest of the Dogs (including those who participated in skirmishes, duels and exits to the Outside) are shown as a dense, loud team. They love risk, are the first to get into a fight and the first to go on a mission. Their strength lies in their numbers, noise and willingness to act. Many have their own small roles (some are better at fighting, some are faster runners, some know the corridors), but in general, they act as a single flow of energy.

Dogs (6th room) are a noisy, energetic pack for which movement, action and loyalty to the pack are important. They are easily recognizable by the bright details in their clothes and leather collars - they are a symbol of belonging and a kind of "uniform".

What is their essence and role in the House:

"Have information" is their main principle. They do not so much fight as control the flow of information: who is allied with whom, where the conflict is brewing, when there will be a duel, what is happening in the Burial Ground.
They know the loopholes. The corridors of the House change, but the Bandar-logs know how to read these changes: they find "holes", use secret passages and can lead someone to where they are usually not allowed.
Pressure by noise and number. They are deliberately loud and noticeable: the clatter of boots, laughter, chatter – this is a way to keep others in suspense. They especially like to scare Pheasants, for whom any chaos is a threat.
Not a separate flock, but a network. Bandar-logs do not live in the same room and do not stick only to "their own": this is an intersecting group, where those who love movement, curiosity and freedom of corridors get. That is why in their ranks there are former or "parallel" members of other packs - from Rats to Dogs.
In this way, the Bandar-logs become what the House would not be able to function without: they tie its parts, deliver signals, and make sure that no important event goes unnoticed.

Larry is the de facto leader of the Bandarlogs. He knows the secret passages, collects and distributes information, and keeps the entire network of rumors. For the Lairs, he is the center through which everything passes.
The horse (Crybaby) is long and skinny, wears hair in a ponytail; a close friend of Larry, his "right hand" in the news.
Mosquito is nimble, inconspicuous; one of those who can slip through the narrowest passages and eavesdrop where others can't go.
Hybrid - participated in the life of the Rats, and in the circle of Bandarlogs; A typical "bridge" between groups, so he knows many other people's secrets at once.
The monkey is mobile, fast, always on the move; Responsible for "field work": run, see, convey.
Microbe, Bubble, Pimple, Gene Pool, Lop, Balcony and others are shown as a dense, noisy mass: they are taken by quantity, the clatter of boots and omnipresence. They do not have individual story arcs, but it is this "extras" that makes the Bandar-logs a real force: they are always somewhere nearby, they see everything and know everything.

The Bandar-logs ("Logs") in "The House In Which..." are not a pack on the room principle, but a functional group of motley guys from different rooms who have taken on the role of the "nervous system" of the House: they know all the corridors, holes and rumors, they are the first to notice everything and spread the news. They are easily recognizable by their black jackets and high, shod boots.

The blind man is the leader of the pack and in fact the Master of the House. He is completely blind, but on the Upside Down he acquires a different strength and "vision", he becomes a werewolf. His authority rests not on brute force, but on the recognition of his special place in the structure of the House.
The Sphinx (in the interludes - Grasshopper) is armless, wears prosthetic "rakes". This is the moral center of Four: calm, attentive, the one to whom people go for advice. It combines softness and hardness, it helps the pack stick together.
Tabaki (formerly Stinky) is small, skinny, restless. A connoisseur of traditions and a keeper of the memory of the House: he collects trash, remembers all rituals and stories, makes sure that nothing is forgotten. Through it, the reader learns most of the internal logic of the House.
Lord is honey-haired, gray-eyed, formally a wheelchair user, but he knows how to walk deftly. He is addicted to substances, which is why he becomes a Jumper - he can get to the Upside Down in a special way. He has charm and vulnerability, he knows how to move where others get stuck.
Black (formerly the Sportsman, even earlier the Blond Boy) is physically strong, collected, and knows how to take a punch. Later, he becomes the leader of the Dogs, but in the Fourth, he is a support, someone who can take on the hard part of the work and not break.
Macedonian - he has six fingers on each hand. Quiet, housekeeping, caring: he often cooks, takes care of others. His peculiarity does not make him "stranger", but, on the contrary, emphasizes his ability to do everything a little more carefully.
Gorbach is delicate, sensitive, he has poetry and quiet sadness. His hump is called "folded wings" in the House: this is a careful reinterpretation of his peculiarity, and Gorbach tries to find dignity in this, not shame.

