10 Answers2026-05-01
I'm here for the Thorin. He's in a bit of a mood most of the time: grumpy and proud but with great hair. His hatred of the elves just adds to the drama.
7 Answers2025-02-01
The History of The Hobbit, a massive compilation of drafts and notes by Tolkien, does not give an exact height for Thorin but describes parameters for the Dwarves that are consistently adhered to throughout his work. In the early drawings by Tolkien himself of the Dwarves, they are depicted as being quite short. This is his authorial intention and so is the ‘closest’ to an answer for their height that we have.
A film would perhaps choose to make the leader of the thirteen dwarves the tallest of the lot to signify his status. That would be a choice though, intended to serve the purposes of the film. Tolkien used prose to bring out the individual personalities of the dwarves in the book, so the ‘real’ height of the dwarves is that of the book, but the ‘effective’ height of them in films and plays is a choice that serves the medium’s purposes. Knowing the source material and the reasons for changes helps one appreciate a character’s transition from one medium to another.
9 Answers2026-07-27
I prefer editions of The Hobbit that include Tolkien’s own artwork. He wasn’t an artist, and his drawings are not nearly as good as those of a professional illustrator. But there is something raw and map-like about his drawings of Bag End or Smaug that perfectly conveys the sense of another world which he created. These should not be small, black-and-white illustrations inserted into the text. Rather, they should be full-page drawings – sometimes in color – a wonderful part of the book as it was written. The best editions of The Hobbit include all of Tolkien’s sketches and paintings as they were. These are not illustrations added to a published story. Rather, they are part of a recovered artifact from the Middle-earth story itself. There is a huge difference in atmosphere between a published book and a notebook.
7 Answers2026-04-17
For comparison, the graphic novel adaptation of The Hobbit by David Wenzel comes in at about 130 pages. As expected, the more visual graphic novel format can get the same story told across in fewer pages of prose than The Hobbit novel. Tolkien uses all those extra pages to relate his unique narrative voice, to include all the songs from the novel, and lots of very descriptive asides too. Those are things you’re paying for.
10 Answers2025-08-06
Consider for a moment the fantastical meta-fantasy ‘The Neverending Story’ by Michael Ende. While essentially a story about a boy slowly but surely being consumed by the book he reads, the amazing landscapes of the Story within the Story, Fantastica, are so vivid and perfectly realized for a mature young reader that they include a very compelling Journey, noble Companions, urgent and desperate Quest, and a deeply and profoundly melancholic and philosophical subtext that reveals itself layer by layer on subsequent reads. The transformation of the shy Boy Bastian to confident Boy is that of every reader. Iconic creations such as the Childlike Empress and lucky white scaled dragon Falkor, and the Nothing, all reside within this deep and complex, yet accessibly written tale of loss, ego, and the nature of stories. A growing up book that continues to reveal new layers on subsequent reads by the mature young reader.
10 Answers2025-08-20
Even more beautiful are the little actions which show the huge change within Stan. When he first arrives, he’s intimidated by Mr. Sir. By the end, Stan catches the sunflower seed bag that Mr. Sir throws at him without so much as flinching. His vocabulary changes too. Instead of calling the other boys by their nicknames, he now refers to them by their full names as Hector Zeroni. The Warden, once almost revered by Stan, is no longer seen as legitimate. Even the way that Stan walks has changed. We see him trudging along when he’s walking into camp, but when he’s leaving with his suitcase, he’s striding along purposefully. And there’s the laughter – loud and carefree, unlike the laughter we see earlier in the book. Sachar does a beautiful job of illustrating this huge change within Stan, a change that is manifested through his actions. We don’t need to read some long, in depth speech to realize that he’s changed – we can clearly see the change through the way that he holds himself, interacts with others, and even takes control of small situations.
10 Answers2025-04-16
I notice quite a change in this boy’s physicality from the beginning of the memories to the end. In the early scenes he is shown as just another young boy in jeans and a tunic playing with a ball, riding a bike through the hills. However, the memories presented are intense physical experiences: cold, heat, hunger, exhaustion, speed. The boy’s body becomes a major site of memory and experience. Later in the film his body is pushed to its limits: freezing to death, starving to death, carrying a dying boy on his back through the desert. The physical hardship is a direct result of his moral choices. Instead of a body that is cooled, heated, and fed in measured amounts as in the “controlled” world of climate, he is now a body that expressively suffers and seriously endures as he fights for freedom. The physical trial is on a par with the psychological. It shows how his connection to his own physical body has changed fundamentally.
7 Answers2025-06-19
Hmmm, Legacy. At the beginning of the novel he is the guardian of the de Winter legacy at Manderley, a legacy going back centuries and more. By the end of the novel that legacy is nothing more than smoldering ruins. He has no heir, no home. The legacy is dead. He changes from being the guardian of legacy to being its terminator. The novel shows his profound failure of his aristocratic duty and that of his class. He changes from a preserver to a destroyer. Not just of one life, but of an entire way of life and of the centuries old legacy of inheritance that went with it. The weight of that is enormous and it is only just implied in the text.
3 Answers2026-04-18
First of all, it’s quite creepy and also very sad at the same time. Poor Smeagol has been alone in that cave for 500 years, with nothing but that Golden Ring and his lies about it for company. So, his long rambling monologues to himself, about his precious, are just the idle chatter of a lonely mind starving for any sort of human company, relieving itself by talking to this thing. Tolkien was a Catholic, and it’s interesting to see in this the twisted form of idolatry, where a personworships an false god, which will devour him. And in a way, the Ring even speaks to Smeagol. The Ring is a powerful symbol of temptation to power, but here it’s shown to be a foul and insidious parasite that gradually destroys it’s host’s mind, and takes over their personality. Eventually it leaves nothing but a pathetic, empty shell, as is shown by the fate of poor Gollum in this story: he was completely consumed by his one terrible addiction.
7 Answers2025-08-26
The musical changes were probably the biggest. When I first started watching Toonami as a kid, the openers were mostly hard-hitting rock songs. As the show and the openers grew up with me, the openings introduced me to lots of other genres that I wouldn’t have sought out on my own had they not been incorporated into the openings. A lot of the later openers combined really cool electronic tracks with rock, which was really amazing to me. The openings just seemed to keep getting better and more complex as I grew up and my own tastes in music evolved. And of course, they were always embedded in really great animated openings to the show, so it was like a free weekly music video.