"The Lord of the Rings: War of the Rohirrim": An Anime Based on Tolkien

Contents:

• What they showed us
• Who created the anime
• How it was made
• What came of it
• What Tolkien would say
• What else could be filmed about

What we were shown

The events unfold almost two hundred years before Frodo's journey with the Ring to the Firemountain. At this time, Rohan is ruled by King Helm, who has sons Haleth and Hama, and a daughter Hera (in the Russian dub - Heira), a brave and independent cavalrywoman. One day, King Helm's arrogant vassal Freka comes to him with a proposal to marry Hera to his son Wulf. This proposal causes hostility in both Hera and Helm, since neither shares Freka's views. Relations between the characters become strained, foreshadowing many trials and conflicts in the future. A heated argument escalates into a fight, in which Helm accidentally kills Freca with a single blow. The admiring people of Rohan nickname him "Hammerhand." Orphaned, Wulf vows revenge and returns several years later with an army of Rohan's enemies—the Dunlendings. He besieges Helm in the fortress of Hornburg, which becomes the beginning of a new war and a tense struggle for survival.

Winter comes with merciless force, and Helm, filled with despair, goes out at night beyond the walls of his fortress, fighting enemies with his bare hands and sowing terror among them. But while the men suffer, true salvation lies in the hands of Princess Hera. Helm is destined to fall heroically at the gates of his fortress - in the gorge that will later be called Helm's Deep. This is a story of courage and sacrifice, about how in the most difficult times even the most unexpected heroes can come to the rescue.

Who created the anime

The commercial development of Tolkien's world is gaining momentum. We have just recovered from the disappointment of the relatively weak Amazon series "Rings of Power", where the main event of the second season was Galadriel's kiss with her nephew. However, in a few years, audiences can expect a new film from New Line Cinema, the creators of the original Lord of the Rings trilogy. A project called The Hunt for Gollum is being developed with Peter Jackson as producer. The same team also produced the current anime, which is due to the need to retain the film rights to Tolkien's works.

The new cartoon turned out to be a necessary step, created simply "for the sake of it." This is reminiscent of the situation with Bilbo Baggins, who in the book invited exactly 144 guests to his birthday party for the sake of symmetry, similar to how people sometimes put unnecessary things in a crate of bottles to prevent them from ringing. The guests couldn't refuse the invitation, and both anime and Tolkien fans will love it.

This is not just another animation, but a project in the creation of which significant figures from the team of the original "Lord of the Rings" took part. All three co-creators of the film trilogy—Peter Jackson, Fran Walsh, and Philippa Boyens—served as executive producers on this animated film. Their experience and creative input give the anime a unique value and make it an important part of the universe inspired by the works of J.R.R. Tolkien.

Composer Stephen Gallagher used the Rohirrim themes created by Howard Shore in his score. Miranda Otto, who previously performed the role, once again provides the voice of Éowyn, narrating the story of Helm and Hera. Dominic Monaghan and Billy Boyd return for an episode, although this time they voice different characters than Merry and Pippin. Saruman also appears briefly on screen; his only line is an archival recording of the voice of Sir Christopher Lee, who passed away in June 2015.

The film was directed by Kenji Kamiyama, best known for his project Ghost in the Shell: Stand Alone Complex. While cyberpunk series and fantasy epics represent different genres, and anime may seem an unexpected choice for an adaptation of Tolkien's world, the decision is entirely justified. Asian animation is becoming increasingly popular, and many franchises, seeking to expand their universes, are turning to this medium. This opens up new possibilities for interpreting familiar stories and attracts the attention of audiences worldwide.

The prequel to The Witcher, Nightmare of the Wolf, was created by Korean director Han Gwan-il. Interestingly, Kamiyama also worked on the Blade Runner spin-off Black Lotus. Looking at the work of Hayao Miyazaki, for example, his famous Princess Mononoke, one can argue that anime has the potential to convey complex and detailed fantasy worlds like Middle-earth. However, the question remains as to how successfully this was implemented in this project.

