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4.48 AVERAGE
4.48 AVERAGE
dark
emotional
mysterious
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
adventurous
dark
mysterious
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
dark
emotional
mysterious
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Second story I’ve read from Joe Hill and was one of the best graphic novels I have ever read. Classic story of good vs. evil but done extremely well! The amazing art from Gabriel Rodríguez improves the great story from Hill and ends up with a phenomenal final product. Loved this story and every page was beautiful. Amazing!
Vol1
Nonstop tension start to finish. Despite a gruesome story line and an odious antagonist, I couldn't put it down. Great balance of mystery and reveal, with an expert use of flashback for gradual character and plot exposition. Lots of cliffhangers throughout and at the end of the volume to keep you coming back for more.
If you are into the horror genre and aren't squeamish with blood or feckless killing of innocents, this is a good read. If you ARE squeamish with the feckless killing of innocents, this is a great read, and you, if you're anything like me, are going to want to KEEP reading. Without spoilers, I feel extremely driven to finish the series to see who gets their comeuppance and how.
Vol2
Not as good as volume one, this seemed like a transitional episode paving the way for big things to come. Many of the characters are endlessly frustrating. Fantastic artwork, particularly the two page spread anytime you get a look in someone's mind. On to part 3!
Vol 3
Continued excellence. The story is gripping and the artwork is particularly excellent. Touch of plot inconsistency in the beginning which was a little annoying, and a couple of cliche tropes throughout, but in general a fresh idea with its own internal consistency and unique ideas. Enjoying the gradual filling in of character details, and excited to see the role this new guy who looks like spider jerusalem from transmetropolitan is going to play.
Vol 4
Great volume, fast paced, excellent plotting. Art remains incredible, dialogue is realistic. Enjoy the juxtaposition of teenage angst and ongoing battles for their lives. A TOUCH put off by the deus ex machina with Rufus and Lesser, but I'll allow it. Definitely like the continuing development of the mythology of this universe.
Vol 5
Another good one. Lots of helpful backstory that we've been waiting for,some important reveals and a lot of missing links that fit the whole story in a single beautifully plotted time line going into the finale.
Vol 6
Good conclusion, tidy, well plotted. Overall a really engaging story with beautiful art and memorable characters. But still I have some questions...
Spoilers below:
1)So who is in the well, and why did they have the power to show up to lesser in the painting at the dad's guidance counselor office. Is it just the discarded thought of Lucas that was supposed to be in a bottle, or is it the echo of lucas/demon? If his memory is there after death, then does that mean lots of others are too? Why didn't any other echoes protect bode from going in? And why does the demons soul disappear if brought back to it? Almost everything about the well house still confuses me.
2)what key used the mechanical owl, and then when/where was the moon key?
3.So at the end bode becomes a bird, then animal keys to be human again? I guess that one makes sense.
4.why can mom sometimes see ghosts but not always.
5.why not bring the students to the mending key
6.whatever happened to the jester key?
Nonstop tension start to finish. Despite a gruesome story line and an odious antagonist, I couldn't put it down. Great balance of mystery and reveal, with an expert use of flashback for gradual character and plot exposition. Lots of cliffhangers throughout and at the end of the volume to keep you coming back for more.
If you are into the horror genre and aren't squeamish with blood or feckless killing of innocents, this is a good read. If you ARE squeamish with the feckless killing of innocents, this is a great read, and you, if you're anything like me, are going to want to KEEP reading. Without spoilers, I feel extremely driven to finish the series to see who gets their comeuppance and how.
Vol2
Not as good as volume one, this seemed like a transitional episode paving the way for big things to come. Many of the characters are endlessly frustrating. Fantastic artwork, particularly the two page spread anytime you get a look in someone's mind. On to part 3!
Vol 3
Continued excellence. The story is gripping and the artwork is particularly excellent. Touch of plot inconsistency in the beginning which was a little annoying, and a couple of cliche tropes throughout, but in general a fresh idea with its own internal consistency and unique ideas. Enjoying the gradual filling in of character details, and excited to see the role this new guy who looks like spider jerusalem from transmetropolitan is going to play.
