The main character is really Samwise Gamgee, though you may not know it. I’m telling you now, it’s all about Sam.

You can safely argue Frodo Baggins should be the centerpoint of the tale. In The Hobbit Bilbo had the limelight for an entire book, and no one came close to grandstanding him (except maybe Smaug). Seems like Tolkien intended to chronicle the history of the Baggins family; first through Bilbo’s adventures–then with Frodo inheriting more adventures than he bargained for.

The story takes Frodo’s point of view often enough. Throughout the trilogy we share his experiences though personal sensations, his internal thoughts, and even his dreams. Tolkien lets us inside his suffering. And through that suffering we understand the dynamic of true sacrifice. He’s the Ringbearer, after all.

But a character-driven story like LOTR is not strictly about sacrifice (or heroism, or the impermanence of beauty, or all those themes that are intrinsic). I must admit the novel is woven of many threads but the groundwork of the tale, the telling of it, spins on a single proviso: Who is transformed the most between the opening and the closing page, taking the reader through his transformation?

Aragorn is the most heroic character. But it’s not his story.

Gandalf is greatest manipulator of events. But it’s not his story.

Sauron is the ever-present antagonist. But it’s not his story.

Let me give you the clearest example from another fantasy, familiar to all but the most sheltered–Star Wars. You think the original Star Wars films are about some farmboy named Luke Skywalker? You think he’s the main character? BUZZZ! I’m so sorry… thanks for playing! If you had said Darth Vader, you’d be walking home with the grand prize.

The guy in the black helmet is pulling all the strings. Vader begins the first scene of the first episode by walking through that laser-blasted door looking for Leia. He is the first character the audience has a relationship with. More importantly, his choices put the plot in motion for all three films. Every facet of the story we experience is an after-effect of what Darth Vader is doing. When Return of the Jedi comes to its conclusion, it is only after Vader’s most difficult redemption and after we see his glowing form with his predecessors, that we know the story is over. He’s redeemed. Roll credits. The end.

When you write a 1,200-page novel, you have the luxury of branching off into other subplots and you can take time to work with various characters. But you still need one common thread that thematically brings your story full circle. The transformation of Sam is Tolkien’s central storytelling device, though not the most obvious one. There are many clues that reveal Sam, not Frodo, as the main element.

Sam goes an extreme route: from simple gardener to a participant in legend. He starts things off in The Fellowship of the Ring as the first new character we learn about, through a description offered by his father, the Gaffer:

Crazy about stories of the old days he is, and he listens to all Mr. Bilbo’s tales… Elves and Dragons! I says to him. Cabbages and potatoes are better for me and you.

So you see, our dear Sam is the contact point that we immediately relate to. Just like him, we are daydreaming of fairies, elves, and elephants. That is why Tolkien introduces Sam at once. All the magnificent events of the War of the Ring, the journey, battles, treachery and triumph, are diluted down to this profound effect: Sam is transformed beyond what he recognizes in himself. In the end he becomes the subject of all his dreams. Even he acknowledges that his feats might someday be the subject of future stories and songs.

Sam’s conversation with Frodo in the pass of Cirith Ungol says it all:

‘But that’s not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually–their paths were laid that way, as you put it… I wonder what sort of a tale we’ve fallen into?’

‘I wonder,’ said Frodo. ‘But I don’t know. And that’s the way of a real tale… The people in it don’t know…’

And when Sam realizes the grand stories of the First Age, of Beren and the Silmarils, are indeed connected to the present unfolding events he says:

‘Why, to think of it, we’re in the same tale still! It’s going on. Don’t the great tales never end?’

‘No, they never end as tales,’ said Frodo. ‘But the people in them come, and go when their part’s ended.’

To this Sam replies, ‘…Still, I wonder if we shall ever be put into songs or tales.’ And with that strangely self-referential remark, the Professor quietly moves Sam into his greatest moments of peril and deliverance.

As final proof, I offer a closer look at the novel’s conclusion. The epic story does not end with the destruction of the Ring, not even with Frodo’s departure from the Grey Havens. The final moment we cling to as the story closes its doors, is of Sam coming back to his family, sitting at his table and declaring that his role in the formation of a myth is done. Three simple words, “Well, I’m back,” are his final admission that there is no more story for him to contribute to.

Sam’s perspective is that he can finally return to domestic life without any further adventures. An end has come to chronicling his tale. He is now back with his family, back to his private life; and the intrusive eyes of future generations can leave him in peace.

