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The Lord of the Rings: the Card Game Scenarios, a Select Few Are Only Intended for Use When Playing the Scenarios Presented in the Hobbit Saga Expansions
The Hobbit: On the Doorstep features new cards that players may use to customize their decks when playing the scenarios in The Hobbit Saga Expansions. While most of the included player cards are fully compatible with all published The Lord of the Rings: The Card Game scenarios, a select few are only intended for use when playing the scenarios presented in The Hobbit Saga Expansions. Component Overview ™ The Hobbit: On the Doorstep includes the following components: - This rules insert - 165 cards, consisting of: - 5 Hero Cards “He was trembling with fear, but his little face was set and grim. Already he was a very different hobbit from the one - 45 Player Cards that had run out without a pocket-handkerchief from Bag- - 102 Encounter Cards End long ago. He had not had a pocket-handkerchief for ages. He loosened his dagger in its sheath, tightened his - 13 Quest Cards belt, and went on.” There is an online tutorial for the game available at –J.R.R. Tolkien, The Hobbit http://www.fantasyflightgames.com/lotr-tutorial You can enter and track your plays and scores of these scenarios and others online through The Lord of the Welcome to The Hobbit: On the Doorstep, the second and Rings: The Card Game Quest Log at http://www. final part of The Hobbit Saga Expansion for The Lord of the fantasyflightgames.com/lotr-questlog. Rings: The Card Game! Unlike other The Lord of the Rings: The Card Game expansions, which explore new adventures set in Middle- Saga Expansion Player Cards earth, the Saga Expansions give players the opportunity to directly participate in, or even recreate, the narrative events All of the player cards in this saga expansion are fully described in the classic novels written by J.R.R. -
Character Biography Radagast the Brown
Character Biography: Radagast the Brown 1 ____ Character Biography Radagast the Brown By Oshun ___ Radagast the Brown is one of the Istari (Wizards) who were sent from Aman to assist the peoples of Middle-earth in their struggle against Sauron. His Quenya name is Aiwendil, which means 'lover of birds.' Unfinished Tales contains a section entitled The Istari,which is an excellent source for Tolkien's conceptions of these emissaries from the land of the gods and their roles in the continuing struggle against darkness in Middle-earth. (We will explore this resource in more detail below.) Before we saw Radagast with bird droppings in his hair and driving a sled pulled by giant bunnies in Peter Jackson's film-stylings of The Hobbit, the majority of readers were probably all but unaware of this blink-and-one-misses-him character. I knew him, of course, and cringed—appalled, offended, and grudgingly entertained—every time he appeared on the screen. (I realize some viewers actually like Radagast in the film, but I'd like to reserve that discussion for another time and another venue.) There are, more importantly, some fascinating threads to chase about Radagast in the published texts. Radagast is identified in the novels, but not developed or exploited fully: In The Hobbit, Gandalf actually leans on Radagast's (local) reputation to get himself, and his dwarvish and hobbit charges, accepted by Beorn. In The Lord of the Rings, Radagast plays a key, intermediary role in communications between Gandalf and Saruman. Yet Radagast disappears from The Lord of the Rings after the Council of Elrond. -
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien Robin Veenman BA Thesis Tilburg University 18/06/2019 Supervisor: David Janssens Second reader: Sander Bax Abstract The work of J.R.R. Tolkien appears to resemble various aspects from Norse mythology and the Norse sagas. While many have researched these resemblances, few have done so specifically on the dark side of Tolkien’s work. Since Tolkien himself was fascinated with the dark side of literature and was of the opinion that monsters served an essential role within a story, I argue that both the monsters and Tolkien’s attraction to Norse mythology and sagas are essential phenomena within his work. Table of Contents Abstract Acknowledgements 3 Introduction 4 Chapter one: Tolkien’s Fascination with Norse mythology 7 1.1 Introduction 7 1.2 Humphrey Carpenter: Tolkien’s Biographer 8 1.3 Concrete Examples From Jakobsson and Shippey 9 1.4 St. Clair: an Overview 10 1.5 Kuseela’s Theory on Gandalf 11 1.6 Chapter Overview 12 Chapter two: The monsters Compared: Midgard vs Middle-earth 14 2.1 Introduction 14 2.2 Dragons 15 2.3 Dwarves 19 2.4 Orcs 23 2.5 Wargs 28 2.6 Wights 30 2.7 Trolls 34 2.8 Chapter Conclusion 38 Chapter three: The Meaning of Monsters 41 3.1 Introduction 41 3.2 The Dark Side of Literature 42 3.3 A Horrifically Human Fascination 43 3.4 Demonstrare: the Applicability of Monsters 49 3.5 Chapter Conclusion 53 Chapter four: The 20th Century and the Northern Warrior-Ethos in Middle-earth 55 4.1 Introduction 55 4.2 An Author of His Century 57 4.3 Norse Warrior-Ethos 60 4.4 Chapter Conclusion 63 Discussion 65 Conclusion 68 Bibliography 71 2 Acknowledgements First and foremost I have to thank the person who is evidently at the start of most thesis acknowledgements -for I could not have done this without him-: my supervisor. -
Readers' Guide
Readers’ Guide for by J.R.R. Tolkien ABOUT THE BOOK Bilbo Baggins is a hobbit— a hairy-footed race of diminutive peoples in J.R.R. Tolkien’s imaginary world of Middle-earth — and the protagonist of The Hobbit (full title: The Hobbit or There and Back Again), Tolkien’s fantasy novel for children first published in 1937. Bilbo enjoys a comfortable, unambitious life, rarely traveling any farther than his pantry or cellar. He does not seek out excitement or adventure. But his contentment is dis- turbed when the wizard Gandalf and a company of dwarves arrive on his doorstep one day to whisk him away on an adventure. They have launched a plot to raid the treasure hoard guarded by Smaug the Magnificent, a large and very dangerous dragon. Bilbo reluctantly joins their quest, unaware that on his journey to the Lonely Mountain he will encounter both a magic ring and a frightening creature known as Gollum, and entwine his fate with armies of goblins, elves, men and dwarves. He also discovers he’s more mischievous, sneaky and clever than he ever thought possible, and on his adventure, he finds the courage and strength to do the most surprising things. The plot of The Hobbit, and the circumstances and background of magic ring, later become central to the events of Tolkien’s more adult fantasy sequel, The Lord of the Rings. “One of the best children’s books of this century.” — W. H. AUDEN “One of the most freshly original and delightfully imaginative books for children that have appeared in many a long day . -
Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This Research Is a Product of the Graduate Program in English at Eastern Illinois University
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1992 Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Hillis, Lisa, "Tolkien's Unnamed Deity Orchestrating the Lord of the Rings" (1992). Masters Theses. 2182. https://thekeep.eiu.edu/theses/2182 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for i,\1.clusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for iqclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Ef\i.stern Illinois University not allow my thes~s be reproduced because --------------- Date Author m Tolkien's Unnamed Deity Orchestrating the Lord of the Rings (TITLE) BY Lisa Hillis THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DECREE OF Master .of Arts 11': THE GRADUATE SCHOOL. -
Thresholds to Middle-Earth: Allegories of Reading, Allegories for Knowledge and Transformation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SWOSU Digital Commons (Southwestern Oklahoma State University) Volume 30 Number 1 Article 3 10-15-2011 Thresholds to Middle-earth: Allegories of Reading, Allegories for Knowledge and Transformation Andrew Hallam Metropolitan State College of Denver, CO Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hallam, Andrew (2011) "Thresholds to Middle-earth: Allegories of Reading, Allegories for Knowledge and Transformation," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 30 : No. 1 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol30/iss1/3 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico • Postponed to: July 30 – August 2, 2021 Abstract Alexei Kondratiev Student Presentation Award, Mythcon 42. Begins by strongly questioning Tolkien’s own assertions about allegory, and draws on a wide range of theory and scholarship to show the subtle operation of a deep pattern of allegory in The Hobbit and The Lord of the Rings centered around imagery of readers and reading, thresholds and journeys. -
The Implied Reader and the Recovery of Childhood: a Study of J.R.R
American University in Cairo AUC Knowledge Fountain Theses and Dissertations 2-1-2019 The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit Georgette Talaat Rizk Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Rizk, G. (2019).The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/734 MLA Citation Rizk, Georgette Talaat. The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit. 2019. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/734 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Humanities and Social Sciences The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit A Thesis Submitted to the Department of English and Comparative Literature In Partial Fulfillment of the Requirements For the Degree of Master of Arts Georgette Rizk Under the supervision of Dr. William Melaney October 2018 The American University in Cairo The Implied Reader and the Recovery of Childhood: A Study of J.R.R. Tolkien’s The Hobbit A Thesis Submitted by Georgette Rizk To the Department of English and Comparative Literature October 2018 In partial fulfillment of the requirements for The degree of Master of Arts Has been approved by Dr. -
The Geology of Middle-Earth
Volume 21 Number 2 Article 50 Winter 10-15-1996 The Geology of Middle-earth William Antony Swithin Sarjeant Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Sarjeant, William Antony Swithin (1996) "The Geology of Middle-earth," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 21 : No. 2 , Article 50. Available at: https://dc.swosu.edu/mythlore/vol21/iss2/50 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract A preliminary reconstruction of the geology of Middle-earth is attempted, utilizing data presented in text, maps and illustrations by its arch-explorer J.R.R. Tolkien. The tectonic reconstruction is developed from earlier findings yb R.C. Reynolds (1974). Six plates are now recognized, whose motions and collisions have created the mountains of Middle-earth and the rift structure down which the River Anduin flows. -
NAME Retha Lee PERIOD 1 DATE 8/29/18 EXAMPLE
NAME Retha Lee PERIOD 1 DATE 8/29/18 EXAMPLE: Self-Selected Reader Response Journal Section I: Due August 29, 2018 (25 points) THE DATES ARE SET AND WILL COUNT AS A SUMMATIVE ASSESSMENT WHEN ALL THREE SECTIONS ARE COMPLETED. NO SECTION WILL BE ACCEPTED LATE. BOOK TITLE The Hobbit # OF PAGES 1-122 AUTHOR J.R.R. Tolkien PUBLISHER Houghton Mifflin Company SETTING: Describe IN DETAIL the setting of the book that you read. If more than one setting was involved, be sure to include all details. Also comment on the time period of the setting. The Hobbit is set in "Middle-earth," a fantasyland created by Tolkien. Within Middle-earth, The Hobbit is limited to settings in the Western lands. It begins in Hobbiton, a town in the Shire, a peaceful area usually untouched by troubles elsewhere in the world. Tell who the main character(s) are and how do you know this? Bilbo Baggins is the main character of J.R.R. Tolkien's 'The Hobbit'. He lives a quiet and simple life until an unexpected adventure changes everything. Bilbo is a hobbit from the Shire, a small, out-of-the-way place in Middle-Earth. He is in his prime of life at the age of 50. He is small in height, with large hairy feet and curly hair. As a hobbit he appreciates a good pint, his pipe, and the comforts of home; travel and adventure were not things he took part in. That is until a group of dwarves barge into his home. They are under the impression that they are hiring him to be their resident thief, thanks to Gandalf, the mischievous wizard, who advised Bilbo would be up to the task. -
The Lord of the Rings: the Card Game Core Set.)