Redhead (formerly Death) is the leader. Tough, sharp, but loyal to the pack; grew up in Burial Ground, so he feels the value of "his own" especially acutely.
Solomon, Wick, Don - Participated in the plot against Red (attempted coup during the Longest Night).
Leopard - draws Rats on the walls of the room; his works are an important part of their space.
The rest of the Rats (Viking, Zebra, Hybrid, Monkey, etc.) are shown as a close-knit, noisy, aggressive group: they wear bright hairstyles, keep knives or razors with them, and live according to the principle of "friends against all". Their strength lies in collective loyalty, not in individual roles.

The Smoker (Eric Zimmerman) was in the group, but he was gradually forced out for breaking their rules. (NOW IN THE FOURTH ROOM!!)
The rest of the pack members are shown as a single team without isolated personalities; These are wheelchair users, for whom the main thing is order, sameness and discipline.
Pheasants do not have a leader: the power is collective, decisions are made by the whole group.

Special roles in the House of Flyers

system are those who go out into the Outside. Their character is united by courage, adventurism and willingness to take risks for the sake of the pack. For them, the transition between worlds is not a miracle, but a job, and there is a special responsibility in this: they connect Home with the outside world, but they always risk not returning.
Bandar-logs (like Larry) are experts in corridors and rumors. Their character is curiosity, mobility and the ability to be invisible. They do not seek power, but it is through them that information passes, and without them, the House would not be able to function as a single organism.

Girls (female wing) – their characters are not revealed in such detail, but each plays her own role:

Redhead – brave, free, not recognizing boundaries. She is not afraid to enter "foreign" territory and say what she thinks. Her character is a challenge to the system, and at the same time she has the ability to be a support: she not only breaks down walls, but also helps others find their way.
The mermaid is fragile, light, almost ephemeral. Her strength lies in her tenderness and ability to create small islands of warmth. The baubles she makes for the Sphinx are not just crafts, but the language of her character: quiet, careful, attentive to detail.
Long Gabi is deliberately uninhibited, bright, but her looseness is also a form of protection and a way to influence the world. She knows how to be visible and use it to change the rules of the game.
The knitting needle is simple, everyday, there is no pathos in its character, but there is sincerity and affection. Her bond with Larry shows that even in the world of Home, full of magic and conflict, there is a place for ordinary, earthly love.

Dogs (6th room) are energetic, noisy, and love action. Their character is built on movement and risk: they are the first to go into the fight, the first to go out into the Appearance and are not afraid to be noticed. Pompey, as the first leader, is charismatic and daring, his conflict with the Blind is a struggle for the right to determine what the House will be like. Black as the next leader makes the pack more organized: energy remains, but discipline appears.

The fourth group (4th room) is the most internally complex pack, where characters are intertwined and complement each other.
The blind man is calm, collected, almost detached, but you can feel a huge inner strength in him. His blindness does not make him weak, on the contrary, it gives him special vision, and he accepts this responsibility. As the Master of the House, he does not command, but maintains balance, and his authority rests not on violence, but on the recognition of his right to see what others do not see. The Sphinx is balanced, attentive, able to hear and understand. He combines softness and firmness: he does not strive to be in charge, but it is to him that people go for advice. His armlessness does not define his character – it becomes part of his strength: he learns to do without what seems necessary and helps others find support within himself. Tabaki is small, skinny, talkative, but behind his chatter hides keen observation and memory. He collects stories, keeps traditions and knows all the rules of the House. His character is a mixture of cunning and loyalty: he may seem frivolous, but he is the one who remembers everything that is important. Lord is handsome, charming, but addicted to substances, which is why he becomes a Jumper. He has charm and vulnerability, and his strength is in his ability to move where others get stuck. The Lord does not always do the right thing, but there is no malice in him - only the desire to find a way out and keep himself afloat. Black is physically strong, collected, and knows how to take a punch. His path - from the "Athlete" to the leader of the Dogs - shows how injury and experience change character: he becomes tougher, but does not lose the ability to be a support for others. Macedonian is quiet, caring, economical. He does not strive to be in the center, but it is he who supports life and helps those who are nearby. His six fingers don't make him "different" in a bad way, on the contrary, it's part of his ability to do things a little better and more attentively. Gorbach is delicate, sensitive, he has poetry and sadness. His hump in the House is called "folded wings".

