Welcome to Lovecraft introduces us to the mythology of the series and presents the main characters. But beyond the protagonists, the house itself, where everything unfolds, plays a central role. It serves as a symbol, an allegory, or perhaps more accurately, a canvas upon which memories, traumas, desires, dreams, and anxieties are projected, all warped and transformed by the story’s supernatural and horrific elements.
As you might guess from the title, the locks and keys are crucial to Hill’s entire narrative. With this comic, Joe Hill made his entry into the comic book industry, and together with Gabriel Rodríguez, delivered one of the most memorable and inspired creations I’ve encountered. It’s undeniably original, managing to blend so many elements so seamlessly that it makes you wonder how someone so young at the time could have had such mature and well-formed ideas.
Of course, he went on to prove himself many times over, with Horns, NOS4A2, The Fireman, Strange Weather, and earlier works like 20th Century Ghosts and Heart-Shaped Box. And that’s not even the full list. Sure, being Stephen King’s son might have helped open some doors, but writing stories of this caliber clearly isn’t just about genetics. To think otherwise would be laughable. Beyond talent, Hill has clearly worked hard to master the art of storytelling, and that’s genuinely moving for many reasons.
But what actually happens in this volume?
Nina has three children—Kinsey, Tyler, and Bode—who move into the ancestral home of Rendell, their late father. He isn’t with them, for reasons that become clear as the story unfolds. Once there, they begin to uncover secrets that slowly reveal the past, not just of the house, but of Rendell himself. It’s important not to know too much going in. What matters is how Hill chooses to tell the story, and how Rodríguez brings it all to life through his artwork.
That said, a few things need to be mentioned to set the tone. Despite the focus on children, the atmosphere is heavy. Loss weighs on every character, shaping their lives and decisions. Each of them experiences and processes grief in their own way, or at least tries to. Because ultimately, the goal isn’t to overcome it but to learn how to live with it. If you can accept that, it’s the only kind of victory available.
They’re all emotionally shattered. And if that weren’t enough, other dangers lurk, some that come from outside, others from within, and some that remain unseen, though they are always present, just a key and a lock away. When you make a choice and step through a threshold, how certain can you be about what awaits on the other side? You have to go and find out. But what if there’s no way back?
Locke & Key poses extraordinary dilemmas. The concept of magical keys and doors feels like a fusion of influences—as I perceive them—that inevitably call Stephen King to mind, but also hint at Clive Barker or Ray Bradbury, and certainly H.P. Lovecraft, C.S. Lewis, Lewis Carroll, and even Guillermo del Toro. I could give you a whole list of names I believe inspired the author, but I think you get the idea.
In my next post, on Head Games, the second volume, I’ll delve more into the characters and story details, assuming that by then you’ll have already read Welcome to Lovecraft, which will make things much clearer.
Until next time — be well, and keep reading.
It’s important!
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