It’s not long until Warner Bros. Animation unveils its long-awaited second look at Kenji Kamiyama’s The Lord of the Rings: The War of the Rohirrim at the 2024 Annecy Film Festival.
The 90-minute presentation, hosted by Andy Serkis (Hunt for Gollum tie-in, anyone?), will feature the first 20 minutes (or so) of Kamiyama’s 130-minute-long feature anime. People with good memories will recognise how this mirrors their appearance at the same event this time last year.
Source: War of the Rohirrim Producer Jason DeMarco
It will be interesting to hear if they show it all in single sequence, or as a series of snapshots as they did last year. It will also be very interesting to hear about the progress the animation team has made on the raw, rather-unfinished footage that they screened last year.
The Annecy presentation will also finally bring some support to the lonely promotional furrow that composer Stephen Gallagher has been ploughing this year.
On our Discord channel dedicated to all things WOTR, we’ve been closely following the trail of hints he’s been leaving on his Instagram account but I’ve long thought his efforts deserve a wider audience. So I’m going to take a thousand words or so to update you all on what’s been happening on the musical front!
Gallagher, in case you’re unaware, is a New Zealand composer and award-winning music editor. He is probably best-known to Tolkien fans for his work on The Hobbit where, as well as working as music editor on all three films, he composed the songs ‘Blunt the Knives’ and ‘The Torture Song’ for An Unexpected Journey. Read up on him in our backgrounding post here.
He obliquely revealed on his Instagram account around the end of February that The War of the Rohirrim production had shifted to scoring and recording music.
On February 25 he posted a tiny snippet of score from a piece titled “2. M03 Business” with a simple caption “Time for business…”, showing parts for at least Cor Anglais (otherwise known as English Horn), bass clarinet, (probably bass) bassoon and crumhorn. Additional, unknown, instruments are obviously further down.
Despite the absence of a key signature, TORn Discord moderator Lasswen promptly placed the score snippet into notation program Musescore4 to gauge what it might sound like, working on the assumption that it was scored in concert pitch.
We’d like to emphasise that this is our approximation based on the score provided with the notation inputted into a program to recreate the sheet music we could see, then exported as an mp3 — it’s not the *actual* thing. You can have a listen below.
2. M03 BUSINESS
Lasswen notes that
“… aside from what other instruments are in that piece, let alone missing from that sample (eg. there’s two bars after the contra bassoon that we don’t know if it’s silence or something else lower on the score is filling in), I think it’s also interesting to note that typically if piccolo, flute, oboe or trumpets were in it they would have been in that section we saw. Most of what’s there are low bass instruments.”
We like the creepy, unsettled sound.
Now, that might indicate a monster theme since both Executive Producer Philippa Boyens and Producer DeMarco have mentioned we should expect monsters — that there are things lurking in the White Mountains.
But there are other possibilities — particularly if, as we suspect, the numbers indicate that “Business” is a piece that arrives early in the film.
The initial, fatal conflict that arises between Helm and Freca is underpinned by an enormous amount of unease. Further, Freca, is there on his own business — the business of marriage.
‘To one of these councils Freca rode with many men, and he asked the hand of Helm’s daughter for his son Wulf. But Helm said: “You have grown big since you were last here; but it is mostly fat, I guess”; and men laughed at that, for Freca was wide in the belt.
‘Then Freca fell in a rage and reviled the king, and said this at the last: “Old kings that refuse a proffered staff may fall on their knees.” Helm answered: “Come! The marriage of your son is a trifle. Let Helm and Freca deal with it later. Meanwhile the king and his council have matters of moment to consider.”
The Lord of the Rings. Appendix A: The House of Eorl.
The “business” of the title may well be the attempt to arrange a match between Wulf and Hera. It seems an excellent fit. Could it be as Freca enters the Golden Hall and approaches Helm’s throne?
The “courtly” tone of the crumhorn could be a good fit for such an event:
The seemingly extensive use of horns also makes us wonder whether, at some point we will hear the famed Horn of Helm resounding through the Deeping Valley.
Gimli blows the Horn of Helm in PJ’s The Two Towers. Watch here.
Helm had a great horn, and soon it was marked that before he sallied forth he would blow a blast upon it that echoed in the Deep; and then so great a fear fell on his enemies that instead of gathering to take him or kill him they fled away down the Coomb.