Vol 4
Great volume, fast paced, excellent plotting. Art remains incredible, dialogue is realistic. Enjoy the juxtaposition of teenage angst and ongoing battles for their lives. A TOUCH put off by the deus ex machina with Rufus and Lesser, but I'll allow it. Definitely like the continuing development of the mythology of this universe.
Vol 5
Another good one. Lots of helpful backstory that we've been waiting for,some important reveals and a lot of missing links that fit the whole story in a single beautifully plotted time line going into the finale.
Vol 6
Good conclusion, tidy, well plotted. Overall a really engaging story with beautiful art and memorable characters. But still I have some questions...
Spoilers below:
1)So who is in the well, and why did they have the power to show up to lesser in the painting at the dad's guidance counselor office. Is it just the discarded thought of Lucas that was supposed to be in a bottle, or is it the echo of lucas/demon? If his memory is there after death, then does that mean lots of others are too? Why didn't any other echoes protect bode from going in? And why does the demons soul disappear if brought back to it? Almost everything about the well house still confuses me.
2)what key used the mechanical owl, and then when/where was the moon key?
3.So at the end bode becomes a bird, then animal keys to be human again? I guess that one makes sense.
4.why can mom sometimes see ghosts but not always.
5.why not bring the students to the mending key
6.whatever happened to the jester key?
Locke & Key exceeded my expectations. In a big way. I can see it becoming one of my all-time favorite graphic novels. With stunning art, an engrossing plot, and relatable characters, it tells more than just a horror story. It goes much deeper than that. It's an excellent book about family, grief, and growing up.
Умная, продуманная история с красивой графикой и неожиданными сюжетными твистами. Концовка показалась немного приторной, но это я придираюсь после такого количества смертей, "гора" и прочих матюков, которых в комиксе полно.
По духу похож на Sandman'а, но менее жёсткий.
По духу похож на Sandman'а, но менее жёсткий.
Luego de que Rendell Locke haya sido asesinado a manos de Sam Lesser, un adolescente sociópata, su familia se muda a Keyhouse, la casa familiar del padre para vivir con su hermano y poder soportar el duelo en compañía.
En medio de la pérdida, el menor de los hermanos, Bode, encuentra una extraña llave que le permite convertirse en fantasma, solo para descubrir que hay muchos secretos en Keyhouse y tal vez, habría sido mejor que queden guardados.
Empecé el primer tomo con bastante reticencia, no estaba esperando mucho de la historia y entré con pocas expectativas. En un principio no quedé fascinada con la trama, me pareció interesante y bastante macabra pero nada del otro mundo, por lo que no retomé el resto de los cómics hasta pasadas unas dos o tres semanas.
Una vez que agarré Headgames no pude soltar ninguno de los otros tomos. Lo que Welcome to Lovecraft no había logrado captar en mí, lo consiguió el segundo volúmen y a partir de ahí no hubo vuelta atrás. Terminé leyendo todo el resto de la historia en tres días.
Como dije más arriba, es una trama bastante macabra y muy oscura. El villano es excelente, de esos que te hacen odiarlo de principio a fin pero es inevitable no sentirse atraído por cómo va a llevar a cabo las cosas. Es sanguinario y no tiene reparos en asesinar a quien se ponga en su camino.
Y aún así, a pesar de todo el atractivo violento, horrorífico y sobrenatural, lo que realmente resalta es lo humano. Joe logra lo que su Stephen King fue dejando como legado, la capacidad de crear todo un mundo lleno de elementos fantásticos pero haciendo que lo más importante sean las emociones que quedan atrás, y cómo afecta eso a los personajes y al lector.
El duelo es una figura elemental y está muy bien llevada a cabo. Los personajes no siempre hacen lo que uno cree que haría estando en sus lugares, pero ese es el tema con el duelo: no hay una forma correcta de atravesarlo, y cada uno hace lo que puede.
