A couple months I ago I received an email from the eBay auction site, indicating that one of my few remaining product searches had been triggered. In this case, the search text was “MAZAR BALINŪ”. What the heck does that mean?

Welp, I recently posted that in high school I was a big fan of J.R.R. Tolkien, the author of “The Hobbit” and “The Lord of the Rings” trilogy. And that I was one of the founders of the New England Tolkien Society.

NETS had two publications: a monthly newsletter called Ravenhill that my friend Gary put out, and a (nominally) annual literary magazine called MAZAR BALINŪ that I produced. The name is in Tolkien’s Dwarven language and translates to “The Book of Balin”, which was an artifact that the LotR fellowship found in the mines of Moria.

It wasn’t easy to get the artwork, articles, and stories I needed, so only two issues were ever published: in 1980 and 1983. I photocopied issues and mailed them to our members, which were probably less than a hundred people. So it was pretty amazing to discover 40-year-old original copies on eBay, being sold by someone in the Netherlands!

But seeing them got me thinking. To my knowledge, there are no copies of MB online, and I’m not even sure any exist in public collections. So I scanned my archived originals and compiled them into the two PDFs that I can share with you now.

MAZAR BALINŪ I

MAZAR BALINŪ I (pdf)

MAZAR BALINŪ II

MAZAR BALINŪ II (pdf)

As an interesting postscript, MAZAR BALINŪ’s focus on original artwork, poetry, stories, and articles was the antecedent for my subsequent internet-based electronic magazine, FSFnet. FSFnet, which I founded in college in 1984, was renamed DargonZine in 1988, and has held the title of the longest-running electronic magazine on the internet for decades. While it still exists today in a torpid, nominal form, we’ll still celebrate the 40th anniversary of its founding later this year.

As DargonZine’s founder and former editor, I was asked to make a few comments as they completed their 24th and began their record 25th year of online publication. I thought I’d share my responses here, in case anyone is interested.

Why did you start Dargonzine?

DargonZine, which was initially called FSFnet, really began out of my desire to exchange ideas, tips, and techniques with other writers. I was attending college in the backwoods of Maine, and there really was no one I could have those kinds of focused conversations with.

At that time, BITNET was just coming into being, and several of my peers had founded electronic magazines that focused on computers or humor. But at that time there was really no online forum for fantasy and science fiction fans.

Having edited a fiction-based magazine in high school, I immediately recognized the value of combining this newfound communication technology with my personal needs as a writer. I could attract people like myself, who sought a serious, focused online writers’ group, while entertaining hundreds of fantasy readers by freely distributing the writers’ output online.

Twenty years before the term “social networking” was coined, we realized the power of bringing aspiring writers together and sharing their works with supportive readers, and that formula has been the basis for DargonZine’s success.

Did you ever imagine it would still be running, 25 years later?

During the early years, obtaining enough submissions was a constant struggle, and it wasn’t until the mid-1990s that DargonZine had enough writers to ensure that issues came out on a regular basis. So for many years our focus on getting the next issue out superceded any inkling of how long the magazine would survive.

However, as the few older e-zines folded, by 1995 we had clearly become the longest-running electronic magazine on the Internet. At the same time, we had an established core group of long-term contributors who were willing to do whatever was necessary to keep the group alive. Only then did we start thinking about DargonZine having a future beyond the next two or three issues.

What were the early days of Dargonzine like?

Most people don’t realize how primitive the Internet was in 1984. This was ten years before the first public Web browser was developed, before IRC, predating even commandline FTP. The only service available was text-only email.

The “Internet” was limited to a couple obscure places that would pass email between two incompatible networks. The only sites on the Internet were major colleges and large government contractors, and the only people who had both access and the technical knowledge to use it were computer science students and computer center staff.

At that time, there were virtually no public gathering places on the Internet (pun intended). One of the only ways to find people was to register your name, email address, and interests in a central text file that listed a few hundred “Bitnauts”: tech-savvy Internet users. DargonZine’s first two mailings were sent to users on the Bitnauts List who had listed science fiction or fantasy in their interests.

Back then, when connections between universities rarely exceeded 9600 baud (15 minutes per MB), sending a couple hundred emails at once could bring the entire network to its knees. FSFnet was one of the first users of Eric Thomas’ Listserv software, which addressed this problem by multiplexing email and file distribution to make more efficient use of BITNET’s star topology and slow network links.

What advice would you give to others who want to start a long-lived webzine?

There are two crucial elements in making your e-zine work: the subject matter, and your dedication to it.

