Harry Hook
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While the party scenes have elements of Studio 54, the fight scenes are more reminiscent of something from William Golding's Lord of the Flies.
Director Wes Ball's ambitious pitch for The Maze Runner is Lord of the Flies meets Lost - unfortunately the end result is all high-concept and no trousers, lacking the thematic weight of William Golding's yarn or the compelling intrigue of ABC's primetime hit.
"The Maze Runner," adapted by scribes Noah Oppenheim, Grant Pierce Myers and T.S. Nowlin from the 2007 novel by James Dashner (the first in a trilogy), seems to share a closer kinship to William Golding's 1954 classic "Lord of the Flies" than to most of the modern fantasy YA book-to-screen upstarts.
The Maze Runner can be broken down as William Golding’s Lord of the Flies by way of Lindelof and Cuse’s Lost.
And Jojo’s rotund, bespectacled and preternaturally well-spoken pal Yorki is a dead ringer for Piggy in William Golding’s Lord of the Flies.
Collins’s idea seems to be derived from the bloodier Greek myths and Roman gladiatorial contests (the big shots have names like Seneca and Claudius); from William Golding’s “Lord of the Flies”; and from TV spectacles like the myriad “Survivor” shows and sado-Trumpian elimination contests.
Feeling displaced in post-feminist culture, the lost boys of Fight Club bond, but also—like William Golding’s lads in Lord of the Flies—roughhouse their way into fascism, as Fight Club escalates into a lockstep anarchist terrorist group called Project Mayhem.