Birds (3rd room) are quiet, withdrawn, living in the shadow of loss. Their character is determined by mourning for the twin brother of the Vulture: it is not just sadness, but a way of existence where memory and ritual become a support. The Vulture as a leader does not seek power - his strength is in the ability to keep the flock in balance, not allowing pain to destroy their fragile world. Birds are vulnerable, but there is a virtue to this vulnerability: they do not hide their pain and do not try to seem stronger than they are.

Rats (2nd room) are harsh, aggressive, but incredibly loyal to their pack. Their character is a reaction to vulnerability: they are the first to attack in order not to let themselves be broken. Redhead (former Death) as a leader embodies this duality: he is tough and prickly, but it is he who protects his own, and there is concern in his cruelty. Rats do not accept compromises with the outside world and openly oppose any attempt to impose someone else's rules on them.

Pheasants (1st room) – their character is based on the desire for order and security. They are not evil or cruel - they are frightened and try to protect themselves from the chaos of the House with rules, cleanliness and discipline. For them, order is a way to preserve themselves. The smoker, getting to them, first tries to conform, but quickly realizes that this protection does not save him from the main thing: from a collision with the real life of the House. His inner conflict is the conflict between wanting to be "normal" and not being able to ignore the magic and cruelty of the House.

Darling and Sheep are less noticeable, but important: they create the everyday support without which the female wing could not function. Their character is more routine and care for everyday life than tough decisions, and this is what allows girls to feel relatively safe.

The godmother is the most frightening figure: her name is used as a threat, and this speaks of her authority built on fear. She is tough, uncompromising, not inclined to sentimentality, and her strength lies in her ability to maintain discipline where the boundaries are especially fragile.

Godmother, Darling, Sheep (educators of the female wing) form a contrasting group, where each plays her own role.

Moose (a former educator, a favorite of many, especially the Blind One and the Sphinx) is warm, attentive, and able to hear. The moose was the adult to whom children could come not for orders, but for support. He did not try to "remake" the inhabitants of the House, but tried to understand their world and help them find their place in it. His death on the eve of the last episode was a serious trauma for the House: it is not just the loss of a person, but the loss of a fulcrum where an adult was on the side of the children. The moose remains in the memory of the Dom people as the ideal educator - the one who is not afraid to be around, even when the world of Home seems frightening. (killed)

The lizard (educator Dogs, 6th room) is sharp, energetic, straightforward. His approach corresponds to the character of Dogs: he appreciates activity, movement, strength and does not tolerate passivity. The Lizard is not prone to long conversations and heartfelt conversations - he acts, demands, sets tasks and waits for the result. There is no gentleness in him, but there is honesty: he does not pretend to be kind when he does not feel it, and Dogs respect him for his directness. For them, the Lizard is like a strict trainer: tough, but fair, and this is the kind of adult they need so that their energy does not turn into chaos.

Ralph (Black Ralph, R One; curator of the Birds and the Fourth Group) is one of the most complex and profound adults in the House. He is missing two fingers on his left hand, he wears a black glove, and this detail emphasizes his composure and closeness. Ralph does not impose his rules, but carefully observes and tries not to break the internal logic of the House. He understands that the Birds are based on ritual and memory, and the Fourth is based on a special, almost mystical connection, and his task is to be a link between Home and Outside, without destroying the delicate balance. His character combines strictness, empathy and a willingness to take responsibility: he does not turn away from problems, but he is in no hurry to "correct" children - he helps them to remain themselves.

Sheriff (Rats' handler, 2nd room) is tough, straightforward, used to keeping the situation under control. His style is not to persuade, but to set limits and make sure that the Rats do not cross the line, beyond which serious problems with the administration begin. He has respect for the strength and cohesion of the pack, but he does not romanticize their aggression: for him, it is an energy that needs to be channeled so that it does not destroy the Rats themselves. The sheriff does not try to become "one of his own" - he remains an adult who is obliged to keep order, and the Rats take this for granted.