Because you’re competing with everyone else on the planet, your e-zine needs to be the single best source of information on your topic. If you intend to put out a magazine about Star Trek, your zine has to be really exceptional in order to stand out among all the other sites already out there. That’s incredibly difficult, but I’ve seen it done.

The other option is to focus on something newly emerging, like steampunk fiction or digital video recorders or GPS phones. If you’re the only zine that deals with your topic, it’s much easier to become the recognized authority in the field. This is what DargonZine did back in the early days of the Internet, when there were no other writing groups or fiction zines online. If you do this, you just have to make sure you do it well enough to discourage anyone from starting a new zine to compete with you.

The subject matter is what will get your zine off the ground, but your dedication is what gives it longevity. I’ve see hundreds of zines and newsletters fold after putting out four to ten issues. Usually there’s a honeymoon period when there’s lots of content and both the editor and contributors are very motivated. But in short order the editor discovers that the pipeline of submissions has run dry and there’s actually a lot of technical drudgery in preparing and distributing issues. It’s here where the editor’s passion and devotion to the subject matter makes the difference between a zine that quietly fades away into obscurity or survives and goes on to enduring greatness. And, really, if you’re not working on something you love to do, you shouldn’t be wasting your time on it.

And if you’d like to impart any anecdotes or anything else, please let me know!

Although the Internet allowed DargonZine’s contributors to work closely together in a virtual sense, our writers have always been physically isolated, spread thinly across the globe. In fact, during our first decade we didn’t see any value in meeting one another in person. Even when that changed, we spent two cautious years meeting in small groups before inviting all our writers to our first open DargonZine Writers’ Summit in Washington DC in 1997.

The ensuing DargonZine Summits cultivated lasting friendships and generated an unexpected amount of enthusiasm among our contributors. Since 1997, we have held annual meetings each year in different cities around the world. The Summits are a balance between working sessions focused on improving our writing, fostering personal connections between writers, and sightseeing in the host city. Although we were skeptical of their value at first, the Summits have proved to be one of the most rewarding, inspiring, and effective activities we’ve ever provided.

So it’s been a couple weeks since the 2006 Dargon Writers’ Summit, which this year took place in Cincinnati. What follows is a highly-hacked up version of the summary I posted to our discussion list.

Typically, I’d say this posting would only be of interest to me, but you might be interested to know that this year I went into the Summit with the intention of resigning most of my responsibilities.

Having run this writing group since 1984 and long having considered it one of the most important activities in my life, my departure represents a major, possibly shocking development. So you might want to read about that. But I won’t get into the details of it until near the end of this missive.

So here’s the story. Note that the original email this is based on is addressed to the writers themselves. The original email text is indented, with comments outdented.

Last Wednesday afternoon Daf, Rena, and I arrived at Liam’s and went to dinner at Longhorn Steakhouse. Rena made her way to her hotel, while the rest of us played a quick game of “You Have Been Sentenced”, an educational sentence-building game designed for a bit younger audience, before crashing throughout Liam’s many guest bedrooms.
 
Thursday the four of us drove a couple hours into the Kentucky Hills. Daf and Rena went to Natural Bridge State Park, where they took a chairlift up to (or perhaps only down from?) the top of a ridge and hiked across the massive stone bridge and around the area. Meanwhile, Liam and I went to nearby Red River Gorge for a 6-mile hike along one ridge, then down into a valley and up another. It was very steamy, hot work, and we were glad to get back to house, exhusted, for a shower before meeting up with Jim and snagging Jon at the airport to complete our complement of six for this year’s Summit. Sadly, there were no new writers joining us this year.

Ironically, we drove through Lexington KY. The only time I’ve been there before was for the 1991 VM Workshop. I returned from that trip to find my wife moving out prior to our eventual divorce, so the area, though very pretty, has very mixed emotions associated with it.

The hike was really spectacular, and I enjoyed it a lot. It was just right: enough exertion so that you knew you’d had a workout, but not so much that we were limping home in abject pain. I was impressed with Kentucky when I was down there in 1991, and came away just as impressed this time.

I was disappointed with the meager turnout of just five other writers, but one can’t expect much, given our rapidly-dwindling numbers. It was definitely nothing like Austin, just three years ago, when we had a dozen. The chronic absence of any new (unpublished) writers was another major irritant for me.

Supper was at Knotty Pine on the Bayou, a nice but rustic Cajun place near Liam’s. Pretty good stuff. Returning to the house, we had a bit of a scotch tasting, mostly thanks to Daf’s plunder from his 2005 Scotland trip, then proceeded with a game of Summit favorite Settlers of Catan before crashage.