How It's Done

"War of the Rohirrim" makes an impression from the very first frames. This animated work differs significantly from the Tolkien cartoons created by Ralph Bakshi and Arthur Rankin with Jules Bass. Rohan in this interpretation looks as if it has been transferred from the films of Peter Jackson. Viewers are familiar with places like Edoras, Helm's Deep, and Isengard. However, the characters raise some concerns: their images seem more conventional and "cartoony" compared to the detailed environments, which creates dissonance. While Helm and Freka are still recognizable, characters like Haleth, Hama, and Hera resemble typical anime heroes, which disrupts the integrity of the visual style.

A full-length anime film typically takes five to seven years to create, allowing for a high level of quality and development. However, in this case, the work was rushed, and it shows. Spectacular scenes alternate with haphazard sets of images that lack proper composition and look rather primitive. This negatively affects the overall perception of the film and leaves the viewer disappointed.

However, this whole situation loses its significance if we were presented with a compelling plot. However, in this aspect, everything becomes even more ambiguous.

J.R.R. Tolkien’s works do indeed include a plot about Helm, which he described in the appendices to The Lord of the Rings. This summary recounts Helm's killing of Freka with a blow from his fist, his failed attempts to fight Wulf, his defense of the fortress, and his death from the cold on the approaches to it. This episode highlights the heroism and tragedy of the character, as well as the importance of his role in the history of Middle-earth.

There's considerable scope for creativity in this context, but the primary focus is fan service, which references Peter Jackson's trilogy. Characters like Hera open heavy doors with the majesty of Aragorn in Edoras or stand romantically on the porch like Éowyn. The famous phrase "Rohan shall come" is often heard. When the heroes notice ravens pecking at a dead man, they exclaim "crebain of Dunland." However, according to Tolkien, the large crebain ravens were dangerous only as spies of Saruman. At this point, the wizard has not yet become a villain and appears only at the very end. Thus, the question of the appropriateness of such exclamations remains open.

The Haradrim, known for their giant elephants, the Múmak, come to the aid of the Dunlendings. Haleth even demonstrates his surfing skills on one of these majestic animals, reminiscent of the famous Legolas. However, what brought the southerners from the far south remains a mystery, given that hostile Gondor lies in their way. One of the film's most memorable scenes is the epic battle between the Múmak and the Watcher—the tentacled monster that captured Frodo at the gates of Moria in The Fellowship of the Ring. The Watcher's reasons for appearing in Rohan also remain unclear. Ultimately, the situation is saved by giant eagles, traditionally seen as saviors in times of trouble.

This bestiary likely distances the film from the original canon rather than brings it closer to it. Obviously, only the most devoted fans of the Professor's works will notice such details. However, this approach is aimed at viewers who remember only Peter Jackson's films. The creators sought to engage them with familiar elements, evoking nostalgic memories of Jackson's work.

At the beginning of the film, the heroine Hera feeds eagles, which evokes the image of Father Fyodor from Ilf and Petrov's novel. However, the creators likely intended a reference to Game of Thrones, as Hera resembles Daenerys and her dragons. The entire plot of the film is "human" in nature, practically devoid of magic, harking back to the works of George R.R. Martin. Interestingly, similar themes can be found in Tolkien: the Rohirrim really did drive the Dunlendings from their homelands, adding depth and layers to the story.

There's a problem with the perception of "War of the Rohirrim" among fans of "Game of Thrones" and "The Lord of the Rings." Despite some overlap, these audiences have different preferences. Those who appreciate modern dark fantasy with ambiguous morals and realistic conflicts may find "War of the Rohirrim" overly simplistic and naive. Meanwhile, fans of Middle-earth magic, as in Peter Jackson's films, may find the depth and atmosphere lacking. Also worth noting are odd elements, such as the characters' armor, which resembles the uniforms from "Space Rangers." And with the appearance of the villainous Wolf, accompanied by "General Targ," the plausibility of such decisions is questionable. When discussing epic tales, it's worth considering how these details meet the expectations of fans of the genre.

