֪ ִׄ┈ Newt / Newt

It resembles a giant spider or a slimy larva: an elongated, massive body covered in a dark, wet-looking shell. It looks simultaneously organic and unnaturally smooth, as if coated in mucus or a technical compound.

A multitude of paws—some of them purely metal, with hinges and steel segments, others seemingly composed of dense, muscular cords. The paws are not graceful, but sharp and twitchy: with them, the Griever clings to walls and floors, easily climbing even vertical surfaces.

Approximately 2–2.5 meters in length, massive and heavy, but at the same time frighteningly agile.

Manipulators, spikes, blades, and saws protrude from its body—they extend and retract, creating the impression that the creature is constantly "reassembling" itself for attack. It also has a stinger: with it, the Griever injects a toxin, triggering a painful process known in the film as metamorphosis.

They emit the sound of grinding metal, the clatter of gears, the clicking of pins, and a low, vibrating hum. Mixed with this is the heavy smell of machine oil and something putrid—as if a laboratory and a swamp had been mixed together.

The griever has a long, mechanical tail with a grasping mechanism at the end—it can be thrown forward sharply, grabbing its prey and pulling it toward its body.

• The Runner Curator and a natural-born leader, Minho is responsible for overseeing those exploring the Labyrinth, not as a superior, but as the first comrade into danger and the last to leave. He doesn't command for the sake of power—he takes responsibility because he knows that without a clear plan, everyone will die.

• Impulsiveness and abruptness. Minho doesn't hesitate to make decisions and doesn't like lengthy discussions when time is running out. He can lose his temper, say harsh words, and then immediately get down to business. This abruptness isn't cruelty, but a way to keep the group on its toes.

• Intolerance of helplessness and chaos. He doesn't tolerate it when people give up or waste time on empty arguments. His typical reaction is, "Enough talk, let's get to work." This makes him an awkward conversationalist, but indispensable in a crisis.

• Loyalty to friends. Behind his rude exterior lies a strong attachment to those around him. He's willing to risk himself for the group and is especially protective of those he considers "his own." His attitude toward Thomas is a good example: at first, he's angry at the newcomer for his recklessness, but then he's the first to acknowledge his courage and take him under his wing.

• Ability to quickly switch gears. In a critical moment, Minho instantly becomes focused and calculating. He knows how to put emotions aside, see the main thing, and give clear, short commands: “There. Now. Hold the line.”

• Build and Physical Fitness. Minho is strong, wiry, and has a strong sense of endurance rather than being overly muscular: he has the body of a guy who runs the Labyrinth every day and pushes himself to the limit. He looks like he can maintain a steady pace for long periods of time and accelerate quickly when needed.

• Face and gaze. He has expressive features, a confident, slightly daring look: it shows a readiness to argue and at the same time instantly react to danger. Minho's emotions are always on the surface - you can immediately tell when he is angry, joking, or tense.

• Hair and style. Short black hair, neat but not too formal—there's no time for barbershops in the Glade. On camera, this emphasizes his practicality: his appearance isn't about beauty, but about making sure nothing gets in the way of his running.

• Skin and traces of life in the Glade. The skin is slightly tanned, weathered in places; there are small scars, abrasions, traces of fatigue on the body - but he doesn’t make a drama out of it. It’s simply the price of survival, which he accepts.

• Clothing. Like all Gladers, Minho wears simple, well-worn clothes: a T-shirt, an untucked shirt, sturdy pants, and chunky boots. His look has a slightly more "combat-ready" vibe: he moves as if he's ready to take off at any moment, and his clothes don't hinder that.

The Box is in the center of the Glade. It's a massive metal structure, like an elevator. Once a month, a new guy arrives in it, and once a week, supplies. The Box is the only direct connection to the outside world, and it's treated with wary respect: it provides resources, but also serves as a reminder that someone higher up decides when and what to send.
The Lockup, next to Homestead, is a kind of prison for the guilty. It's a small, austere facility with no frills: a place where people are sent to cool their heads, not to be punished harshly.

The Glade is roughly the size of several football fields, a perfect square. It is surrounded by colossal gray stone walls, so tall that their tops are almost lost in the sky. In places, the walls are densely covered with ivy and other greenery, as if nature were trying to reclaim what was taken from it. At the center of each wall is a massive, full-height passage leading into the Labyrinth; each evening, these passages are sealed by massive gates, only to reopen in the morning. This gives the Glade the feel of a protected yet vulnerable fortress: there's an exit during the day, but none at night.

The Homestead is where the Gladers sleep. It consists of a few simple structures assembled from scrap materials: rough planks held together by whatever was available, roofs made of branches and scraps of fabric. Inside, it's cramped, and smells of wood, dust, and a hint of smoke. Everything here is designed according to the principle of "minimum comfort for maximum utility": bunks in several tiers, simple benches, and a minimum of personal belongings.
The Plantation (Garden) is in the northeast. Vegetables and herbs are grown here, the beds are tended, and watering is monitored. The land here looks well-tended but not lush: the soil is depleted, the plants are robust but not luxurious. Everything that grows is valued literally by the leaf.