Much too hasty,

Quickbeam
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Follow Cliff “Quickbeam” Broadway on Twitter: @quickbeam2000

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This article was first published on March 1st 2001 in Green Books. In an effort to introduce new Tolkien fans to our nearly 14 years of archived content, we will be publishing articles like this on a regular basis. We hope you enjoy it!

You know those finely crafted little moments you always remember from a movie or play? Even if you don’t see the performers again the brightest or funniest quips will linger on. The best movie dialogue has a way of becoming oft-heard bon mots relished among water cooler conversation.

The same goes for literature but often in broader measure. The most impressive wordplay remains within your psyche long after you put the book down. When the rubber meets the road, it’s how a great writer is elevated above the ordinary herds.

Indeed one of the first things you learn about J.R.R. Tolkien is that his work is ripe with just such powerful language. His wonderful ability to play with tone, color, and emotion made it easy for me to select the following from The Lord of the Rings. These are my favorite one-liners (or two-liners), that stand out as having a striking impact. Consider this collection a literary sampler akin to “Tolkien’s Greatest Hits.”

Lord knows that the Professor himself would frown upon the idea, yet I present them playfully and respectfully. Whenever I read and encounter these moments I am forever impressed with intensity, humor, or remembrance.

* * * * * * * * * * * * *

Most bittersweet line:

“I have quite finished, Sam,” said Frodo. “The last pages are for you.”

Best exclamation of joy:

“Ass! Fool! Thrice worthy and beloved Barliman!”

Most perfect description of beauty:

Young she was and yet not so. The braids of her dark hair were touched by no frost; her white arms and clear face were flawless and smooth, and the light of stars was in her bright eyes, grey as a cloudless night; yet queenly she looked, and thought and knowledge were in her glance, as of one who has known many things that the years bring.

Most poetic description of the weather:

The weather was grey and overcast, with wind from the East, but as evening drew into night the sky away westward cleared, and pools of faint light, yellow and pale green, opened under the grey shores of cloud. There the white rind of the new Moon could be seen glimmering in the remote lakes.

Most shocking moment:

But even as it fell it swung its whip, and the thongs lashed and curled about the wizard’s knees, dragging him to the brink. He staggered and fell, grasped vainly at the stone, and slid into the abyss.

Most gruesome encounter:

Then Pippin stabbed upwards, and the written blade of Westernesse pierced through the hide and went deep into the vitals of the troll, and his black blood came gushing out.

Most colorful analogy:

“Troubles follow you like crows, and ever the oftener the worse.”

Best example of friendly competition:

“Forty-two, Master Legolas!” he cried.

Most powerful moment of rage:

Then he charged. No onslaught more fierce was ever seen in the savage world of beasts, where some desperate small creature armed with little teeth, alone, will spring upon a tower of horn and hide that stands above its fallen mate.

Best invitation to dinner:

“You shall come home with me! The table is all laden with yellow cream, honeycomb, and white bread and butter.”

Wittiest rejoinder:

Saruman- ”For I am Saruman the Wise, Saruman Ring-maker, Saruman of Many Colors!”
Gandalf- ”I liked white better.”

Spookiest moment:

Farmer Cotton found Frodo lying on his bed; he was clutching a white gem that hung on a chain about his neck and he seemed half in a dream. “It is gone forever,” he said, “and now all is dark and empty.”

Most gothic description of evil:

Paler indeed than the moon ailing in some slow eclipse was the light of it now, wavering and blowing like a noisome exhalation of decay, a corpse-light, a light that illuminated nothing.

Most shrewd political advice:

“He uses others as his weapons. So do all great lords, if they are wise, Master Halfling.”

Single best piece of advice:

“Do not meddle in the affairs of Wizards, for they are subtle and quick to anger.”

Single funniest line:

“…What’s taters, precious, eh, what’s taters?”

Funniest exchange between two characters:

Éomer- ”…For there are certain rash words concerning the Lady in the Golden Wood that lie still between us. And now I have seen her with my eyes.”
Gimli- “Well, lord, and what say you now?”
Éomer- ”Alas! I will not say that she is the fairest lady that lives.”
Gimli- ”Then I must go for my axe.”

Most beautiful dream sequence:

As he fell slowly into sleep, Pippin had a strange feeling: he and Gandalf were still as stone, seated upon the statue of a running horse, while the world rolled away beneath his feet with a great noise of wind.

