November, 1977: In the United States, the National Broadcasting Company (or NBC – you know, with the Peacock) airs the first ever made-for-television Tolkien story, The Hobbit, by Rankin-Bass. I was just barely ten years old! Cost: $3M US.

Copyright 2001 Warner Brothers Entertainment

September, 2022: Throughout the world, Amazon Prime (you know, with the… thing) is programmed to broadcast the first two episodes of the Rings of Power, the first ever made-for-television live action Tolkien story spun from a literary foundation of The Lord of the Rings Appendices, promising a five season series with a total of 50 hours of showtime. Cost: $8B US.

45 years and $7,977,000,000 later, where are we now? Yeah, I know what you’re thinking, and I mean, besides me getting old.

SUPER EXCITED! And tantalizingly close, compared to 2017, when the show was announced.

Source: Amazon Prime

Quenching our Thirst

Now, after a parching, dehydrated, drought of a post-teaser-trailer-season, the marketing associated with RoP has finally begun to quench the thirst of fans throughout the world. As frustrating as it has been for many, it has been equally impressive: Amazon’s work for inhibiting unauthorized release of media, information, even rumor and urban legend regarding RoP has been impressive. Fans have feverishly picked apart the minutia of every image released in 2022, and one thing is clear: we are here for it!

This marketing strategy is very different than what we have experienced – and frankly, appreciated and been accustomed to – in the past. Many worry the approach has been a failure: 60 days from showtime, and no actual video footage has been shared with the public! Yet, I can’t help but imagine a war room of marketing wizards at work, meeting out exactly what is needed, and when, carefully calibrated to strike just the right measure of hype before the show streams in earnest.

Through the words, experiences, and perspectives of the London 30 who were summoned to England several months ago, the marketing wizards casts their spell. A series of images and articles continue to surface on the webs and in print, shared broadly between traditional media outlets, first web-generation Tolkien fan sites like TORn, and the newest of media formats: Reddit, TickTock, Twitter, YouTube… Influencers abound, and Amazon has them tapped. But will it reach enough consumers to tune in on September 2nd? And what is “enough?” We know more is coming at ComicCon, and eagerly await that and the rest.

One of three Empire Magazine covers

Author’s note: I’m thrilled to return to news posting here at TORn at the turn of this tide, and looking forward to sharing dispatches from ComicCon this month, and Rings of Power and all manner of Tolkien tidbits with you over the coming years. To stay informed with any breaking news (and plenty of rumors and speculation), and participate in the tantalizing build up to the show in real-time, join me and other TORn staffers Demosthenes, Justin, Kelvarhin and others, and the throng of this generation’s Ringers, in our very own Discord server: https://discord.gg/CTf6sGxR.

See you soon! Tookish bows.

Tookish is one of TORn’s first staff members after the Founding Four, serving as Senior Editor, assistant to Xoanon, lowbrow member of the Greenbooks team, Barliman’s chat moderator, and ComicCon panelist during the Peter Jackson LotR film series era.

Why do some Nazgûl thrive when commanded to hunt down their master’s stolen Ring while others falter under pressure? Why do some revel in the responsibility of throwing down their enemy when others wither like fog in strong sunlight?

You might not know it, but nine (count them!) keenly honed success habits keep them hot on the trail. Nazgûl apprentices, here are those nine instinctive habits that the most successful Ringwraiths draw on in their daily unlife to keep the Dark Lord number one. Read and learn.

1) Let your powers combine.

Captain Planet does it. Voltron does it. The Power Rangers too. So take heed: when it matters, ensure you gather under your fell leader so that even the Wise might fear to face you.

2) Wear black. Lots and lots of black.

Black never goes out of style. And the effect is scary as the Dickens when when you loom menacingly into view of your prey just as the light fades.

3) Embrace your hydrophobia!

Never forget that you and water do not get along. At all. In that sense, you might as well be the Wicked Witch-king of the West. Next time you consider fording that tiny creek? Think twice.

https://www.framecaplib.com/lotrlib/images/fotr/fotr0407.jpg

4) Don’t put a Ring on it, stick a Morgul Blade in it.

