![]() There's also the matter of that massive final act ending twist that reveals Kinsey's boyfriend Gabe was Dodge all along. Whereas the comics saw Dodge take on the shape a young boy named Zack Wells as a way of ingratiating his way into the Locke family, there's no Zack Wells in the show - though one of the Savini Squad is named Zadie Wells in a slick homage to the source material - and we see Dodge take on the form of the Well Lady far more often than they ever do in the comics. The other big change that affects the Lockes is the arc of their main antagonist, Dodge. The show turns this on its head by not only erasing Nina's assault but also by making her a recovering addict who has an overtly sympathetic storyline and clearly loves her family and children, with their shared trauma serving as a bond, not a means of distancing them. Her arc is defined both by her addiction and her rape, which occurs when her husband is murdered. In the comics, Nina is an alcoholic and neglectful parent who is often absent and generally a rather abusive and horrible figure. The Locke FamilyWhen it comes to the Locke family there are some immediate changes that jump out, the first and most obvious being the general portrayal of Nina, the matriarch of the family. Watch the Locke and Key showrunners break down the tense Crown of Shadows attack scene below: Another small but interesting choice is that when Dodge gets hold of the Crown of Shadows and the Shadow Key, the shadows that are created are generic-looking monsters, whereas in the comics their forms are very specifically connected to those who cast them. There's also the matter of making new keys, which does happen in the comics and will likely come into play in the show. Some of the notable omissions are: the Angel Key, which gives the wearer of a special harness the ability to fly the Giant Key, which makes the holder a giant the Animal Key, which allows the user to transform into a specific creature (you can spot a sketch of this key on Mark Cho's blueprints at the opening of the show), and the Timeshift Key, which allows the user to time travel and plays a large part in the more extensive story of the Lockes and the history of the keys. If the show gets picked up for a second season, there are a lot more keys from the comics that could potentially come into play. The Music Box Key also appeared in the comics but Kinsey and Gabe using it to puppeteer Eden in the lunchroom is a creation of the show. Another small but notable difference is the Plant Key, which does exist in the comics but is used here in a different manner: to trap Duncan Locke's bottled memories inside of the tree in the garden of Keyhouse. ![]() The second is The Mirror Key, which opens up a terrifying world inside of a mirror which Dodge uses early on to try and trap Bodie and his family inside. The first is the Matchstick Key, which gives its user the ability to start fires and is used by Mark Cho, Sam Lesser, and Tyler. Speaking of new keys, we see two more that have never existed prior to the show. Though no Identity Key exists within the original comics, this one is more of a mashup of two other keys - the Skin Key and the Gender Key - that do appear in the Locke & Key comics, rather than an entirely new creation. One of the other big changes in regards to the keys is the newly-invented Identity Key which Lucas/Dodge/Gabe uses throughout the first season. ![]() "I don't think you see other shows going inside someone's head or kind of trying to come up with the metaphorical comparisons," he said. “So we had to figure out how we were going to translate the Head Key to the screen and we thought about it a lot and we decided that really we needed to kind of break down for each character what would be the essential elements that we would see in their heads." It's a diversion from the source material that works surprisingly well on screen and Cuse had a theory why. ![]() There's this splash page of Bode's head that may be the greatest thing in the Locke and Key comic book, but it's impossible to actually do that on television,” Cuse said. "There's so much incredible imaginative art in the comic and some of those things translate well to the screen and others are impossible.
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