The Lord of the Rings. Appendix A: The House of Eorl.
Gallagher’s Instagram posts indicate that he spent some time in Wellington finalising the musical score at Stroma FilmWorks and has been working with noted sound producer and mixer Pin3hot who was previously Supervising Music Editor for Peter Jackson’s The Hobbit and Lord of the Rings: Return of the King.
In a perhaps-weird coincidence, Pin3hot’s credits also include Ultraman. Ultraman, of course, was overseen by The War of the Rohirrim director Kenji Kamiyama (alongside Shinji Aramaki), and produced by Sola Entertainment — Joseph Chou’s company that happens to be handling production and animation for The War of the Rohirrim.
As near as we can tell scoring seems to have been finalised on or around February 26.
A few days later, on March 2, Gallagher posted another snippet of score labelled “Helm Hammerhand Still Stands” with a simple message: “What a week!”.
Lasswen, on TORn’s Discord server, offered some analysis, observing that:
This time all the instruments were concealed.
Although there is no tempo or clefs, the bottom stave changes to bass clef, suggesting the others are in all treble, and that there are fewer bass instruments present than in Business.
Since the five visible staves are grouped together (by the bar lines extending down across them) what we can see there is probably woodwinds (unless there are no woodwinds and these are treble brass such as trumpets and french horns).
There might still be crumhorns, just maybe not the bass ones as in Business.
Business had seven woodwinds, with a lot of bass ones, so this is likely a very different piece.
There is only one visible note at the start, though you can see that the instrument on the second staff is also playing; and it’s a lower note than in the second bar (from the curve of the slur line), but difficult to guess precisely what it would be.
The dynamic markings indicate it being quiet, at least at the start, but with some swell of sound and then a fade-away.
Like with Business, Lasswen also dropped this piece into a music editor, this time using piano as a ‘neutral’ instrument, to create two versions —the first assuming all those instruments start in treble clef, and the second with the bottom-most instrument starting in alto clef (that would mean the sound is not at all discordant for the second bar).
HELM HAMMERHAND TREBLE.MP3
HELM HAMMERHAND ALTO.MP3
But what is it about?
Well, the title alone Helm Hammerhand Still Stands feels like a strong nod to what is probably the most iconic scene of the short Helm tale in Appendix A, when the Dunlending have Helm and his retainers trapped in the fortress that would later bear his name.
We think the much higher numbering (M38) also supports that it’s from somewhere far later in the film than we believe Business will be.
One night men heard the horn blowing, but Helm did not return. In the morning there came a sun-gleam, the first for long days, and they saw a white figure standing still on the Dike, alone, for none of the Dunlendings dared come near. There stood Helm, dead as a stone, but his knees were unbent.
The Lord of the Rings. Appendix A: The House of Eorl.
Coincidentally (or not), it’s also one of only three scenes for which Warner Bros. has already revealed initial concept art.
Concept Art for The War of the Rohirrim.
In a bit of a wrap post, Gallagher revealed that in the first week they recorded approximately 82 minutes of wind and string instruments.
Kenji Kamiyama and Joseph Chou also happened to drop by and check things out.
At this point, the soundtracking relocated to London to record other instruments — particularly brass and percussion — in London’s Angel Studios and at Air Edel.
Should be able to catch up on sleep the next 24 hours of travel – when you live in London, New Zealand really is the other side of the planet. Looking forward to @stephengallaghermusic arriving this weekend for our next batch of sessions. You didn’t think it was only strings and winds did you?!
On his Instagram, Pin3hot referred to it specifically as an Odaiko (listen to one here). A little research is intriguing:
The odaiko was once used as a battle signal, and now features in Kabuki theater (a popular form of theater that has evolved from 17th-century aristocratic theater), Zen Buddhist ritual, and traditional dances.
At the beginning of May, Gallagher was back in Wellington for even more recording working with conductor Hamish McKeich (principal conductor in residence for the New Zealand Symphony Orchestra).
This most recent, and perhaps last, batch of recording seems to have involved choral singing. And weeping. Whatever could that be about? A funeral, perhaps? Time will tell.
Our anime-insider has brought us this exclusive report from the Warner Bros. panel at Annecy in France that presented an exciting “first look” at The Lord of the Rings: The War of the Rohirrim.