Most enigmatic historical allusion:

“Fair was she who long ago wore this on her shoulder. Goldberry shall wear it now, and we will not forget her!”

Strongest statement of gender equality:

“In place of the Dark Lord you will set up a Queen.”

Most romantic kiss:

And he took her in his arms and kissed her under the sunlit sky, and he cared not that they stood high upon the walls in the sight of many.

Most exciting call of alarm:

AWAKE! FEAR! FIRE! FOES! AWAKE!

Most intimidating description of geography:

Ever and anon the furnaces far below its ashen cone would grow hot and with a great surging and throbbing pour forth rivers of molten rock from chasms in its sides. Some would flow blazing towards Barad-dûr down great channels; some would wind their way into the stony plain, until they cooled and lay like twisted dragon-shapes vomited from the tormented earth.

Most beautiful sunset:

But in front a thin veil of water was hung, so near that Frodo could have put an outstretched arm into it. It faced westward. The level shafts of the setting sun behind beat upon it, and the red light was broken into many flickering beams of ever-changing colour. It was as if they stood at the window of some elven-tower, curtained with threaded jewels of silver and gold, and ruby, sapphire and amethyst, all kindled with an unconsuming fire.

Most insidious falsehood:

“Our friendship would profit us both alike. Much we could still accomplish together, to heal the disorders of the world.”

Most spectacular moment of destruction:

Towers fell and mountains slid; walls crumbled and melted, crashing down; vast spires of smoke and spouting steams went billowing up, up, until they toppled like an overwhelming wave, and its wild crest curled and came foaming down upon the land.

Most moving speech on the battlefield:

“But no living man am I! You look upon a woman. Éowyn I am, Éomund’s daughter. You stand between me and my lord and kin. Begone, if you be not deathless! For living or dark undead, I will smite you if you touch him.”

Most Shakespearean dialogue:

“Stir not the bitterness in the cup that I mixed for myself,” said Denethor. “Have I not tasted it now many nights upon my tongue, foreboding that worse lay yet in the dregs?”

Most wonderful hobbit irony:

Then there was Lobelia. …and there was such clapping and cheering when she appeared, leaning on Frodo’s arm but still clutching her umbrella, that she was quite touched, and drove away in tears. She had never in her life been popular before.

Two moments that surely inspired the 60’s hippie counter-culture:

1. “Cast off these cold rags! Run naked on the grass, while Tom goes a-hunting!” … The hobbits ran about for a while on the grass, as he told them.

and

2. All that day they walked about in the woods with him, singing, and laughing; for Quickbeam often laughed. … Whenever he saw a rowan-tree he halted a while with his arms stretched out, and sang, and swayed as he sang.

Passage of utmost triumphant rapture:

And he sang to them, now in the Elven-tongue, now in the speech of the West, until their hearts, wounded with sweet words, overflowed, and their joy was like swords, and they passed in thought out to regions where pain and delight flow together and tears are the very wine of blessedness.

Line that always, always makes me weep uncontrollably:

There still he stood far into the night, hearing only the sigh and murmur of the waves on the shores of Middle-earth, and the sound of them sank deep into his heart.

* * * * * * * * * * * * *

Many of you certainly have your own take on what qualifies as the “most humorous,” “most shocking,” etc., and that’s fine too. This pursuit is a matter of taste, perhaps, but you cannot deny the foundation: Professor Tolkien showed his passion on every page, with every turn of phrase. Of his labors he wrote in a 1950 letter to Milton Waldman:

… It was begun in 1936, and every part has been written many times. Hardly a word in its 600,000 or more has been unconsidered. And the placing, size, style, and contribution to the whole of all the features, incidents, and chapters has been laboriously pondered.

No better insight can be given towards understanding the perfection of his tastes in authorship. Here is the major facet that most assuredly elevates him and his body of work. We, his eager readership, are indeed blessed with his remarkable and thoroughly romantic word craft.

Much too hasty,

Quickbeam

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Follow Cliff “Quickbeam” Broadway on Twitter: @quickbeam2000

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This article was first published on August 8th 2000 in Green Books. In an effort to introduce new Tolkien fans to our nearly 14 years of archived content, we will be publishing articles like this on a regular basis. We hope you enjoy it!

Tune into our show at 5:00pm PDT (that’s L.A. time folks — click here to see when it is in your city!), and just click to our Live Event page.