They say if you love it, put a ring on it. But only the Dark Lord may do that. Use a Morgul Blade to express your affection instead. It’s the smart way to ensure your new BFF will stay by your side always and forever!

5) Maintain a ready supply of remounts and robes.

There are few worse humiliations for a Ringwraith than having to crawl back naked and unclothed to your Dark Lord because you went for an impromptu dip and it all went pear-shaped. So for the love of Morgoth, pack extra robes (black, of course) and take a spare horse or an enormous flying raptor thing (or both!) just in case.

6) Let your minions do the dying for you.

Need to destroy the gates of the enemy fortress? Compel your horde of minions to do it for you! Drive them before you like cattle until they fear you more than the enemy’s darts and arrows. Don’t forget to ride to your glorious victory over the crushed, mutilated corpses of friend and foe for additional intimidation.

https://www.framecaplib.com/lotrlib/images/rotk/rotk1387.jpg

7) Remember, fear is your chief weapon.

And surprise. And fanatical devotion to The Po… err … Sauron. Anyway, the key point is intimidate your opponents (or your minions) until they give you what you want, or flee in terror.

https://www.framecaplib.com/lotrlib/images/fotr/fotr0543.jpg

8) Always stop to smell the roses.

Your sense of smell is even better than a labrador’s or a beagle’s. Only the foolish Nazgûl rush heedlessly ahead. Savour the scents and let your nose guide you to that which the Dark Lord desires.

9) Never reveal your name. Don’t encourage familiarity.

You are one of the Nazgûl, the chief and most-feared servants of the Dark Lord, not a camp counsellor. Be the Nameless Fear. Names are for lesser minions — and, seemingly, Khamûl. Because he just has to be different from everyone else.

https://www.framecaplib.com/lotrlib/images/rotk/rotk1721.jpg

Throwback to a post from some years ago, by the very excellent Staffer Demosthenes with help from LurkingLaurie.

Images from PJ’s LOTR via the very excellent FrameCapLib LOTR screecap project; and one from Ralph Bakshi’s LOTR (1978).

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

We’ve been digging through the Green Book archives a bit to find relevant articles discussing the ‘purity’ of Tolkien and his works. We came across this classic from Green Book author, Anwyn, where she addresses the questions that came out of watching the 2003 MTV Movie Awards. If you aren’t familiar with it…read on!

The Hobbits Accept ‘Best Movie’ at the 2003 MTV Movie Awards

I admit it. I’m at a loss for a stunning literary topic, one that will provoke your emotions, stimulate your mind, and offer some insight into Tolkien’s life or works. I sat down this evening with my brain half fried, knowing that I had a deadline to meet, and started flipping channels. Lo and behold, what did I pass but the MTV Movie Awards, and hark, who should be sitting behind Kirsten Dunst but the intrepid trio of Sean Astin, Elijah Wood, and Billy Boyd? Moreover, what award should they be announcing at that very moment but the award for “Best Movie?” I stayed to watch, having not bothered the first time they ran it.

I admit it. My finger is not on the pulse, as they say, of the pop-culture acclaim the Lord of the Rings movie phenomenon has generated and continues to stoke. I have not followed marketing trends; I couldn’t tell my father what TTT had grossed at the box office when he asked. I know, in a general way, that these films are wildly popular beyond the book’s fan base, that the movies have started their own fire that, due to the modern climate, burns higher than the literary one created when Tolkien was still living. What I don’t know is whether or not that’s a good thing. 

The intro was cute. Keanu Reeves was charming. And the winner is … The Lord of the Rings: The Two Towers. Elijah, Billy and Sean, looking MTV cool in untucked, unbuttoned shirts, bounded up on stage, where Sean apologized for Gollum’s previous tirade. “That dude is out of control!” 