Be warned: depending on your knowledge of the Helm Hammerhand story and what you’ve been reading of our coverage so far, there may be spoilers below!
Source: WB SVP Jason DeMarco.
Panel members:
Kenji Kamiyama – Japanese director
Philippa Boyens – writer/producer (Philippa shared shoutouts from Peter Jackson, Fran Walsh, and Andy Serkis.)
Joseph Chou – producer and owner of Sola Studios
Jason DeMarco – studio creative exec with WB. (Described as being “made in a lab to make this movie” because he’s an anime and Lord of the Rings nerd.)
Making of the film:
WB raised the idea of an animated film. Philippa felt the question was “Do we want to see familiar characters from the live action films animated?” Her kids love anime, which is her connection to the medium.
She talked about the need for a level of realism, to bridge the gap between live action and animation.
They wanted to tell a complete story that was separate from either of the trilogies, and a story without the direct influence of the Ring or the shadow of Sauron.
Wanted to find a story in Middle-earth that “fit with anime, culturally.”
Kenji Kamiyama is also a writer, so Philippa found it was an easy collaboration — he’s really good at keeping the story together, understanding place and scale, and keeping Philippa on track when she went down rabbit holes.
The writing process began with Will Matthews and Jeffrey Addiss [Editor’s note: they recently won an Emmy for their Netflix series The Dark Crystal: Age of Resistance] who have comedy chops but were not versed in the lore of Middle-earth. And Philippa didn’t want to write it: “I felt too old, honestly.” So she brought in her daughter Phoebe and her partner Arty Papageorgiou. Phoebe literally grew up on the sets and most importantly, she understands the rhythm of Tolkien’s language. Kenji was so excited to have a young female writer onboard.
They collaborated with many people from the live action film. We saw concept art from John Howe, Alan Lee, Richard Taylor, and Mark Wilshire were also involved. They also worked with WETA closely, and literally used their models of Edoras. It fully takes place in the world of the film trilogies and many of the images will look very familiar to fans!
When Kenji was approached with this idea, he thought it was “impossible”.
Adapting the world to animation was a struggle. They worked with Daniel Falkner (sp? Editor’s note: Dan Falconer, I think!) who was an art director on the live action films and “knew where the bodies were buried” — [he] could help them find old assets and consult about the history. They talked about the number of horses — so many! — and how hard horses are to animate. But that’s a huge part of the story. Kenji said they needed to use all their tricks to pull this off. They sent the animation crew to horse barns to film, ride, and “be scared”.
Animation process: they used detailed CG models of the characters and layouts, some from WETA, and assembled a layout in Unreal. They would choose shots and cuts from this and assemble a rough cut. This served as a base for the mocap director who would film actors. Then it all went to the animators, who used that to do the animation. Kenji stressed that this is NOT ROTOSCOPE — it’s an interpretation/translation.
Kenji said that usually, a character animator will take a lot of time to learn a character. They really need to understand them. But this movie had a tight timeline, hence the motion capture.
I don’t think Howard Shore is composing the music, but they are using his score — so cool to hear it!
Philippa said it’s been “a joy” to work on an animated project. She also talked about working with Jason DeMarco, and how he made sure to get some “monster vs. monster” moments in the film.
I talked with Philippa later and she wanted me to share a detail: in Carpenter’s Tolkien biography, when Tolkien first had a room in college he decorated it with Japanese prints. She found that really cool to now be doing this distinctly Japanese take on animation.
While they mostly seem done, Kenji and Joseph have a lot more to do, they’re still deep in the production process. Kenji seemed stressed! “Probably the biggest film he’s ever worked on”. Kenji kept talking about the challenge of it, and was clearly still thinking deeply about “how he’s gonna finish this film.”
Joseph described it as “a huge privilege” to work on this. They want to do Japanese animation proud, and they are very aware of all the fans who are watching and want this to be done right. Also this is the first time he and Kenji met Philippa in person! This was started during Covid.
Joseph jokes about how the crew is going to have to work nights and weekends to finish this movie, which really bummed me out. Can we not normalize the brutal working hours in animation? I expect better tbh.
They ended with saying that they are currently recruiting talent for the film. Presumably in Japan. (Editor’s note: I wonder if that means additional animators … or Japanese voice talent?)