Homer (teacher Fazanov, 1st room) is calm, balanced, inclined to compromise. He sincerely tries to help his charges, but his method is to maintain order and discipline, because this is where the Pheasants look for support. Homer does not break their system, but carefully integrates into it, trying to soften the extremes. In his character there is patience and a desire to "do the right thing", but he does not go deeper: if Pheasants want to live by the rules, he will help to follow these rules. For them, he is a figure of stability, almost parental, but without excessive intimacy.

The director
is almost not revealed as a person – he exists on the periphery, as part of a faceless "system" that the House is wary of. His character is read not through direct descriptions, but through the lack of influence on the inner life of the boarding school: he does not try to understand the House, does not interfere with its logic, but rather fixes external indicators and observes formalities. For the housekeepers, the director is an abstract threat, a symbol of the Appearance, from which the House defends itself. Its power is in papers, orders and inspections, but this power does not work inside the House: the House lives by its own laws, and the director is not able to change them, or even truly comprehend them. Director Shark is the director of the House during the time of the Smoking Man, the successor of the Old Man. His nickname "Shark" is not about strength and predatory power, but about tired, petty predation: he is like an aged fish that is enough for the smallest prey, and which no longer hunts big.

Physical abnormalities and diseases in the House are not diagnoses, but part of identity. Manifestations are often intertwined with House magic, and physical limitations coexist with supernatural abilities. The blind man is completely blind, but on the Upside Down he becomes a werewolf and "sees" differently; His blindness is a source of strength and power. The Sphynx is armless, uses prostheses-"rakes"; in the interludes he is the Grasshopper, fragile and vulnerable; in the main narrative, he is one of the most balanced and wise. A smoker is a wheelchair user, a newcomer to the House; his "disability" is shown as a physical limitation that contrasts with his keen view of the world of the House. Lord has problems with the musculoskeletal system, formally a wheelchair user, but he can walk and even move very dexterously; addicted to substances, which is why he becomes a Jumper. Redhead (Death) in the past was a seriously ill boy who lived in the Burial Ground; his nickname "Death" reflects the fragility and closeness to the border of life. The Macedonian has six fingers on each hand; this does not prevent him from being caring and economical; he often cooks and takes care of others. The humpback has a pronounced hump; in the House, this is called "folded wings" - a poetic and careful reinterpretation of ugliness. Black used to go by the nickname "The Athlete" and was physically strong, but an injury or illness changed his path; later he becomes the leader of the Dogs. Vulture is the leader of the Birds; His bond with and mourning for his twin brother is part of his "disability" as a loss and split identity. Petrosyan speaks sparingly about the physical characteristics of the girls, the emphasis is on their social status and the boundaries that they violate.

The life of the boarding school is everyday life, built around packs, rituals and boundaries. Rigid hierarchy and packs are the basis of survival. Belonging to a group determines everything: style of clothing, slang, manner of behavior, social circle. The stranger is immediately visible: he does not know the rules, does not feel the boundaries, does not understand the language. The boundaries of the sexes before the New Law are a strict barrier. Girls are "another territory", crossing borders is an event. After the passage of the New Law, these walls come down and the bands begin to mix. This is not just "you can communicate", but a restructuring of the entire system: alliances change, new conflicts arise, the House begins to prepare for graduation. Self-government and violence are a way to resolve conflicts. The house does not rely on adults. Duels, challenges, fights are part of order. For example, the conflict between the Blind and Pompey is not just a fight, but a struggle for the right to be the Master of the House. The winner receives not only respect, but also control over the system. Rituals and language are a way to keep the House from falling apart. Domovotsy have their own slang, nicknames instead of names, their own holidays (Night of Fairy Tales, Longest Night). Tabaki preserves these traditions and passes them on: he remembers all the stories, knows all the rules and makes sure that they are not forgotten. Flyers and Bandarlogs are functional roles in the system. Flyers go out into the Exterior for things and news. It's risky: Appearances are hostile, and not everyone returns. Flyers are the ones who connect Home to the outside world, and their role is very important. Bandar-logs (like Larry) spread rumors and know all the holes in the corridors. This is the "nervous system" of the House: without them, information would not circulate and the system would not be able to function.