I pretty much confirmed my preference for Talisker as a full-bodied, smoky whisky. Nothing else came close.

Friday a few people slept in, while the rest of us got a very substantial breakfast at a place called First Watch. Then it was back to the house for the Summit working sessions. Friday’s sessions were designed to be all focused on writing (as opposed to project administration stuff).

Jon, our impulsive guy, was twice warned not to order a huge plate of pancakes, but decided to do it anyways. He probably ate about 2/3rds of what he received.

The thinking behind separating project business and writing was to do the writing-related stuff before the surprise announcement of my scaling back my involvement, which would be an immense distraction. I also wanted to set the zine up to succeed as best I could, and that seemed to suggest making as much progress on the writing stuff as possible before throwing the spanner into the works.

I opened the ceremonies by sharing a bit of a joke: a map of Baranur where all the place names had been replaced by anagrams. For example, Monrodya had been rechristened “Many Odor” and Welspeare was now “Ale Spewer” and Leftwich became “Elfwitch”.
 
Next up was Liam with a very informative talk about point of view. He made the important distinction (which I hope we’ll observe henceforth) between POV (first person, second person, third person; omniscient vs. limited, etc) and perspective (which character’s head you’re occupying). Then he went on to talk about advantages and disadvantages of each, and rules for their use. Great stuff!
 
Next, Jim—in his usual animated fashion—gave a great talk about medieval ships and shipping. He described their main uses— transportation, fishing, and warfare—the various types of ships, their methods of propulsion, and what life was like on board. Again, great stuff!

The whole idea of “white papers”, where a writer goes off and does some research and then reports back to the group at the Summit, is fairly recent, but has always worked out very well.

While Liam stepped out to get out lunch, I led the group through an interesting writing exercise called “sausage sentences”. The idea was to write an entire story where the last letter of one word was the first letter of the next, “linking” them together. It was fun, but rough! Adverbs are not your friends! And you can just forget about fancy verb tenses and even pronouns! In the end, some pretty interesting works were crafted, including the ever-memorable “gnarly yellow walnuts”.
 
Finally, Liam shared the results of his and Rena’s research into Dargon’s money systems and monetary values. The basic message was that our intention to make the money systems confusing for the characters in Dargon had simultaneously confused the heck out of our writers, as well! The research indicates that although there were a few notable outliers, people have stayed mostly within the ballpark of rational values, and a few specific tweaks might clarify things nicely for the writers. Liam will do one more iteration and present a summary document to the group which will hopefully set the level for monetary values and sexchange rates so you can use them without fear.
 
With the working sessions over, we headed over into Ohio for the first time. We tromped through the Cincinnati Art Museum, which had a fascinating show of dozens of Rembrandt van Rijn etchings; sadly, no photos allowed. Half the group stayed to plunder the art museum while several others went to the Krohn Conservatory’s Australian butterfly show. Later, we met up and made our way to Mt. Adams, a trendy sightseeing district in Cincy. After a bit of wandering and admiring the views of the city, we had a fine supper at Teak, a Thai place.

The butterfly exhibit was nowhere near as impressive as my expectation had been, and the most beautiful example—this iridescent blue species -- adamantly refused to keep its wings open when being photographed. But it was better than wandering around the art museum for two hours…

The Thai food was pretty good. I had cashew chicken, which was probably second only to that at Boston’s King & I.

Returning home, we made good use of Liam’s pool table while putting some brass tacks down in the Doravin story arc. Things are coming together there, especially in the first section of the arc, which will get the ball rolling. A few of us capped the evening off with another round of Settlers, again running late into the night.

I had really hoped we’d make a lot more progress on the Doravin arc, but it wasn’t to be. I think it’ll get off the ground, but I’m not sure how much momentum it really has.

That brings us to Saturday. Liam, despite his bleary-eyed sleep deprivation, got up and got everyone waffled before the working sessions, which in turn focused on the project, what we’re doing, how it runs, and so forth (as opposed to writing).
 
I went through the results of the Web survey from last month, which I’ll publish shortly. The statements that our writers agree with most are that the quality of writing in DZ is very high, that writers feel empowered to run with ideas for the project, that participating has been fun, and that DZ is a great social group. But we don’t feel that we do a good job achieving our goals, nor that the zine could continue in my absence, or that we could rely on our fellow writers to do what they promise. This last one was a big “ah-ha!”, and is a huge integrity issue that stands in the way of our getting anything done, and is something that frustrates the heck out of me, personally.