Es la historia de una puerta interdimensional y cientos de llaves mágicas, pero también es la historia de una familia en pedazos que intenta reconstruirse en pequeños pasos. Es sobre encontrar una familia en los amigos, el dolor del paso entre la adolescencia y la adultez, y la pérdida de la inocencia infantil.
Los personajes son de esos con los que en un principio cuesta conectar. Toman decisiones que frustran al lector y las consecuencias terminan siendo graves, pero a medida que todo va avanzando, es inevitable terminar queriéndolos y desear que todo salga bien para ellos. Incluso los personajes secundarios son queribles, y las historias personales de cada uno terminan haciendo que el lector simpatice con ellos.
Mi único problema con estos cómics fue que a veces las cosas parecían salir de la nada y todo quedaba a interpretación del lector. Entiendo que hayan cientos de llaves y que no se pueda mostrar cada una en detalle, pero siquiera una elipsis habría funcionado en vez de que un volumen terminara de cierta forma y en el siguiente los personajes estuvieran volando de la nada. A lo mejor me salté algún cuadro sin querer.
Por el lado del estilo de ilustración, los dibujos de Gabriel Rodríguez no son mi cup of tea, pero van a juego con la trama. Los colores son apagados y realistas, con trazos marcados y gruesos, sin una estética que vaya a suavizar los eventos que se van dando, y aún así no deja de tener su propia belleza. Hay cuadros que son dignos de estar enmarcados, y los personajes están muy bien ilustrados; las facciones son increíbles y todas las emociones están muy bien captadas.
En fin, una lectura que me dejó gratamente sorprendida. El final me gustó mucho y cierra todos los cabos sueltos, además de ser muy emocional (yo sigo en negación, hay algunas cositas que me habría gustado que salieran de otra forma, pero aún así, es un cómic que obtuvo el final indicado y que merecía). Muy recomendado.
En medio de la pérdida, el menor de los hermanos, Bode, encuentra una extraña llave que le permite convertirse en fantasma, solo para descubrir que hay muchos secretos en Keyhouse y tal vez, habría sido mejor que queden guardados.
Empecé el primer tomo con bastante reticencia, no estaba esperando mucho de la historia y entré con pocas expectativas. En un principio no quedé fascinada con la trama, me pareció interesante y bastante macabra pero nada del otro mundo, por lo que no retomé el resto de los cómics hasta pasadas unas dos o tres semanas.
Una vez que agarré Headgames no pude soltar ninguno de los otros tomos. Lo que Welcome to Lovecraft no había logrado captar en mí, lo consiguió el segundo volúmen y a partir de ahí no hubo vuelta atrás. Terminé leyendo todo el resto de la historia en tres días.
Como dije más arriba, es una trama bastante macabra y muy oscura. El villano es excelente, de esos que te hacen odiarlo de principio a fin pero es inevitable no sentirse atraído por cómo va a llevar a cabo las cosas. Es sanguinario y no tiene reparos en asesinar a quien se ponga en su camino.
Y aún así, a pesar de todo el atractivo violento, horrorífico y sobrenatural, lo que realmente resalta es lo humano. Joe logra lo que su Stephen King fue dejando como legado, la capacidad de crear todo un mundo lleno de elementos fantásticos pero haciendo que lo más importante sean las emociones que quedan atrás, y cómo afecta eso a los personajes y al lector.
El duelo es una figura elemental y está muy bien llevada a cabo. Los personajes no siempre hacen lo que uno cree que haría estando en sus lugares, pero ese es el tema con el duelo: no hay una forma correcta de atravesarlo, y cada uno hace lo que puede.
Es la historia de una puerta interdimensional y cientos de llaves mágicas, pero también es la historia de una familia en pedazos que intenta reconstruirse en pequeños pasos. Es sobre encontrar una familia en los amigos, el dolor del paso entre la adolescencia y la adultez, y la pérdida de la inocencia infantil.