I admit it. I didn’t watch TORn’s clip of Gollum’s “acceptance speech.” I read a transcript and was horrified enough that I had no desire to watch it. Why? you ask. It was funny! you say. Perhaps. But the issue, in my mind, was not whether or not it was funny, but the fact that Tolkien is barrel-rolling in his grave at having one of his characters co-opted into speaking such filth. Puritan, you remark. Perhaps. “Purist” would be closer to the mark, I think. The hallmark of Tolkien’s work is the very purity of his language, and to find the most vile of modern insults coming out of the mouth of a digitally created Gollum disgusted me and, I think, would have appalled and disgusted Tolkien. 

The boyishly handsome trio accepted the award on behalf of the production and left the stage. I came to my computer wondering. This new popularity: good or bad? 

There is no need to speculate about what Tolkien himself would have thought. Though the popularity of his books, in his day, was smaller in scope and lesser in frantic, frenzied intensity than that we are observing now in response to the movies, he still had to fend off a wave of targeted questioning and obsession with minutiae, causing him to make remarks about his “deplorable cultus” and the dangers of becoming involved in the stories “in a way I’m not.” That tendency is more alive and well than ever today, thanks partly to the very wonderful establishment with which I am connected and others like it on the internet. “Fan fiction,” which I assume to have existed before the web but which certainly has suffered an unbelievable popularity explosion since, with access to an immediate and free forum, proves this in and of itself, as do the myriad questions we get at Green Books every day. 

My colleague Quickbeam and many others have come down to the baseline opinion that if it encourages people to read Tolkien, then the indignities that come with the Hollywood marketing machine are well endured. But arepeople reading Tolkien as a result of all this hype? The evidence that I see is mixed. 

Viggo reads ‘The Return of the King’

We get many letters at GB that include notes like “I am now reading the books to my [sons, daughters, nephews, nieces, grandchildren], and they LOVE them. They would never have been interested in them before the movie.” That’s wonderful, and of course I couldn’t be anything but pleased. But we get a greater number of notes, questions for the Q&A, that clearly show that their authors have not read and have no desire to read—only to know more about the world that their current idols [insert Elijah, Orlando, Billy, Dominic, Sean, Sean, or Viggo here] inhabit in these films. “Who is Aragorn and where did he come from?” “Who are Legolas’s parents? Does he ever fall in love? Is it true that he dies in the third movie?” and my personal favorite, “Can you give me a complete history of Elrond? Who is he, where did he come from, who are his parents, what is his significance?” Don’t tell me that these folks have any intention of reading—this stuff could be readily found if they’d ever even cracked a book. 

So if people are not reading, what’s the fuss about? Special effects, swordplay, hot guys, and hot chicks, apparently. Again I hear that scraping, swishing sound … Tolkien is rolling

I am not intending any commentary here on Jackson’s films themselves. My opinions on that score are well documented elsewhere. My concern is with the ultramodern hype that has followed. 

I admit it. There’s not much reason to care whether or not the marketing machine runs at full efficiency and creates these millions of screaming Orli drones. After all, what does it hurt Tolkien’s books or my enjoyment of them? From one perspective, it doesn’t hurt one iota. From another perspective, it hurts to see characters that I regarded as the highest of the high, the pinnacle of heroic epic, degenerated into pop-culture icons. And it is not so with some of my other favorites. Anne of Green Gables, Elinor and Marianne Dashwood of Sense and Sensibility, and others have all been brought with sensitivity and grace to the big screen. And sensitivity and grace are not lacking in the majority of Jackson’s characterizations, either. So the difference must lie in the public reaction to them and to the supposedly clever accolades, like Gollum’s fling at the MTV awards, that follow. 

Forgive me, dear readers, if I am indulging in a ramble without a point. This musing is simply part of a bigger question—how healthy is all this fandom, anyway? “Frenzy and intensity,” I said above to describe the modern fanboy and fangirl machines, and it’s true. The nearness of people to one another through the media and internet allows them to mass-embrace one concept in a way they never could have done a century ago. Is this healthy for our individual and collective minds and spirits? The screaming, the shoving for a picture or an autograph … I digress. Those are issues connected with all popular Hollywooders, not with Lord of the Rings alone, of course. And I guess that’s the crux of the matter—something formerly so exalted in the realm of literature alone has been brought to a level equal to that of the Backstreet Boys or Britney Spears. I guess that’s where the real rub lies. Like the rub of a tweed jacket upon the inside of a coffin. Tolkien is rolling.