Finally, the movie will be out 4/12/24 in theaters only!
Spoilers below – you have been warned!
Story details:
There may be “a character or two we recognize” from the live action films. (Editor’s note: Saruman, Saruman, Saruman and Saruman.)
It’s about the failure of Helm Hammerhand, the war that results from it, and the characters who stepped up in the wreckage. Edoras is destroyed at the end of act 1 — we saw some beautiful art of a burned Meduseld — and the rest of the movie as about “the wreckage of war”.
Discussion of the Rohirrim culture as being based by JRRT on the Mercians — a warrior culture with a code. Family-based power structures and struggles, with honor and loyalty being more important than wealth and riches.
Alluded to a “ghost story” and a “surreal story” within this movie — all suited to the medium of animation.
We saw concept art images of Oliphants and orcs (I think — maybe they were wildmen) surrounding Edoras. We saw a rider with long yellow hair and a horn riding in front of an Oliphant. The art style reminds me of some 90s anime. We saw art of Isengard on its own, and surrounded by tents and wildfires. We saw a lot of background art of Meduseld — really beautiful translation in my opinion, and so familiar.
Lots of consultation with experts to figure out what Middle-earth would look like 260 years before the events of The Lord of the Rings.
The movie begins with a voiceover from Éowyn — Mirando Otto herself! She talks about Héra, how she is a rebellious child and how she is not named in the old tales. We got to see a rough cut of this beginning, with a combination of CG models and hand drawn animation. Héra rides across the plains, rides to the top of a bluff, and tosses a huge hunk of meat into the air, where it’s snatched by a giant eagle. She almost touches the eagle — but it flies away before she can.
We saw another scene in Meduseld, where a herald talks to Fréalaf about heraldry, and then Héra comes in to explain the shieldmaiden herald and what it means. She and Fréalaf are cousins i think? Reminiscent of Éomer and Éowyn. Helm comes in, commanding the attention at the room, and sits at the throne.
We saw a still image of Helm frozen in front of the Edoras gates, knee deep in enemies. Again I’m not sure if they’re orcs or Wildmen or both. (Editor’s note: maybe the concept art below? Which is more likely to be the gates of the Hornburg (then called Súthburg), not Edoras)
The Characters:
Héra(VA: Gaia Wise) – female main character. Not named by Tolkien, but Helm’s daughter is mentioned and she was the character they wanted to explore. Wanted to explore a female POV in Middle-earth, but she’s not a warrior princess per-se — she doesn’t become king. For her character, they they drew on the historical figure of Æthelflæd — the Lady of the Mercians, who defended her people.
We saw expression sheets and designs for Hera. She reads very 90s anime girl — kind of reminds me of the Rankin Bass Éowyn. She has red hair in a messy braid, leather armor, and a sword. We also see designs of her in formal dress. They describe her as “vulnerable and wild”, a tomboy type character. She has a growth in the film — maybe tied to needing to lead her people in a time of chaos. Philippa loves that her hair is never perfect.
Wulf(VA: Luke Pasqualino) – the other main character, the main antagonist. I think he’s from the Wildmen? He’s a big muscly dude with long hair, scruffy, an axe and furs and a ragged cloak. A scar over one eye. They solicited “lots of ideas from the female staff” in the studio. The note they got was “he does bad things, so make him beautiful”. And he is.
Helm Hammerhand (VA: Brian Cox) – daddy vibes. he’s got a big beard and a crown, we saw an expression sheet and a polished design. Red and blue clothing with beautiful intricate gold details.
Freca(VA: Shaun Dooley) – He’s the leader of the Wildmen, and he offers his son’s hand in marriage to Héra. That’s the inciting incident of the movie and leads to “Helm’s big mistake”. He’s wide with leather armor, a cloak, and some kind of bearpaw maul on a chain. He has facial tattoos. “Helm doesn’t take him seriously.” He’s trying to take over Rohan with this marriage. He’s strong and tragic, but also a comedic figure. Philippa quoted a line from the movie: “fat and prosperous is when men are at their most dangerous”.
Fréalaf (VA: Laurence Ubong Williams) – I think he’s Héra’s cousin, he “wins everything in the end” and becomes king.