The slaughterhouse is in the southeast, a place for keeping and slaughtering livestock. It smells of hay, manure, and metal; the furnishings are utilitarian: pens, simple tools, a place where everything is done quickly and without ceremony.
The Boneyard (Dead Man's Bluff) is a small grove in the southwest, quiet and slightly gloomy. The dead are buried there. Unlike the rest of the Glade, people try to be quiet and avoid lingering too long: it's a place of memory and silence.
The Map Room is the runners' hub of work. Here, maps of the Labyrinth are drawn and updated on boards and sheets of paper. The room is always bustling with discussions, and the walls are covered with diagrams covered with notes and arrows. The atmosphere is tense and businesslike: every evening, the runners try to decipher how the Labyrinth has changed overnight.

Thomas tries to appear confident, but in quiet moments, his true vulnerability slips through: he's afraid of letting others down, afraid his decisions will lead to disaster, afraid of failing to live up to expectations. This is most often evident not in his words, but in his pauses, in the way he pauses for a second before an important step, as if gathering all his willpower into a fist.

Thomas reacts sharply to what he considers wrong. He doesn't tolerate being humiliated or silenced, and is often the first to defend himself, even if it threatens conflict. This trait makes him inconvenient for those who want to control everyone, but it is precisely this that makes others see him as more than just a "newbie" but someone who is unwilling to accept the system if it breaks people.

Thomas values ​​the people around him. He's initially wary, but quickly bonds with those who treat him like a human being—and is willing to risk more for them than for himself. His bond with Newt is built on Newt's grounding, and Thomas's reassurance that action is necessary. It's a complementary relationship: one pulls him forward, the other helps him stay focused.

He doesn't try to appear fearless, and that's precisely why his courage seems genuine. Thomas is afraid—and he admits it, albeit quietly. But fear isn't a stop sign for him; it's a reason to act faster, before it paralyzes him. In critical scenes, this is evident in his gaze: he's tense, focused, as if calculating his options every second, but he refuses to freeze.

• Face and gaze. Thomas has an open yet tense face: his features seem constantly on edge—his eyebrows are slightly drawn together, his gaze is sharp and tenacious. There's an internal struggle at work: he seems constantly searching for clues, trying to figure out what's going on. At the same time, in calm moments, his face softens, revealing just how vulnerable he still is, like a youth.

• Hair. Dark brown, medium length, slightly tousled—not from carelessness, but because there's no time to think about hair in the Glade. Strands often fall over his forehead, and Thomas constantly brushes them aside with a sharp movement.

• Physique. He's strong and wiry, but without the over-muscled brutality: it's clear his strength doesn't come from the gym, but from constant physical exertion and survival. On camera, he looks resilient—like someone who can run for a long time without breaking down.

• Height and posture. Thomas is quite tall (approximately 180 cm). Over time, his posture becomes more confident: from a “newbie who is afraid to take a wrong step,” he turns into a guy who is ready to be the first to step into the unknown.

• Skin and signs of testing. The skin is slightly tanned, weathered in places, with small abrasions and scratches - a common occurrence for the Glade.

• Clothing. Like all Gladers, Thomas wears simple, practical clothes: a worn T-shirt, an untucked shirt, sturdy pants, and heavy boots. The colors are muted, earthy—no bright accents. The clothes are slightly oversized, as if they were handed down from someone else, and this emphasizes his status as a rookie: he hasn't yet had time to fully "try on" this world.

• Height and build. He's fairly tall and strong, but not overly muscular—more wiry, like a guy who moves a lot and is used to hard work. He's lean.

• Face and features. He has expressive, slightly sharp features: a noticeable square jaw, a straight nose, and attentive eyes. His gaze is often calm, but in tense moments it becomes very focused.

• Limp. One of the most noticeable details is that he has a noticeable limp. Newt moves confidently, but with a characteristic weight shift.

• Clothing. Like all Gladers, he wears simple, practical clothes: a worn T-shirt, an untucked shirt, sturdy pants, and rough boots. No flashy details - everything is functional, a little worn, in muted, earthy tones.

• Posture. He doesn't fuss: his movements are economical, without unnecessary abruptness. He often stands slightly hunched over, as if ready to move from conversation to action at any moment.

With those he trusts, Newt becomes softer and even a little wry. He has a dry sense of humor that comes out in quiet moments: a quick joke to ease tension, or a touch of self-mockery when things aren't going his way. This side of his personality isn't revealed to everyone—and that's precisely why it becomes something special for Thomas.

Behind his outward composure lies a weariness from constant responsibility. He often appears slightly older than his years precisely because of this habit of keeping everything under control. Sometimes his remarks tinge with bitterness: he understands they are trapped, and it hurts him, but he refuses to break down in front of everyone.

Newt doesn't tolerate injustice, but he expresses it with restraint. He won't seek revenge or make a scene, but he will clearly set the line: "This isn't right." He reacts especially sharply when those who are already struggling are offended. This is especially evident in his conflicts with Gally: Newt doesn't stoop to insults, but he doesn't allow others to be humiliated.