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

Speaking of translating Tolkien’s world to TV and cinema, we dug into our archives to find a rather relevant masterpiece from Green Books staffer Ostadan – originally posted November 4th, 2004. Enjoy!

Golden copy of the “Universal Gateway”, Chapter 25 of the Lotus Sutra kept in Taiwan National Palace Museum. One of the many excellent works of Kumarajiva

“Translation is like chewing food that is to be fed to others who are unable to chew themselves. As a result, the masticated food is bound to be poorer in taste and flavor than the original.” [attributed to Kumarajiva, translator of Buddhist texts into Chinese. Translated.]

In the article Glossopoeia for Fun and Profit, we saw the Esperanto translation of the Ring inscription:

Unu Ringo ilin regas, Unu ilin prenas,
Unu Ringo en mallumon ilin gvidas kaj katenas.

Let us look at this translation more carefully. If we were to take each word and translate it to English directly, it would read,

One Ring them rules, One them takes,
One Ring into darkness them guides and chains.

The Ring Verse

Esperanto’s word order is more liberal than English, especially in verse; a more grammatically correct English translation would be “One Ring rules them, One takes them, One Ring guides them into darkness and chains them.” Those familiar with the English text will see many evident differences — the use of present tense; the reduction of “them all” to simply “them”; the change of “find” to “take”, and so on. Why should this be so? The main reason is that Bertil Wennergren, who translated the verse, was attempting to retain not only the sense of the text, but the rhyme scheme and general meter of the original. Esperanto, which uses suffixes as markers for such things as tense and part of speech, has few single-syllable words. In contrast, there is only one word of more than one syllable, “darkness”, in the entire English version of the Ring couplet (and few, indeed, in the entire Ring-verse). If any semblence of the poetry of the original is to be retained, then the meaning of the text must be altered somewhat to fit the restrictions imposed by the verse form and the language of translation.

Of course, within the story, the famous couplet is itself only a translation, with a slight change in meter, of the Black Speech found on the Ring:

Ash nazg durbatulūk, ash nazg gimbatul,
Ash nazg thrakatulūk, agh burzum-ishi krimpatul.

Gandalf says that his rendering in the Common Speech is “close enough” to what is said on the Ring. So the question arises: is the Esperanto translation similarly “close enough”? A “purist” might say, no: there are too many details lost or even changed by this translation, and Tolkien’s linguistic work has been undermined; someone reading the Esperanto text would come to very different conclusions about the vocabulary and grammar of Black Speech from those reached by English-speaking readers. But someone of a more “revisionist” bent sould say that the Esperanto Ring-inscription tells, probably as well as possible given the constraints of a verse translation in Esperanto, the same story as the original English. After all, it is certainly plausible that Celebrimbor, hearing these words spoken from afar as Sauron first took up the One Ring, would indeed know just how he had been betrayed and what Sauron’s true purpose behind the Rings of Power was.

J.R.R. Tolkien

In a real sense, any translated work is a collaborative effort between the original author and the translator, much as a symphonic performance is a collaboration between the composer and the conductor. In a work as complex as The Lord of the Rings, the translator must be aware of the stylistic and linguistic techniques that Tolkien is using, and create them anew in the language of translation. For the result to have any artistry at all, the translator has to be as creative and capable in the language of translation as Tolkien was in his own. The result will not be pure Tolkien; it will be Tolkien as interpreted and re-told by the translator. Arden Smith’s irregular column in the journal Vinyar Tengwar, entitled “Transitions in Translations”, has documented a wide range of successful and unsuccessful translations. In some, little care is taken in style or nomenclature — one might be reminded of the infamous Japanese subtitles for the Fellowship of the Ring movie. In others, the translator may go as far as inventing Tengwar and Cirth modes for the language of translation and will re-draw the title page inscription in translation, as well as re-lettering the translation of the West-gate of Moria in the illustration. But in all cases, the result is not, and cannot be, identical to the experience of reading the original English text.

