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LOTR Fans are Dorcs

@overthinkinglotr

My comic adaptation of the Hobbit is @retellingthehobbit, my main is @secretmellowblog, art blog is @secretmellowart. Conservatives DNI
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Hello! You can call me Mellow! I post a lot of lotr thoughts on this blog, of wildly varying quality, and tag most of it #overthinkinglotr.

Other blogs:

I'm creating a webcomic adaptation of the Hobbit at @retellingthehobbit.

And my general art blog is @secretmellowart.

Here’s chapter 1 of my Hobbit comic!

Also Frodo and Sam are in love. They really Invented love didn’t they, iconic .....

I love getting asks/comments on my posts and talking to people!! <3333 But I sometimes Struggle with internet communication and take a while to answer them!  I appreciate you all! (......there are so many asks I haven’t answered I’m sorry ;_;. I hope to get to them eventually!)

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reblogged

Retelling The Hobbit Chapter 16: The Song of the Lonely Mountain First chapter / Previous / Next

*crumbles into dust after finishing this* Thank you for reading! This The Hobbit webcomic adaptation thing takes a lot of effort to put together and I can’t tell you how much I appreciate every comment. I also really appreciate the people who’ve spread the word of this comic to their friends! <3

And finally, we’re at the Song of the Lonely Mountain! Within Tolkien’s canon, The Hobbit is an in-universe book that was “written” by Bilbo Baggins, who occasionally lies/embellishes/exaggerates things. The tonal differences between The Hobbit and Lord of the Rings are explained by Bilbo and Frodo/Sam being different kinds of storytellers, with different relationships to “the truth.” This idea is the core of how I’m adapting the novel!  Bilbo is an unreliable narrator who is literally ‘drawing’ from his own limited experiences;  the different art styles reflect the different perspectives of other characters.   The “dwarf art style” in this chapter is inspired by stonework/metalwork in general— but especially by a mix of art deco, Celtic art, and European folk art. 

The central tension of the comic is between Bilbo and Thorin, who each have wildly different ideas about what kind of  story they’re in. Thorin is in a grand fantasy epic, while Bilbo is in a lighthearted children’s book adventure.  The tragedy is, obviously, that only one side of the story ever gets to be fully told.

On a sillier note, a few years ago I had my first gay crush on a lesbian who sang while playing the piano. This chapter is dedicated to the piano lesbian. I hope they’re doing well, wherever they are. XD

I think I might need a bit of a break but I’m hoping for the next chapter, titled “Dawn,” to arrive on January 13th. And your comments/support really do help motivate me to get more done! ^_^

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It sucks that the original Lord of the Rings movies are actually so good, because it makes it so hard to be a Hater. Like, with most franchises that have expanded into massive corporate Marvel Star Wars Disney Cinematic Universe Franchises you can look back at the original movie that started it and be like “this movie was not actually That Deep. this was ultimately just a pretty simple standard generic action adventure story that happened to have a solid cast/great art direction/groundbreaking visual effects/etc, and then people collectively assigned it depth that the original film’s story didn’t actually have.”

But like… the Fellowship of the Ring IS that good! It really is! It is genuinely a perfect horrible complex fairytale of a film that does have those many many elaborate rewarding layers of depth and meaning. It IS that good! It is that deep!

And that makes it hard to be all cynical about it, even with how the Franchise(tm) has evolved XP. Alas.

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One thing it took me a while to appreciate in the LOTR films were the parallels between Frodo and Boromir—

At the end of Fellowship of the Ring, the two of them are both planning to “break the fellowship” for their own reasons.

Frodo wants to protect the others from the corruption of the Ring. Boromir wants “the strength to protect his people.” Both would have to sacrifice the fellowship for this— “to bear a ring of power is to be alone.”

They convince themselves it is their duty to save the world on their own: that this is their quest and their burden, and that they must take it even if it they do it alone, against the will of the rest of the Fellowship.

Boromir tells Frodo “I know why you seek solitude. You suffer— I see it day by day.” Earlier in Lothlorien, Boromir had walked away from the group to grieve alone.

When Boromir is first introduced, he has a large flashing arrow over his head saying “this man is going to be corrupted by the power of the Ring.” The other characters are often mistrustful of him, deeply wary, or treat his corruption as an inevitability. Gandalf warns Frodo about how “evil will be drawn to you from outside the Fellowship and, I fear, from within” while casting a side-glance in Boromir’s direction.