Basically, this was a 20-question survey wherein I probed how people felt about the project, and about how we’ve done against the goals I’ve always had for it. The results are disappointing in places, and in other places contradict my own beliefs about where we’re at. At any rate, it was educational.

That was, of course, the prelude to my resignation discussion. I started out with some level-setting, including what I get out of running DargonZine and the accomplishments I’m most proud of, before segueing into the numerous things that have driven me apeshit.

Next came “The Discussion”, and I’m as unsure how to talk about it here as I was at the Summit. I guess the short version is that I’m burned out. I have a bunch of specific goals I’ve always wanted the group to achieve, and we haven’t achieved them under my leadership. What’s worse, I don’t think we ever will achieve them under my leadership.
 
I want to actually list what those goals are, so that you can understand where I’m coming from. They may differ from your goals, or your idea of the project’s goals. My personal goals include: making DZ a supportive and nonthreatening and fun environment; helping writers improve their craft; creating a group that values new writers as our most precious asset, whatever their writing level; building a close-knit community; allowing people to form meaningful friendships; building something that people care about and feel they own; building something people will actively contribute to and work to build up; ensuring the project’s survival; advancing my own writing; helping people grow in other ways, like leadership, initiative, and maturity; and providing meaning for my life by helping other people.

Basically, I went through each goal in detail, describing the failures I’ve seen: how we are a closed group and don’t value our new writers, our 2% success rate over the past five years at getting new writers into print, our chronic inability to achieve our goals, and how no one seems to feel any ownership in the zine or willingness to help make it work.

Beyond my concern about how we’re doing against my personal goals, keeping this group moving forward is an immense amount of work, and I’ve exceeded my ability to do that, to the point that I’ve gotten discouraged, resentful, and irritable. It’s no longer fun, and my irritability increases the amount of conflict on the list. As much as I love DZ and as much as it means to me to be its leader, there’s no question in my mind that I have to step out of that leadership role. And I shared that with the people at the Summit, over the course of an emotional (and far too lengthy) diatribe.

For about the past three years, I’ve gone through periods where I considered quitting. Usually I decide to hang on, because I thought things might get better, but now I feel like I have to admit that they aren’t going to get better under my leadership.

I can’t really say much about what it felt like to tell this to these people who have depended on me to run the project since its inception. It was hard. It was a relief. It was painful. It was emotional. I was numb. Putting it all out there, being willing to walk away from my life’s work… Well, it’s a watershed point. It had been coming for a long time, and I had to get through it. Something had to change, and that change was long overdue.

I’m really not in a position where I can or should be the decisionmaker for the zine anymore, so I left it up to the group what they wanted to do next. The cool thing is that I think they responded well to this immense challenge that—for most of them —came out of the blue.

Although I tend to remember the many times the writers have disappointed me by blowing deadlines, dropping the ball, and conveniently forgetting things they had promised, I have to repeat that I was very impressed by how the group responded. They were mature and practical, and accepted my statement of the problem and my inability to continue as leader without question. Then they got into solution mode and came up with some great ideas that I hadn’t foreseen.

So we listed all the things I do and broke them down into four roles: editor, leader, techie, and marketing (the fifth role of mentor having already been forked off as a separate position that Jim presently occupies). Then we looked at what could be reassigned. The majority of the stress in my job comes from being leader/visionary and ultimate decisionmaker, so we decided to take that role off my hands. The ultimate project leader is now Liam Donahue, and he will share that role to some degree with Jon Evans, and I’ll be involved to a much lesser degree, in an advisory capacity. I will continue to perform the editor job (putting out issues), with Liam as the Assistant Editor backup. Dafydd has agreed to share the work load of the techie role, and he and I will work together over time so that he is able to maintain the web site and other technical stuff just as well as I. The marketing role remains a questionmark, but Jon and I have both been talking to former DZ writer Rhonda Gomez, and we believe she’ll be willing to take on some of those duties.

It was kind of a revelation to me that most of my stress comes from the visionary role. Of course, that role also includes arbiter of conflict and ultimate decisionmaker, which makes that person a lightning rod for conflict.

Furthermore, that person is also charged with setting the group’s goals and ensuring that we achieve them, and our constant failure to achieve our goals has left me utterly demoralized.

On top of that, over the past twelve years I’ve tried just about everything I can think of to inspire the group and move the group forward. The perpetual lack of success tells me that my methods haven’t worked, and—since I lack any more ideas about how to motivate people -- it’s time to turn the reins over to someone with more fresh ideas and evergy to try and make them happen.