Rumors are flying as far as the Great Eagle’s sight that our newest wizard, Radagast the Brown, will have a more prominent role in the first installment of THE HOBBIT: ‘An Unexpected Journey.’ I am very excited by what Sylvester McCoy may bring to the role. The rumors are strongly suggesting Radagast’s rustic home on the eaves of Mirkwood Forest — Rhosgobel — will be more heavily featured than first suspected.

Color me intrigued! This kind of “newly added” material in Peter Jackson’s film adaptation is not canonical, strictly speaking, within the pages of “The Hobbit.” Yet it is canon from another Tolkien book! This stuff comes from the Appendices in the hinter-lands of “The Return of the King,” and therefore the most intriguing as to how it’ll play out in the new films. Among purists it might be cause for alarm.

Let’s investigate what we know from Tolkien — keeping in mind what the Professor seemed to be confused about himself may leave us with a minor mystery. Let’s also speculate on how P.J. is going to make Rhosgobel fit into the narrative of his first HOBBIT installment.

POTENTIAL SPOILERS WARNING

JUST THE FACTS, MA’AM:

• Radagast seems to have been the fourth (of a total five) Istar, or Wizard, to arrive in Middle-earth sometime in the early Third Age.
• Back in the Undying Lands, before he became the animal-friendly Brown Wizard, he was a Maia of Yavanna, with the original name Aiwendil: “Lover of Birds.”
• Gandalf said of his friend: “he is a master of shapes and changes of hue.” This gives us tantalizing ideas as to what powers Radagast could employ within the Hobbit story.
• Saruman did not shy from showing open contempt for poor Radagast, calling him “a fool.” Indeed it seems he didn’t accomplish too much during the War of the Ring, seemingly distracted as he was by his love of animals and birds — yes, it’s that Yavanna thing.
• He settled in Rhosgobel (Sindarin for “russet town” or “enclosure”) which was on the western edges of Mirkwood.
• During the Quest of Erebor (what Middle-earth historians call Bilbo’s journey) the White Council,  made up of decision-makers Elrond, Galadriel, Saruman, Gandalf, and Radagast, implemented a military attack against the Necromancer (Sauron) who was nestled down in the southern tip of Mirkwood.
• Radagast at some point abandoned his home, we don’t know when or why.

THE CONFUSION:

Okay, we all get the gist of how an avian-friendly Maia ended up becoming the Doctor Doolittle of Middle-earth. But where *exactly* did he live? Was his home, Rhosgobel, within the boundaries of Mirkwood right by the Carrock and our friendly Bear Guy Beorn? Or was it hundreds of miles to the south within range of an orc-infested Dol Guldur? Why does it show up in two different places when we look it up on the Encyclopedia of Arda? Heck, even in “The Atlas of Middle-earth,” we see it marked in two locations.

Well, according to the Gandalf/Beorn conversation in Chapter 7 of “The Hobbit,” Radagast “lives near the southern border of Mirkwood.” And then in “Fellowship of the Ring” we learn that Elrond’s scouts “had come down into Wilderland and over the Gladden Fields and so at length had reached the old home of Radagast at Rhosgobel.”

That is uncomfortably close to Benedict Cumberbatch. Err, I mean, close to the evil Necromancer. Here’s where we get our panties in a twist: a much later note published by Christopher Tolkien in “Unfinished Tales” says Rhosgobel was located ‘in the forest borders between the Carrock and the Old Road.’ That’s a totally different spot that would change everything about Radagast’s ability to navigate from place to place and how viable he could be at certain times of the story.

What gives? Why would Tolkien be so confused himself? We are not really sure, but what survives in the actual pages of “The Hobbit” and “LOTR” says this feathery-friended fellow was much closer to the threat of Sauron than anyone else during the time of Bilbo’s journey…. And that is KEY!

THE SPECULATION, FINE-TUNED:

If Rhosgobel was indeed located that far south, we are immediately clued into what might happen on movie screens this December. It seems to make certain decisions easier for the screenwriters. Put this character within strategic distance of the Enemy, and look what we’ve got! A viable way to show the White Council’s attack on the Necromancer, which happened concurrently with Bilbo traipsing around with the spiders away to the north.

Going a but further, if P.J. decides to put Rhosgobel that far south, it’s also within range of a lovely blonde neighbor to the immediate west, Our Lady of Galadriel. Yes, she could be on-hand so much easier this way if she decides to put on battle-armor herself and bring some Galadhrim into the fray of battle!