Thank-you WB and Philippa Boyens for all your kindness and generosity. We look forward to seeing The War of the Rohirrim next April.
Join the discussion: If you’d like to weigh in with your thoughts, feel free to join our Discord server. Or join the currently active thread on our forum message boards.
The Annecy Film Festival — which is hosting a “first look” at The War of the Rohirrim on June 13 — has updated its site listing to reveal that the length of Warner Bros. Animation’s (WBA) forthcoming feature anime will be 130 minutes.
That’s actually substantial for an animated film and will place it among the top 50 longest animated films of all time. Length is no indication of quality, but good animation is time and resource intensive. WBA’s committment to a long feature indicates confidence in the story they have to tell.
It also helps explain the long development — the project was first announced in June 2021, and will not premiere until April 2024. For comparison, the newest Makoto Shinkai anime Suzume, began production in March 2020 and only debuted in cinemas earlier this year.
WOTR’s director, Kenji Kamiyama, has also been busy directing other projects: Ultraman, Blade Runner: Black Lotus, and Ghost in the Shell: SAC 2045.
Animation techniques: 2D/3D blending
The other thing of note in Annecy’s overview of the presentation is the animation techniques listed.
Much, of course, has been made that The War of the Rohirrim is being animated in 2D — because everyone panics mightily as soon as the words “3D animation” are even whispered. But 2D/3D blending — typically for effects or backgrounds — has become a staple in even some of themost popularanime, and can look non-intrusive and seamless when executed with skill. Apparently even Hayao Miyazaki’s Mononoke Hime contained a small amount of 3D CG rendering — something I was not aware of until I began looking into just how prevalent the use of CG effects has become in modern anime productions.
Just so long as they avoid horrors such as Golden Kamuy’s notorious CGI bear.
Animiation techniques: rotoscoping
Rotoscoping is another surprise, although Staffer Justin tells me TORn Tuesday reported industry talk that that WETA was using the “Avatar mocap technology” for The War of the Rohirrim.
It seems that talk was on the mark.
When I saw that I instantly thought that it might be used for animating horses, because as people who know far more about the art of animating than me point out, “horses populate the nightmares of animators“. And I think it would be foolish to not expect a film about the Rohirrim to not feature a lot of horses.
I can already sense readers who have seen Ralph’s Bakshi’s animated The Lord of the Rings recoiling in terror. Yet it’s important to acknowledge the time- and money-pressures that Bakshi and his crew worked under: effectively filming then animating the same film twice in a two-year period with a budget of approximately $4 million. (That’s a touch over $18.5 million in 2023 dollars — much less than many modern Disney animations.)
By comparison, Kamiyama and his crew have three years for development and production, they won’t be rotoscoping everything, and they have the substantial benefit of digital animation methods. And, one guesses, they have a larger budget.
One of our Discord regulars also smartly suggested that rotoscoping could be employed for battles, and pointed out a rotoscoped fight sequence (warning: this clip is quite gory and not suitable for children) that popped up in a recent episode of the anime Vinland Saga. It’s impressively natural and I could see something like that in a story as grim as that of Helm.
Just to further illustrate that rotoscoping can look great in the right hands given sufficient resources, check this character acting scene from Attack on Titan. Or this stunning piece of sakugafrom Kaguya-sama: Love is War that gained both popular and critical acclaim back in 2019.
Anticipating Annecy: going behind-the-scenes for 75 minutes
Kamiyama will be joined at Annecy by executive producer Philippa Boyens and producer Joseph Chou for a 75-minute behind-the-scenes presentation into their adaptation of the Helm Hammerhand story that is found in the appendices of The Lord of the Rings. The session will be moderated by fellow producer Jason DeMarco.
Right now, WBA is being very quiet about what they’ll be showcasing.
However, here’s a quick bit of speculation/guesswork that you’re free to take with a grain of salt.
I think the length of the presentation means those attending (not yours truly, sadly) will be treated to a slab of finished animation. I couldn’t see them filling a 75-minute session with just more concept art and character designs.
That animation might be a teaser, or it could be several small segments that the presenters then discuss. I recall that Peter Jackson did this for The Desolation of Smaug and, mostly due to the choice of clips focusing on Martin Freeman’s Bilbo, it was really quite effective at raising anticipation.