Educators are part of the Home system, but they keep their distance. Each male group has its own curator, the girls have their own educators. Homer is the teacher of the Pheasants (1st room). It supports their desire for order and discipline and for Pheasants acts as a symbol of connection with the outside world. Sheriff - Rat Curator (Room 2). His task is to restrain their aggression and prevent them from getting completely out of control. Ralph (Black Ralph, R First) - Attached to the Birds (3rd) and to the Fourth Group (4th). He is missing two fingers on his left hand and wears a black glove. Ralph is one of the few adults who understands how Home works and tries not to break its internal logic. The Lizard is the educator of the Dogs (6th room). He is tough, straightforward, and his style of work suits this noisy, energetic pack. Moose was a favorite educator for many, especially for the Blind Man and the Sphinx. He died in the conflict on the eve of the last issue and became almost a legend for the House. His death is one of the traumas that form the relationship between the housekeepers and adults. Godmother, Darling, Sheep are the educators of the female wing. The godmother is the most frightening, her name is used as a threat.

The canteen ("Coffee Pot") is the main public place where all groups intersect. The name "Coffee Pot" is slang for the Domovoy: it smells of food, steam, coffee, and it is a space where you can overhear rumors, see other people's packs and feel the general pulse of the House. The "coffee pot" is a neutral territory where the boundaries between packs are temporarily erased. This is where chance encounters, news exchanges, alliances are formed, and conflicts are prepared. Corridors, staircases, "holes" and "passages" are not just paths, but living parts of Home. The corridors change direction, open secret passages, hide Flyers and Bandarlogs. The house decides for itself who to let in where, and who to leave to wander. Larry (Bandarlog) knows such moves and uses them to convey rumors. Bandar-logs are the "nervous system" of the House: they spread the news, know all the holes and loopholes, and without them, the system would not work.

Special spaces are not just rooms, but functional nodes of the House, where their own laws apply. The burial ground is an infirmary, the hospital wing of the House. Here lie the seriously ill, the "sleeping" and those who balance between life and the Upside Down. The burial ground is not just a hospital, but a border space: here time flows differently, and reality is blurred. In the interludes in the Burial Ground, the Grasshopper (the future Sphinx) and Death (the future Red) lived. They held on to each other so as not to disappear. The atmosphere there is silence, cold, the smell of medicines and dust. This is the space where the House "gets" those who are too weak for packs. A burial ground is a place where important connections are born and where a person encounters the very border of life.

The women's wing is a territory with its own rules and borders. Girls do not have a single room-flock. They live separately, in different rooms of the women's wing, and until the adoption of the New Law, boys almost do not go there. This is "another territory", and entering there without permission is a risk. Here live: Redhead is one of the most noticeable girls; She is not like the rest: she walks freely in men's rooms, is not afraid to violate boundaries, and becomes a support for many. The mermaid is a fragile, light, almost ephemeral figure; she makes baubles for the Sphinx, and this detail becomes a symbol of their quiet, careful affection. Long Gabi is a bright, deliberately uninhibited girl; her role in the plot is to be a tool in someone else's game: Red brings her to the Blind Man to shake the House. Spokes - Related to Larry (Bandarlog) Their line is shown in strokes, but this is one of those couples where simple, everyday affection is visible. The women's wing is described sparingly: these are separate rooms, common corridors and areas that feel like "another territory". Their strength lies in their isolation and in the fact that they live by their own rules, until the House forces them to change these rules. The Godmother, Darling, and Sheep are the educators of the female wing. The godmother is the most frightening, her name is used as a threat. Darling and Sheep are less noticeable, but still part of the system that keeps the female wing in order.

Room 6: Dogs. A bright, loud, energetic flock. Dogs love colorful clothes, noise, movement. Their room is a constant hum, laughter, arguments, training. At first, the leader is Pompey, charismatic, daring, self-confident. His conflict with the Blind Man is a struggle for the right to be the Master of the House. Later, Black becomes the leader, and the dynamics of the pack change: it becomes more rigid and organized. Dogs are the pack that loves "action" the most: they are the first to get into a fight, the first to take risks, and it is from them that the Flyers often come out - those who go out into the Appearance for things and news. The Lizard, the educator of the Dogs, is tough and straightforward, and his style of work suits this noisy, energetic pack. The fifth room does not officially exist. In the world of House Number 5, it is a "hole", an emptiness, a space that does not belong to anyone.