Los personajes son de esos con los que en un principio cuesta conectar. Toman decisiones que frustran al lector y las consecuencias terminan siendo graves, pero a medida que todo va avanzando, es inevitable terminar queriéndolos y desear que todo salga bien para ellos. Incluso los personajes secundarios son queribles, y las historias personales de cada uno terminan haciendo que el lector simpatice con ellos.
Mi único problema con estos cómics fue que a veces las cosas parecían salir de la nada y todo quedaba a interpretación del lector. Entiendo que hayan cientos de llaves y que no se pueda mostrar cada una en detalle, pero siquiera una elipsis habría funcionado en vez de que un volumen terminara de cierta forma y en el siguiente los personajes estuvieran volando de la nada. A lo mejor me salté algún cuadro sin querer.
Por el lado del estilo de ilustración, los dibujos de Gabriel Rodríguez no son mi cup of tea, pero van a juego con la trama. Los colores son apagados y realistas, con trazos marcados y gruesos, sin una estética que vaya a suavizar los eventos que se van dando, y aún así no deja de tener su propia belleza. Hay cuadros que son dignos de estar enmarcados, y los personajes están muy bien ilustrados; las facciones son increíbles y todas las emociones están muy bien captadas.
En fin, una lectura que me dejó gratamente sorprendida. El final me gustó mucho y cierra todos los cabos sueltos, además de ser muy emocional (yo sigo en negación, hay algunas cositas que me habría gustado que salieran de otra forma, pero aún así, es un cómic que obtuvo el final indicado y que merecía). Muy recomendado.
Two or three times a year, I get a random and powerful craving for graphic novels. This is not generally my genre of choice, but it makes for a fun departure from my usual reading. That craving hit early this year when I saw that Netflix was developing the Locke & Key series of graphic novels into their own original series. Since I have this thing about reading this book before seeing the show or movie, I knew I needed to read these immediately. They’ve also been on my TBR list for literally years, so what better time to take the plunge? I’m so glad I did. For the first time in my life, I think that a series of graphic novels might be contenders for my favorite reading experience of the year. And it’s only February!
Locke & Key is insanely creative and wildly unique, the perfect pairing of medium and story. The prose is surprisingly thoughtful and complex and is perfectly matched by the wonderfully detailed illustrations. And this is one of those instances where the prose and illustrations are both equally important to the story. Joe Hill and Gabriel Rodriguez are a powerful team, and I’m so glad that the pair maintained their partnership throughout the series’ entirety. When it comes to graphic novels, there is nothing worse than a writer or artist being replaced in the middle of the story, and I am really thankful that didn’t happen with Locke & Key.
I love the mythology Hill built here, and how fathomless and rife with possibilities that mythology proves itself to be. The idea of these keys that not only unlock different areas or items in Keyhouse but can also unlock the mind and human potential is a brilliant concept, and it was incredibly well explored. Also, the cast of characters are real and sympathetic and completely fascinating. I adore Kinsey, but Bode and Tyler are phenomenal characters, as well. Their relationship as siblings is tight and strong and believable, as is their relationship with their broken, alcoholic mother. There are also some wonderfully developed side characters, my favorite of whom is Rufus, a boy with autism whose differently wired brain allows him to see things that no one else can. His character arc brought me to tears.
Volume 4 is formatted differently when Bode or Rufus is the perspective, and I love it. The use of an almost Calvin and Hobbes style at the beginning, and a classic action comic style further in, we’re both fun changes of pace. However, the main art style of the series remains true, and the appearances of the main characters change realistically as they age or change hairstyles and so forth, but they are always recognizably themselves. And then volume 5 delivers the back story of the creation of the keys, which was a fabulous addition and incredibly enlightening right before the series’ culmination in Volume 6. Also, there was a Carrie reference in this volume that made my little nerd heart insanely happy.