I’d expect dialogue and perhaps even music. Stephen Gallagher was revealed as the composer for the score back in February and must have been appointed to the role much earlier.
If it was me, I would choose scenes from places familiar to viewers of Peter Jackson’s films — both fans and casuals — to encourage the mental connection. That suggests Edoras or Helm’s Deep. But the latter might be a bit too far along in the story and reveal too much of the story, so I lean to Edoras. You could show some dramatic scenes with all the key cast — Helm, Wulf, Freca, Héra — that are root to establishing the conflict. The initial concept art that WBA put out showed Edoras being attacked so Kamiyama might tease some of that as well to show how much progress they’ve made.
Since we’re familiar with the location, it’s also possible that we could see Isengard (although, canonically, Freca’s seat of power seems to be another location at the surce of the River Adorn). This could also help set up that there are two sides to the conflict — something that Boyens emphasised was integral to the story they were telling when we spoke this time last year.
This is in addition to more concept art, and, I expect, our first look at some character designs.
Regardless, we’ll very soon know more. It’s been a long wait to get something tangible but it’s nearly over!
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
Moviescore, a site dedicated to tracking film music, reports that New Zealand composer and award-winning music editor Stephen Gallagher has been tapped to score the music for Kenji Kamiyama’s The Lord of the Rings: The War of the Rohirrim.
Gallagher is probably best-known to Tolkien fans for his work on The Hobbit where, as well as working as music editor on all three films, he composed the songs ‘Blunt the Knives’ and ‘The Torture Song’ for An Unexpected Journey.
Perusing IMDB reveals that Gallagher has previously composed music for a range of documentaries and short films, but arguably this is his most prominent compositional role to date.
He also has a decades-long career as music editor spanning big productions like Avatar: The Way of Water, District 9 and Wolf Warrior 2 to niche films such as Amy Berg’s West Of Memphis and Peter Jackson’s The Lovely Bones. Last year, he won an Emmy Award for his sound work on Peter Jackson’s The Beatles: Get Back.
IMDB states that he’s currently based at Park Road Post Production in Wellington — a facility that’s owned by Peter Jackson’s WingNut Films.
The War of the Rohirrim is slated to release on April 12, 2024. Director Kenji Kamiyama is also currently co-directing on the final season of Ultraman with Shinji Aramaki which will debut on Netflix sometime in 2023.
SPECULATION
A speculatory post-script.
I was idly chatting with TORn staffer Justin about the leak/confirm and he wondered if the selection of Gallagher could indicate a return to the style of music that was the hallmark of the Rankin Bass animated features. After all, Blunt the Knives in An Unexpected Journey is very much a homage to the sing-along style of the animated Hobbit of 1977.
Personally, I’m inclined to say no.
I feel that both Blunt the Knives and The Torture Song (as sung by Barry Humphries) owe more to a combination of the children’s tale-nature of Tolkien’s novel and the comedic sensibilities of Peter Jackson (Meet the Feebles, anyone?).
On the other hand, the tale of Helm Hammerhand is far grimmer. It’s also a little tempting to add that Kamiyama animes typically play the material straight, but then the quirky Tachikomas (AI spider tanks/mechs) of the Ghost in the Shell: Standalone Complex animated series are a spectacular outlier. Kamiyama leverages them in multiple ways: surreal comics, action heroes, philosophers, and ultimately as beings capable of self-sacrifice. The “cute” Tachikoma moments don’t devalue the serious ones. In fact, they make them more rounded characters (I dare say, more human — a crucial point to the story Ghost in the Shell explores).
So, if Kamiyama could see a way that a quirky, lyrically focused tune would serve the needs of the Helm story, he absolutely has the chops to pull it off.
Neverthless, I think it’s probably better to calibrate musical expectations more in line with the thoroughly grounded nature of Kamiyama’s acclaimed adapatation of the fantasy story Serei no Moribito. If nothing else, it’s still difficult to get folks to take anime as a serious artform that’s not “just for kids” without hobbling your production with a bunch of cutesy tunes. I’m surer Warner Bros. will be keenly aware of that.
All that being said, we know that Miranda Otto has a very fine singing voice. If, as Éowyn, she’s relating this tale to someone (like her grandchild Barahir) there’s certainly an opportunity for her to sing in the intro, or some lament as the outro at the end. I like that idea.