Yes, that’s right, I said FRAY of BATTLE. You think P.J. is going to let the whole first Hobbit movie go by without epic fight scenes? You don’t really believe he’ll save all the axe-clashing and goblin-decapitations for the Battle of Five Armies only to be witnessed in the second installment in 2013? That’s not how you build a better blockbuster. I think we’re definitely gonna see a good scrape in the first film, and I predict Radagast will be there with bells on. This narrative speculation is the kind of material P.J. can cull from the Appendices in the back of “LOTR.”

On the other hand, if P.J. decides to put the movie-version-Rhosgobel way up near the Old Forest Road and Beorn, then the Character-Who-Can-Speak-Bird could end up critical to the story in a wholly different way. Imagine that Radagast can change “hue and shape” and gets involved while Bilbo and the Dwarves are caught in spiders’ webs? Wouldn’t that be something if he crashes the dinner party at Beorn’s bachelor pad?

It seems likely in this scenario the rescuing Eagles might carry Thorin & Company (and Gandalf) from the burning pine trees and Goblin/Warg attack right over to Rhosgobel first, and the Carrock won’t appear at all. With Radagast this close to Beorn, maybe the traveling heroes get some advice on how to deal with a were-bear and then go sauntering up to visit him later on.

For my money, I would bet on the southern placement of Radagast’s russet enclosure. Of course, take all this with a chunky grain of salt, as we all know when one assumes it makes an ass out of you and me.

GOOD NIGHT, SWEET BIRDMAN:

There’s plenty of hard-arguing still going on with Ringer fans about whether the animals/ eagles/ spiders will be shown onscreen speaking any dialogue. Most people say at this point there are no actors announced to play any voices for such creatures. To which I say, *drat* and double-drat, simply because the voiceover actor in me would’ve loved to provide a spidery voice. With no casting announcement, there’s not going to be any talking Eagles onscreen, sorry.

Methinks that’s what we have Radagast there for — he might be the one character shown speaking to the animals, albeit in secret or silent “off mic.”  I am fully convinced in the 2nd movie ‘There and Back Again’ we will see Radagast sending a certain thrush to watch over a certain Bilbo and accompany him within the dragon’s chamber.  It makes so much sense to me. It also allows the writers to condense characters and does away with the need for the Roäc/Thorin talking-bird scene. Why bother having to establish how Dwarves can also communicate with birds, which may just confuse the uninitiated audience?  Well, if Radagast is the one behind all the avian allies, that gives the character much more to do.

I’m still left wondering, however, exactly how Bard will understand a critical message that comes to his ear, but we will see how that plays out. Radagast can’t be everywhere at all times deciphering every tweet!  Hmmmm.  Tweet….

Wait and see what clever bits (in less than 140 characters) come out of the Twitterverse in relation to this character.  “I just flew in from Rhosgobel and boy, are my arms tired!”  Ah, comedy for the picking.

Much too hasty,
Quickbeam

quickbeam@theonering.net

This year at San Diego Comic-Con 2011 we brought tons of Hobbity goodness to all the fans who joined us to celebrate our shared love of Tolkien. It was a huge success by all accounts. Our Hobbit panel launched the weekend with wonderful buzz. We got a nice interview with Bard (Luke Evans) before he even stepped foot in New Zealand for his first day of filming! I got a brief, single question in to the legendary Francis Ford Coppola. I was delighted to feature WETA’s own Daniel Falconer and Greg Broadmore in our live feed. Here’s the big kick in the pants: overall viewership of our innovative live streaming video beat G4′s audience; proving that Ringer fans know how to bring it better than anyone! Way to go TORn!

But I look back with a bittersweet reflection on how SDCC has evolved over time. Because “much that once was… is now lost.”

At first blush any newcomer attending the mega-event titled San Diego Comic-Con International (mind you, I’m talking about the truly virginal), would expect to walk into the main hall and they would ostensibly find: comic books.

Well, you could seek out comics and graphic novels (it is true, they’re still printing on *paper*) but the way things are at SDCC nowadays, the visitor who desires such quaint items may have to look harder through the far-flung corners of that enormous hall. It’s not like it once was, when pencillers and inkers and airy British writers all convened to celebrate the greatest in illustrated fiction. Back then, the geek fest was mostly centered on the worlds of DC and Marvel and Image and Dark Horse. I know I’m making myself sound dreadfully old but eleven years ago when TheOneRing.net first started reporting on events from Comic-Con, the Eisner Awards were the biggest eyebrow-raising event of the weekend, not the Twilight fans camping out and freaking out for a whole week at Hall H’s doorstep (geez, back then Hall H didn’t even exist yet).