This is one of those rare series that not only starts off incredibly strong, but maintains a steady growth pace through the last page of the final installment. Volume 6 made me cry multiple times, and I read the last twenty or thirty pages through tears. It was brutal and beautiful in turns and equal measure, and I thought it was an incredibly poignant depiction of growing up, finding yourself, sticking with your family through thick and thin, and the power of found family in the form of friendship, as well as living with the aftermath of bad decisions and finding a way to carry on anyway.
Locke & Key is hands down the best series of graphic novels I’ve ever had the pleasure of reading. I’m saving up to buy the set, because I really need to be able to physically place this series on my shelf of favorites. I wouldn’t change a single sentence or a single frame. I’ll leave you with something Brian K. Vaughan wrote for the introduction to the third volume:
You can find this review and more at Novel Notions.
“Dying is nothing. I’ve died a thousand times and I’ve always come back. Ideas can’t really be killed. Not for good.”
Locke & Key is insanely creative and wildly unique, the perfect pairing of medium and story. The prose is surprisingly thoughtful and complex and is perfectly matched by the wonderfully detailed illustrations. And this is one of those instances where the prose and illustrations are both equally important to the story. Joe Hill and Gabriel Rodriguez are a powerful team, and I’m so glad that the pair maintained their partnership throughout the series’ entirety. When it comes to graphic novels, there is nothing worse than a writer or artist being replaced in the middle of the story, and I am really thankful that didn’t happen with Locke & Key.
“Keys turn both ways. You can lock something away… but you can also throw a bolt and set something free.”
I love the mythology Hill built here, and how fathomless and rife with possibilities that mythology proves itself to be. The idea of these keys that not only unlock different areas or items in Keyhouse but can also unlock the mind and human potential is a brilliant concept, and it was incredibly well explored. Also, the cast of characters are real and sympathetic and completely fascinating. I adore Kinsey, but Bode and Tyler are phenomenal characters, as well. Their relationship as siblings is tight and strong and believable, as is their relationship with their broken, alcoholic mother. There are also some wonderfully developed side characters, my favorite of whom is Rufus, a boy with autism whose differently wired brain allows him to see things that no one else can. His character arc brought me to tears.
“Secrets are hell. Secrets are the prisons we make for ourselves.”
Volume 4 is formatted differently when Bode or Rufus is the perspective, and I love it. The use of an almost Calvin and Hobbes style at the beginning, and a classic action comic style further in, we’re both fun changes of pace. However, the main art style of the series remains true, and the appearances of the main characters change realistically as they age or change hairstyles and so forth, but they are always recognizably themselves. And then volume 5 delivers the back story of the creation of the keys, which was a fabulous addition and incredibly enlightening right before the series’ culmination in Volume 6. Also, there was a Carrie reference in this volume that made my little nerd heart insanely happy.
“You were strong enough to pick yours up all on your own. You don’t need me to be your crutch. You don’t need a crutch at all.”
This is one of those rare series that not only starts off incredibly strong, but maintains a steady growth pace through the last page of the final installment. Volume 6 made me cry multiple times, and I read the last twenty or thirty pages through tears. It was brutal and beautiful in turns and equal measure, and I thought it was an incredibly poignant depiction of growing up, finding yourself, sticking with your family through thick and thin, and the power of found family in the form of friendship, as well as living with the aftermath of bad decisions and finding a way to carry on anyway.
“Death isn’t the end of your life, you know. Your body is a lock. Death is the key. The key turns… and you’re free.”
Locke & Key is hands down the best series of graphic novels I’ve ever had the pleasure of reading. I’m saving up to buy the set, because I really need to be able to physically place this series on my shelf of favorites. I wouldn’t change a single sentence or a single frame. I’ll leave you with something Brian K. Vaughan wrote for the introduction to the third volume:
“Readers love fantasy, but we need horror. Smart horror. Truthful horror. Horror that holds us make sense of a cruelly senseless world. Locke & Key is all of those things.”
You can find this review and more at Novel Notions.