So let me ask you to pay attention to and work with Liam and Jon. They’re both experienced managers and able leaders and know the project inside and out, and I have absolutely every confidence in their wisdom. The project and where it goes from here is largely theirs to determine. As for me, I’ll remain around. I hope that I’ll be able to contribute more writing in the future and maybe do some mentoring, but we’ll see about that. I’m going to have to spend some time transitioning duties and then see how my attitude responds to this change. However, I’m honestly pretty confident that this change is best for me, for the zine, and for you. I’m excited to see what Liam and Jon come up with.

The interesting thing is that their solution of farming out responsibilities leaves me with the option of staying with the project -- even in an editorial role—while drastically reducing my responsibilities. I think that worked out rather nicely, and it gives me the opportunity to do two of the things that mean the most to me— mentoring and doing my own writing—which I haven’t had the time to do in years.

One of my major harping points has been how poorly we have served our new writers. The Summitteers took up that challenge and completely revised the mentoring system in a way that—to our surprise—received universal support. I’ll leave the details of it to Jim, but the basic idea is to make it easier for new writers to get involved with DZ by giving them the ability to share their existing and new non-Dargon works, then some reduced requirements for getting their first full Dargon stories printed. New writers can start anywhere along a whole continuum of participation levels, with increasing rewards being given for increasingly integrated stories. Everyone thought the idea had a ton of merit, and Jim will be filling you in with more details shortly, but everyone was really excited by the idea. We are even planning to get back in touch with a number of former writers who never got printed, in hopes that some of them may want to try this new way of getting up to speed with the zine.

This was something of a surprise to me. It’s been a while since anyone applied much creative thinking to the project, so I’ll be curious to see how this dramatically new direction plays out. But clearly, if we don’t solve the new writer ramp-up problem immediately, the zine is dead.

After all that painful stuff, Jon took the floor to talk about our financial state and nonprofit status, then gave his presentation on how to manage a project. That might sound like it doesn’t apply to you, but everyone here is involved in little projects, and we have always sucked at getting things done. Several writers have listed these non-writing projects as things that frustrated them to the point of quitting. Jon’s project management techniques, if applied, are absolutely guaranteed to help. The information was straightforward and should help people follow through, so that— unlike today—we can once again feel confident that we can rely on people to actually do what they say they will do.

This reliability bit is a major thorn, and something that really discourages new writers, who might sign up for a task, full of enthusiasm, only to have it unceremoniously dropped in their lap by a veteran. And I’ve always thought this was the most basic form of integrity, so it’s always driven me apeshit whenever this happens in “my” organization.

And yes, these things driving me apeshit is definitely a theme here… Has been for over a decade.

All these sessions will have results placed in the Document Library shortly, as soon as I can collect them from the presenters. I strongly encourage you to check them out, because they were really great presentations that I think will help us a great deal.
 
After spending most of the day on all that heavy stuff, we were eager to have some fun. We moved our dinner reservation up and had champagne (thanks to Jon) and an early dinner at Brio, an Italian place at Newport on the Levee, a touristy shopping area. From there, we went through the Newport Aquarium, which had some really interesting stuff: sharks, avians, otters, gators, and so forth. Afterward we stopped for ice cream at Graetor’s, a Cincinnati original, before heading home. Dafydd showed us his pictures from his trips to Hawaii, Australia, and Scotland, but people were dropping hard, and we went to bed without even managing a single game of Settlers! We’re clearly not as young as we used to was.

The Summit is always a big photographic opportunity, and I definitely plunged in with my new camera. The aquarium was both a particular showcase and a major challenge, since the ambient lighting was kept very low so you could see through the glass. There’ll be some photos posted in short order, and you can also check out this year’s Summit page for both photos and a writeup.

Sunday was departure day, and with no working sessions, people slept in and took good long showers. We got the group photo done and cleaned up the house, then managed a quick game of Settlers before Rena and Jon left for the airport. The rest of us had a quick and enjoyable game of the related Seafarers of Catan before we, too, had to make our way to the airport. Tired good-byes were said, and the journey back home via the evil that is O’Hare was undertaken, carrying with us the precious memories of another wonderful encounter with our longtime friends and fellow writers.

So I got home from the Summit late Sunday night; my flight out of O’Hare had been delayed, and I didn’t get home until after midnight. So that wasn’t a restful night. I’d taken Monday off, but Monday night one of my former writers, Rhonda, was arriving in town for her daughter’s graduation, and wanted to visit. Unfortunately, her flight arrived at 10:15pm, and we were up until about 1:30, talking.