When the Fellowship is refused entry to Lothlorien because of the One Ring, there’s a scene where the other members of the Fellowship can’t meet Frodo’s eyes, looking away whenever he looks at them— it’s as if they’re starting to perceive him as the burden, and not the Ring.

Boromir notices this, and tells Frodo “you carry a heavy burden; don’t carry the weight of the dead.” He does not take his own advice: he carries the weight of Gondor’s dead. Fighting on the front lines of the battle between Gondor and Mordor has left him with far less hope than the other characters; he acts resentful of the other characters, because he believes they don’t truly understand the threat Mordor represents, because they haven’t spent the past few years on the front lines like he has. He tearfully confesses his kingdom “looks to him to make things right and [he] would do it”— it his duty to singlehandedly save Minas Tirith. The weight of this burden is what makes him so susceptible to the power of the Ring— which, in turn, is what makes everyone else so wary of him.

By carrying these burdens, Frodo is also becoming isolated from the other members of the Fellowship, the way that Boromir is.

At night on the banks of the Anduin, Frodo/Sam and Aragorn/Boromir have arguments that parallel each other— Sam tries to help Frodo and Frodo pushes him away; Boromir urges Aragorn to go to Minas Tirith and Aragorn pushes him away.

After the climactic battle at Amon Hen, they’re both in despair— Boromir believes his death means the end of the kingdom that has been relying so heavily on him, Frodo believes he is doomed to travel to Mordor on his own. But both are are ultimately “saved.” Aragorn swears to defend the people of Gondor, who he accepts as his people, and Sam refuses to let Frodo leave alone.

The parallels continue in the next films as well though: Frodo is ultimately corrupted by the Ring, just as Boromir was; he’s crushed under the weight of the burden he took on. But it’s just fascinating to see how much they have in common, despite being so different on the surface.

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I think part of why I can’t get into any Tolkien stuff outside of Lord of the Rings and The Hobbit is because I immediately lose interest once the gay little hobbits stop being center-stage. “The main hero is CeleFinElfidor the Bold, an immortal warrior who slew three thousand balrogs with a song” makes me go to sleep. but “his name was Blorbo Boffin and his neighbors said he was a queer creature who liked to eat strawberries” is Intriguing. Instantly you’re invested. You immediately see the vision

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I have a lot of thoughts about the way Frodo leaving the Fellowship in the end of the first film echoes Bilbo leaving the Shire in the beginning of the film—-

The Fellowship of the Ring opens by focusing on Bilbo, who has recognized he no longer belongs in the Shire and has to leave it behind.

The film ends with Frodo breaking out on his own, recognizing he no longer belongs with the Fellowship and has to leave it behind.

This parallel is emphasized through the musical motifs. The musical leitmotif that plays when Bilbo says “I think in his heart Frodo is still in love with the Shire,” and in the scene at the birthday party where Bilbo nearly tells Frodo he plans to leave before he loses courage at the last moment, and in the scene where Bilbo breaks down and apologizes to Frodo in Rivendell—— is also the same musical leitmotif you hear when Frodo gets into his boat and leaves the Fellowship at the end of the film.

In the beginning of the film, Gandalf encourages Bilbo to tell Frodo he’s planning to leave. Bilbo ultimately does not; he seems to believe he is protecting Frodo, who is “still in love with the shire” but “might come with me if I ask him.” Instead he tells Gandalf to keep a close eye on Frodo.

Similarly, Frodo does not tell Sam he is planning to leave. Instead he encourages Aragorn to “look after the others, especially Sam— they will not understand.” He’s repeating Bilbo’s “mistake;” attempting to go out on his own without explaining things to the person he’s closest to.

Galadriel says “to bear a ring of power is to be alone.”

Boromir says to Frodo— “I know why you seek solitude: you suffer, I see it day by day.”

Bilbo and Frodo are both suffering, and they become isolated because of it— breaking away from others, even the person who loved them most.

But then that person does reunite with them— Frodo coming to Rivendell, Sam refusing to let Frodo leave alone.

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Also: I think Aragorn gets a bad reputation now because so many lesser franchises have tried to imitate his archetype without understanding why he works. In the original movies he’s just a big gentle sad guy with a sword, who knows he’s not the real hero of the story and dedicates himself to supporting those gay little hobbits. The aragorn knockoffs are not his fault

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