Ally Objective Card: Wilyador In this scenario, the players encounter an “ally objective” card, Wilyador, the Eagle. This card has a constant effect that reads, “The first player gains control of Wilyador, as an ally.” This means that the first player takes control of Wilyador, and can use him in the same manner he would use any ally he controls. At the end of each round, when the first player token passes to a new player, the new first player also gains control of Wilyador. Wilyador also has the text “no attachments.” This means A Journey to Rhosgobel that players cannot play or move attachment cards onto Wilyador. Difficulty Level = 6 If Wilyador leaves play for any reason, the players have While travelling in the Anduin Valley, the heroes come lost the game. Additionally, if the player who controls across a fallen Eagle, dreadfully wounded from a recent Wilyador is eliminated, the players have lost the game. battle with Goblins, and on the verge of death. Given their location, the heroes attempt to transport the Eagle to Removed from Game Rhosgobel, on the edge of Mirkwood, in the hope that the wizard Radagast can save the Eagle’s life. Players may be instructed to remove cards from the game during this scenario. When a card is removed from the A Journey to Rhosgobel is played with an encounter deck game, it should be set aside and ignored for the rest of the built with all the cards from the following encounter sets: game. Do not place any “removed from game” cards in A Journey to Rhosgobel, Spiders of Mirkwood, and Dol the discard pile, as effects that bring cards back from the Guldur Orcs. -
Short History of the Territorial Development of the Dwarves' Kingdoms in the Second and Third Ages of Middle-Earth
Volume 21 Number 2 Article 59 Winter 10-15-1996 Short History of the Territorial Development of the Dwarves' Kingdoms in the Second and Third Ages of Middle-earth Hubert Sawa Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Sawa, Hubert (1996) "Short History of the Territorial Development of the Dwarves' Kingdoms in the Second and Third Ages of Middle-earth," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 21 : No. 2 , Article 59. Available at: https://dc.swosu.edu/mythlore/vol21/iss2/59 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract This speculative paper, discusses the emergence of the kingdoms of the Dwarves, changes in their borders, and different factors influencing them (e.g. wars with Elves and Orcs). -
The Path of Gandalf
The Path of Gandalf Gandalf has already been alive for some two thousand years at the time of Bilbo’s birthday party. The wizards (Istari), according to Tolkien, came out of Valinor. They are Maiar beings, or lesser Valar beings. Although we are told there were five of them, we only know the name of three: Saruman the White, Gandalf the Grey, and Radagast the Brown. “They came therefore in the shape of Men, though they were never young and aged only slowly, and they had many powers of mind and hand. They revealed their true name to few.”1 Gandalf’s name carries the Alf of Elves. Gand is associated with wizardry or sorcery. So the whole would make him wizard elf. Tolkien also tells us that his true name is Olorin, though he does not offer us a precise meaning. Among Men, Olorin is known as “the elf of the wand.”2 In short, Gandalf is in this middle sphere between Ilúvatar, the supreme deity, and his emissaries the Valars above him; Elves and Men below him. One of the first tests that will meet Gandalf is announced by his long-ranging awareness. As in many other places, he is able to sense the future: “There are many powers in the world, for good or for evil. Some are greater than I am. Against some I have not yet been measured. But my time is coming. The Morgul-lord and his Black Riders have come forth.”3 And a real test is indeed not far from coming. At the Council of Rivendell, just before the fellowship forms, Elrond calls Gandalf to speak, “for it is the place of honour, and in all this matter he has been the chief.”4 The great Elrond subordinates himself to Gandalf, and so does Aragorn later.