Less than a week later, Janine, another former writer, was in town for a week-long conference. We had dinner together several times, and talked well into the evening. Again, more sleep deprivation!

So June has been an interesting month, as far as my contact with my writers goes. And sleep deprivation like crazy, but at least it’s been in the service of socializing with people I care about, which is a pleasant change.

I think it's appropriate to post my thoughts on the collected Lord of the Rings movies here. As I say, I was a rather obsessive Tolkien fan back in high school, so I think these opinions are fairly authoritative. On the other hand, everyone and his mother are Tolkien scholars these days, and they're all pontificating about the movies, so perhaps these observations will be of little value to anyone but myself.

LORD OF THE RINGS: THE FELLOWSHIP OF THE RING

When I was young, I was a major league Tolkien fan. I was one of the founding members of the New England Tolkien Society and edited their annual literary journal, Mazar Balinû. Yes, I had a hobbit name, too: Ornoth Sûlhimdil Brandybuck.

My reaction to "the Fellowship of the Ring" movie is very favorable. They certainly did a far better job than Ralph Bakshi in 1978 or Rank-and Base (sic) in '80. For the most part, the movie took great pains to stay true to the book, and most of the depictions were absolutely right on. But you want to know what was missing, don't you?

Well, my biggest criticism is that the movie didn't capture the sense of wonder that I associate with high fantasy. While the scenery was impressive, it just didn't provide the almost spiritual beauty of the primeval Middle Earth.

On the whole, I was disappointed with the portrayal of Tolkien's Elves. They initially appear as powerfully angelic, but after their initial introduction, they settle down to be nothing more than men with funny ears. They're either too on or too off, when the reality should be something in the middle. The portrayals of Elrond and Celeborn were particularly disappointing.

Those were my biggest criticisms. Here are the minor nits:

  • Gollum's history as a proto-hobbit was lost
  • The encounter with Gildor the Elf in the Shire was removed
  • The evening at Farmer Maggot's was removed
  • Fatty Bolger, the house in Crickhollow, and the Hedge were removed
  • Tom Bombadil, Old Man Willow, and the barrow-wight were cut
  • The dance at Bree was altered
  • Finding the troll from Bilbo's adventure was left out
  • Gandalf's messages at Bree and Amon Sûl were cut
  • Why did they put the horse chase in slow-motion?
  • Arwen professing her love of Aragorn isn't supposed to come until later
  • Bilbo's volunteering to take the Ring was cut, absolutely amazingly!
  • There was no mention of the Elven Rings borne by Elrond and Galadriel
  • I expected Boromir to be larger, rounder, and more red-haired
  • Gollum following them out of Lórien and down the Anduin was not mentioned

But overall, they did a fine job adapting the book to a movie, and what you see is very true to the image that Tolkien created in his book.

LORD OF THE RINGS: THE TWO TOWERS

Unlike The Fellowship of the Ring, this movie strayed quite liberally from Tolkien's books, adding and deleting whole scenes, and altering the basic natures of characters. The most aggregious differences are that in Jackson's movie, Faramir succumbs to the lure of the ring, the Ents decide not to go to war, and Aragorn is missing and presumed dead for a while. While some of the differences were minor nits, some were very substantial.

Another major difference is that the movie ends quite a ways earlier than the books. The books include the reunion and confrontation at Isengard, Pippin and the palantír, and the subsequent separation again, as well as Frodo and Sam's trudge past Minas Morgul, the events at Cirith Ungol, and Frodo's capture while Sam bears the ring.

While some deletions must be made to keep the film's length reasonable, I can't understand why a director would take an immensely popular literary work and stray so far from the original as to add completely fabricated plot elements and dramatically alter the basic natures of important characters. There's no logic in that.

Here's the laundry list of noteworthy differences from the book:

  • In the movie, Pippin simply spits the Elven cloak clasp onto the ground, rather than working his hands free and running some distance from the main path of his captors. The descent into Rohan from the Emyn Muil was deleted.
  • The entire orc rivalry and Pippin's luring Grishnákh by pretending to have the ring was cut! An orc pursues the hobbits into Fangorn in the movie, whereas in the book, the hobbits chance upon Treebeard on a sunny ledge. In the book, Fangorn did not bring the hobbits to see "the white wizard".
  • There is no mention of the Entwives, no Ent-draught, and no appearrance of Quickbeam. Amazingly, in the movie the Entmoot decides not to participate in the war, contrary to the book!
  • Éomer gives the horses to the three hunters freely, rather than grudgingly and requiring Aragorn to return them to Edoras. Gimli has no apparent reluctance riding horses in the movie. Gimli's character in the movie is purely as comic relief, which really demeans his role and presence.
  • The loss of the horses and the three hunters' nighttime visitation by a white wizard were cut.
  • Unbelievably, Aragorn never tells Éomer or Théoden or Háma about Andúril or the fact that he is the rightful king of Gondor!
  • There is an actual fight in Meduseld's halls. Furthermore, Théoden's recovery is depicted much more along the lines of an exorcism, whereas in the book Gandalf mostly simply convinces the king to throw off Gríma's counsel! There is never any mention that Théoden's sword is stashed away in Gríma's quarters.
  • Éowyn doesn't lead the women and children to safety at Dunharrow, but tags along to Helm's Deep with the boys! The entire warg attack was not in the book, nor was Aragorn's fall and subsequent separation from the main host.
  • In the book, Elrond never sent any Elves to fight at Helm's Deep. There's no mention of Erkenbrand's forces. Aragorn sallies forth with Gimli, rather than Legolas. The appearance of the Entwood at Helm's Deep is cut.
  • Frodo and Sam's fall and the use of the Elven rope that was Galadriel's gift to Samwise to descend from the Emyn Muil was lost.
  • Sam's bumbling fall and near-detection at the gates of Mordor did not happen in the book.
  • In the book, Faramir refuses the ring, passing the test in the same manner as Galadriel. However, the movie twists it so that he lusts for the ring, and attempts to take Frodo and Sam back to Gondor! The entire attack on Osgiliath did not appear in the book.
  • The movie ends prematurely, without depicting anything about the reunion at Isengard, the confrontation with Saruman, Pippin and the palantír, the trek past Minas Morgul and Cirith Ungol, Shelob, or Frodo's capture and Sam's period as ringbearer.

Still, despite the rather liberal interpretation of a work that many people dote on, and the fact that even the book is mostly filled with battles or the ringbearer's plodding along, the movie was reasonably enjoyable. I suspect that it will wind up being much like the Fellowship, in that subsequent viewings will enable me to ignore the differences and enjoy it simply for itself. Furthermore, I suspect that like the Fellowship, the Two Towers will probably come out with an expanded DVD containing extra footage, which will hopefully include much of the substantial deleted material.

LORD OF THE RINGS: THE RETURN OF THE KING

If the Fellowship was “mostly true to the book”, and the Two Towers “strayed quite liberally” from them, the Return of the King was an outright butcher job.

It didn’t help that Jackson decided to end the Two Towers film far short of where Tolkien’s book left us. Because of that, Jackson had to fit an additional third of a book into the final, climactic Return of the King film, which itself contains enough material to exceed a single film. The result was a film that, despite running to three and a half hours, still gave us an emasculated Return of the King.

While that might sound a little hash given that Jackson’s slashing didn’t dramatically change the basic storyline, I think that anyone with the brazen audacity to attempt a LotR movie should endeavor to depict the books as faithfully as possible. While Jackson did significantly better than previous attempts, when push come to shove, literary fidelity lost out to expeditiousness and editorial caprice, resulting in a work that, despite beginning well, ended very poorly.

So what did Jackson do in Return of the King that was so egregious? Are you buckled in?