Now more than ever the words of Galadriel creep into my ear: “The world is changing…”

Of course the Con has banners on every streetlamp across town: CELEBRATING THE POPULAR ARTS. It’s a catch-all phrase used to explain some of the strange changes in content and programming now offered at the Con. Thus they had a crossover opportunity where SDCC feels it can be *more inclusive* of various geek worlds including (but not limited to): science fiction, high fantasy, comedy fantasy, gothic romance, horror, animation, collectible vinyl toys, printed manga and also anime, video games, documentaries (of fan interest) and yes, now steampunk.

I was always impressed with the variety and scope of what you’d find at Comic-Con. Believe me, it was always fun to see Inu Yasha fans mixing it up with Star Wars geeks, they seem to be cut from the same cloth. Different storytelling from a different medium, but still a geek is a geek is a geek; and we all have our passions that manifest full-force at shows like this. But eventually we, the Geek Nation, all started to notice a few unwelcome intrusions on our comfy little bubble of fun. Most of it came from Hollywood.

The Con always represented GENRE interests, or so we believed, mostly from the worlds of speculative fiction/ illustrated fiction. The genre movies most strongly promoted were fixed squarely on the map of geekery (Potter, X-Men, LOTR), or were stories sourced from comics (Ghost World). Then the action pictures started being touted, and I wondered slightly to myself if *spy movies* and 007 also counted as GENRE storytelling. Some would argue, yes, it certainly does. Then the torture-porn movies like Saw appeared; alongside remakes of Texas Chainsaw BloodyMess, and they certainly enjoyed huge splashy events. The studios were spending big bucks to leave impressions of everything they were hawking, whether it was genre storytelling or not. Quick as that, the barometer in the room really changed.

The straw that broke my back in 2010 was gently placed there by the ABC Television Network. They started doing something NEVER done before at Comic-Con: promoting half-hour family sitcoms that were not fantasy/ science fiction/ comics related. Yes, Patricia Heaton showed up to promote “The Middle” while simultaneously USA Network (and many others) were pushing comedies like “Psych” etc etc. The presence of thousands of shrieking Twi-hards exacerbated the situation, because they had no genuine appreciation of Comic-Con in the first place, they only wanted to scream in Mr. Pattinson’s face. Of course, the backlash from hardcore fans was explicit and fiery. My reaction was to angrily post the following status update on my BookFace: “Comic-Con has totally jumped the shark! This is bull-crap!”

Why be bothered? Well it felt like suddenly we weren’t at Comic-Con anymore – we were at a generic trade show defined for… well, for anything. “Celebrating the popular arts” meant nothing meaningful at that point; because there was no longer alignment with the offbeat, the fantastical, the imaginative… You might as well be in Vegas. The real possibility arose then that someone would say: “Hey if it’s on TV anything goes!” and Kim Kardashian’s evil entourage would show up next; and then HGTV would start promoting “House Hunters,” and then where would we be? The whole face of our Comic-Con had been made over, and there was no going back.

Yeah, there was a huge presentation for some show called “Ringer” but don’t be fooled! It had *nothing* to do with us, dear readers – or Gollum, or Elvish rings of power gone awry – rather it’s a mystery about Buffy assuming the life of her twin sister. So there you go.

Although still mostly populated by the vibrant hearts of common geekery, the Shire has been scoured. It’s already done. For our part: the presence of TheOneRing.net at the show was always bona fide. TORn has prided itself on creating content BY the fans, FOR the fans. And never once has our delivery of content strayed far from our mission. I’m not sure the exact same declaration can be made by Comic-Con itself.

Speaking of mission statement: I took out my SDCC participant badge and looked carefully at the fine print on the back. I had never read it up close. Here’s what it says: “Mission Statement: Comic-Con International is a non-profit educational corporation dedicated to creating awareness of and appreciation for comics and related popular art forms, primarily through the presentation of conventions and events that celebrate the historic and ongoing contribution of comics to art and culture.”

Well, that’s very interesting, don’t you think?

When someone can explain to me how “Covert Affairs” and “Shameless” and “Castle” qualify as genre storytelling on the level of THE HOBBIT and AVATAR, then I’ll be satisfied. Until then, I need another aspirin. This headache won’t go away. Maybe it’s the echo of all the Twi-hards still screaming in my skull.

Much too hasty,
Quickbeam