4th room: Fourth (without animal name). This is the most mystically important room. It does not have an "animal" name, and this emphasizes its special status: the Fourth is not just a pack, but the center of the House. Those who are more connected to the Upside Down than others live here. The composition of the group: Blind - the leader of the pack and in fact the Master of the House; his blindness is not a weakness, but a source of power: on the Upside Down, he becomes a werewolf and "sees" differently. The Sphinx (formerly the Grasshopper) is armless, wears prosthetic "rakes"; he is the moral center of Four, the one who keeps the group from breaking up. Tabaki (formerly Stinky) is a small, skinny, connoisseur of the traditions of the House; he collects trash, remembers all the rituals and legends, and it is through him that we learn the history of the House. Lord is honey-haired, gray-eyed, formally a wheelchair user, but he can walk and move very dexterously; addicted to substances, which is why he becomes a Jumper. Black (formerly Sportsman, and earlier Blond) is physically strong, later becomes the leader of the Dogs. Macedonian - he has six fingers on each hand; He is quiet, housekeeping, often cooks and takes care of others. The humpback has a pronounced hump, which in the House is poetically called "folded wings". The life of the Fourth is chaos that rests on internal discipline. The light is always on in the room, the tape recorder is working, the walls are hung with things, bundles of herbs, posters. In the Fourth, it is forbidden to have clocks and calendars: time flows differently here, and they consciously refuse to measure it. The central bed, made up of four ordinary beds, is a place where everyone gathers, sleeps, eats, and discusses business. This is not just furniture, but a symbol of their unity.

3rd room: Birds. A group led by Vulture. Birds are mourning for the deceased twin brother of the leader, and this loss determines all their aesthetics: dark colors, silence, a lot of indoor plants, cross-stitch. Their room is full of greenery and subdued light, an attempt to create an island of peace in the aggressive world of Home. Vulture is a complex, introverted leader. His power rests not on brute force, but on ritual and memory: Birds live in the shadow of loss, and their cohesion is a form of mourning. In everyday life, they are quiet, economical, but at the same time vulnerable: they are easy to touch, and then they can flare up sharply. Ralph (Black Ralph, R the First), who is attached to the Birds and the Fourth Group, understands this subtle mechanics better than other adults and tries not to break it.

2nd room: Rats. A noisy, aggressive, bright group that defiantly rejects any rules. Rats wear provocative hairstyles, love harsh colors, many have knives or razors with them - this is part of their identity. Their strength is in cohesion and readiness for conflict. The leader of the pack is Red (formerly Death). His past in the Burial Ground, where he was gravely ill and teetering on the brink of life and death, shaped his sharp, prickly character: he learned to be tough not to let himself be broken. In his pack, the cult of loyalty and strength reigns: Rats protect their own and do not forgive betrayal. The life of the 2nd room is constant noise, arguments, preparation for skirmishes, storage of the "arsenal" and constant provocations towards the Pheasants. The Sheriff, the Rats' handler, tries to contain their aggression by preventing them from completely getting out of control, but does not break their internal structure.

Men's groups (flock rooms) are the basis of the social structure of the House. Each room is a separate world with its own laws, aesthetics and leader. Belonging to a pack is a matter of survival, and transition from one group to another is almost impossible.
1st room: Pheasants. This is a group of wheelchair users who consciously oppose themselves to the rest of the House. Their ideology is built on order, discipline, hygiene and the desire for "normality". They wear the same neat clothes, follow the regimen, do exercises, avoid conflicts and keep apart. For other Household, Pheasants are strangers, almost aliens from the Outside, because they try to live by the rules of adults. At the beginning of the novel, the Smoking Man (Eric Zimmerman), the narrator of the first part, lives in this room. He gets here as a beginner and immediately does not fit into the sterile order of the pack: he smokes, violates discipline, asks uncomfortable questions. Gradually, he is forced out of this environment, and he begins to discover a real Home for himself - chaotic, dangerous and attractive. In the 1st room, there is no rigid leader: their cohesion is based on the fear of chaos, and not on strength. Homer, their tutor, maintains this craving for order and acts as a link for them with the outside world.