  • The entire confrontation between Gandalf and Saruman and the breaking of Saruman’s staff were deleted.
  • Rather than being thrown at Gandalf by Gríma Wormtongue, the palantír is found in a pool of water by Pippin.
  • Rather than looking into the palantír on the road alone, Pippin looks into it at Edoras, with Merry looking on.
  • At the time, Aragorn also grabs the palantír and looks into it, but no further mention is made of it in the movie. In the book, Aragorn later uses the palantír at Helm’s Deep to reveal himself to Sauron as the returned King of Gondor in order to further pressure Sauron to move before he is ready.
  • In the movie, Aragorn and Gandalf accompany Théoden to Edoras. In the book, Gandalf and Pippin leave before the company returns to Helm’s Deep or Edoras, and Aragorn goes to Dunharrow directly from Helm’s Deep.
  • In the movie, Gandalf is despondent at Edoras. Totally out of character.
  • In the book, Halbarad and the remnants of the Dúnadain join Aragorn at Helm’s Deep and go with him via Dunharrow on the Paths of the Dead, as do Elrond’s sons Elladan and Elrohir. They bring both the king’s standard and counsel from Elrond regarding the Paths of the Dead. All this was cut from the movie.
  • In the movie, the Grey Company’s horses bolted at the gates to the Paths of the Dead. In the book, they don’t.
  • Absolutely no mention is made of the corpse the Grey Company encounters on the Paths.
  • The book has Aragorn summon the Dead to the Stone of Erech, where they debate before joining him; the movie doesn’t mention Erech, and the debate occurs in the tunnels.
  • In the movie, the muster of Rohan takes place in Dunharrow, not Edoras.
  • The whole bit about Arwen going to the havens and turning back did not appear in the book. Nor did the ridiculous crap of her taking ill as a result of Sauron’s strength.
  • In the movie, Andúril is reforged and brought to Aragorn at Dunharrow by Elrond. In the book, it was reforged prior to the fellowship’s departure from Rivendell, and Aragorn bore it thence.
  • Throughout the movies, Elrond is depicted as selfish and negative, completely out of character.
  • The whole scene where Gandalf has Pippin light Minas Tirith's beacon never happened in the book.
  • Bergil and Beregond and their friendship with Pippin do not appear at all.
  • Prince Imrahil of Dol Amroth was removed entirely.
  • The movie had Pippin go with Gandalf to assist Faramir’s retreat from Osgiliath.
  • The song Pippin sings to Denethor (“Upon the hearth the fire is red”) only appears in the trilogy when the hobbits are leaving the Shire, between the encounter with the black rider that drives them off the road and their meeting Gildor. It is most emphatically not a plainchant. It is described as a walking song, and Pippin ends it in a particularly high and emphatic “And now to bed!”
  • What is up with Gandalf’s Kosmik Karate against Denethor? That wasn’t in the book and is totally out of character for Gandalf.
  • Beregond’s saving Faramir from Denethor was removed, and Denethor is amazingly accidentally killed by Gandalf. In the book, Denethor kills himself, with the palantír in his hands.
  • The movie barely even depicts one of the most important symbols of power: the lack of a dawn during Sauron’s strength, and the return of the light during his defeat.
  • The entire ride of the Rohirrim is deleted, including the Woses and Ghân-buri-Ghân.
  • In the movie, Éowyn and Merry and Faramir tag along for the march to the gates of Mordor. In the book, they are all near death in the Houses of Healing. Ioreth professes that the hands of the king ae the hands of a healer, and Aragorn confirms his royalty by finding some athelas and healing them before the march to the gate. While recovering back in Minas Tirith, Éowyn and Faramir’s romance blossoms. Amazingly, all this was completely cut from the movie.
  • The parley with the Mouth of Sauron was deleted.
  • The scene where Gollum tosses the lembas never appeared in the book.
  • It is totally and utterly out of character for Frodo to side with Gollum and abandon Sam, telling him to go home. Complete fabrication.
  • Sam’s following the orcs beneath Cirith Ungol is deleted, as is his lengthy use of the Ring and resulting reputation as a mighty Elf warrior. The Watchers outside Cirith Ungol are also completely deleted.
  • In the movie, Sam tells Frodo that he doesn’t expect there to be a return journey; in the book, Frodo tells Sam.
  • Frodo and Sam’s “capture” and forced march by orcs from Durthang was also completely deleted.
  • Aragorn’s final confirmation of kingship—finding a sapling of the White Tree—was also cut.
  • Sharkey/Saruman’s destruction of the Shire was completely cut, eviscerating the end of the book and the hobbits’ reputation as heroes within the Shire.

As you can see, Jackson only depicted about 60% of Tolkien’s final volume, and introduced some capricious and lamentable additions of his own devising. From the standpoint of capturing what Tolkien wrote, both in terms of specific details as well as the wonder and magic, Jackson’s Return of the King is a dreadful finale to a project that started out pretty promising.

As for the trilogy overall, it’s still a pretty good effort. Capturing Tolkien is not something that could be easily done, and Jackson made a far better showing than any previous attempt. Still, I think it became obvious that he’d bitten off more than he could digest when he moved a third of the Two Towers from the second to the third movie, and even a three and a half hour running time couldn’t accomodate the amount of material that needs to be depicted in order to do justice to the story.

Is it worth seeing? Yes. Is it faithful to the books? Moreso than any other attempt, but I’d say it only gets a C+ for fidelity. Is it an utter failure? No, Jackson did well within the constraints he was given.

In the end, I did enjoy the movies. They were entertaining, and I hope that they inspire yet another generation of fans who will accept fantasy as a valid literary genre, and then mature from more juvenile high fantasy to the more adult low fantasy that DargonZine publishes.

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