A “purist” might therefore conclude that because a translation necessarily loses some of the nuances and richness of the original, nobody should read Tolkien’s work in translation, and that the translators themselves are wasting their time in a futile exercise at best, or a fraudulent representation of their own works as being J.R.R. Tolkien’s at worst. To the purist, Tolkien’s original work is the only “true” account of events in a world that seems nearly as real as the ancient history of our own world, and deviation from that account seems to be somehow a distortion of a primary truth. But most people would agree that, given a certain minimum quality of translation, the defects inherent in reading a work in translation are outweighed by the availability of the book to people who cannot read it in English and would not be able to experience Middle-earth in any form without the translation, like the unfortunate soul in the quotation from Kumarajiva, who requires someone else to chew their food if they are to avoid starvation. Some of these people may even be motivated by a good translation to search out an English edition and laboriously work through it.

By now, the reader has probably anticipated the author’s conclusion from these musings about translation: the art of the filmmaker has much in common with the art of the translator. The requirements of film — or at least an artistically and commercially successful one — dictate particular rhythms and modes of expression in the storytelling that the original author contemplated no more than Tolkien considered how the Ring-verse would fit the rhythms of Esperanto or other languages. Even more than a translator, the filmmaker is a collaborator with the author, reinventing and recreating the author’s work so that it can be expressed as artistically as possible in the “language of film”. The result will not be purely Tolkien’s work, and will inevitably lose much of the delicious “flavor” of the original. It may even have serious defects in several particulars; but the real question is whether, like the Ring-verse translation, it tells the same essential story, “close enough”. If it does, then it does what any good translation does: it brings a great work to people who otherwise would not read it on their own.

“I cannot read the black and white letters,” he said in a quavering voice.

“No,” said Jackson, “but I can. The letters are English, of a narrative mode, but the language is that of the Epic Romance, which I will not utter here. But this in the Cinematic Tongue is what is said, close enough…”

(Fade to black. Music up.)

– Ostadan

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

To celebrate the 20th anniversary of the Lord of the Rings internet teaser for The Lord of the Rings, we’ve put together an all-star line-up to join us LIVE for TORn Tuesday!

Join us on all our social channels at 5pm PT/8pm ET (All Timezones) as we welcome guests…

  • Mark Ordesky – Executive Producer
  • Richard Taylor – Creative Director Weta Workshop, VFX Supervisor
  • Gordon Paddison – VP Marketing, New Line Cinema
  • Jed Brophy – Actor, Snaga and Sharku
  • Rick Porras – Co-Producer
  • Michael Pellerin – Director The Appendices

Where to watch…

It is hard to believe that 20 years ago today, we got our first collective tease at what would become the greatest film trilogy of all time. (Yea…I said it.)

Way back on March 31st, 2000 – New Line sent out an update for those folks subscribed to their newsletter…footage was going to be released officially on April 7th. (See our squee-worthy post from 2000)

The waiting game began. If you want to take a trip down memory lane, check out all of our headlines from that timeframe. The child-like exuberance of our staff in anticipation of the trailer was unmatched. One particular enthusiastic staffer – some guy named Calisuri – even kept a daily countdown that eventually went into an hourly countdown.

Then in the early hours of April 7th, the official website posted the trailer and our lifelong dream of seeing The Lord of the Rings on the big-screen become a reality. By the time Peter Jackson says ‘This is the time,’ and the screen fills with an army of Uruk-hai, we could barely contain our joy. The Ring Verse is read while Carmina Burana builds the tension, and we all couldn’t get enough of the magic.

TheOneRing.net staff immediately went to work on our Frame by Frame analysis, and as you will see on that page, we kept updating for days and months afterwards.

The ‘internet trailer’ for Lord of the Rings became the most downloaded preview in history and holds a special place in film history as a result.