What Came of It

The problems the creators of "War of the Rohirrim" faced could have been avoided if the anime had offered a dynamic plot with deep characters and serious dilemmas. However, this, unfortunately, did not happen. Interestingly, the original length of the film was an hour and a half, but it eventually increased to two and a quarter hours. Despite this significant running time, the creators failed to create likeable characters, which negatively affected the perception of the film.

The characters are reduced to standard patterns. Helm's sons - Ham, Haleth, and Hama - look like typical anime heroes and are not memorable. Haleth stands out for his impudence, reminiscent of a smaller version of Thor, and Hama is a brooding harpist. However, overall, these characters are uninteresting, and their deaths leave no emotional impact. Another marginally positive character is Hera's cousin Frealaf. He survives, but it's also difficult to say much about him other than that he appears to be a good man.

Hera's servant Lief is the epitome of a cowardly character. At first glance, he can be compared to Sam Tarly from Game of Thrones, who, despite lacking traditional masculine virtues, has acquired important qualities—intelligence, sensitivity, and education. However, in Lief's case, things turn out differently. He remains useless and timid, performing only "fetch and bring" functions, without developing or demonstrating any significant abilities. This character illustrates how the absence of traditional virtues does not always translate into depth of character and significance in a narrative.

The work includes the character of Lord Thorne, who turns out to be a traitor, but his motivations remain unclear. The viewer is not given the reasons why Helm trusted him, and his character remains a mystery. Unlike the villain Gríma Wormtongue from The Lord of the Rings, who had a clear motive—his love for Éowyn—he lacks such deeper motivations. The main antagonist, Wulf, is a bit more developed: he shares a touching childhood friendship with Hera. However, this revelation is too episodic and perfunctory, giving the impression that the creators were simply noting this plot twist. Otherwise, Wulf is portrayed as a vengeful maniac, but at least there's some drama in his portrayal, which makes him a more interesting character.

There really is something wrong with Helm. He's certainly a more multifaceted character, and it would be difficult to portray him as a flat figure. As one of the main characters, he should evoke interest and attention. However, his behavior is questionable. Instead of the majestic leader, as in Tolkien's works, he comes across as a hysterical tyrant. His accidental killing of Freki and his panicked cries that he only struck once paint a picture of an insecure leader unable to accept responsibility for his actions. Helm ignores sound advice, losing his army, country, and even his sons as he sinks into depression. His berserker attacks on the enemy camp come across less as heroism than as mindless vanity: the Dunlendings cannot be defeated one by one.

Hera stands out among the other characters. We spend the most time with her, but unfortunately, we never learn anything about her character, other than that she has no desire for marriage or power. Hera craves freedom and adventure, preferring to feed eagles and explore the world. She resembles Pixar's red-haired princess Merida, with her independent spirit and thirst for adventure. Hera embodies freedom and a wild side, making her an engaging and memorable character in our narrative.

It's nice that the character didn't become a grumpy brat, as happened with Galadriel in Amazon's interpretation. However, Hera is a true champion in every respect. She always has luck: she rides faster than anyone else on horseback, deftly scales sheer cliffs, and excels in fencing and martial arts. Moreover, Hera possesses outstanding analytical skills, formulates strategic plans, and makes the right decisions in any situation. Her friend and servant, Olwyn, is perhaps only slightly inferior to her, having become a true level 60 witch, which allows her to survive in the most difficult circumstances thanks to her experience and age. Hera, however, has yet to complete this journey. In fan fiction, such idealized heroines with many outstanding qualities are called Mary Sues.

The treatment of characters in Tolkien's works, especially when it comes to lesser-known figures like Helm's daughter, is a matter of much debate. Mentioning her in a single sentence without naming her can be offensive, and it's natural to want to present her as a full-fledged character, telling her story from her perspective. However, when this desire spills over into over-glorification, it can sometimes seem inappropriate. Especially when you consider that Hera is the only figure capable of handling the tasks in a landscape of incompetent characters. This not only devalues ​​her achievements, but also makes them less believable in the context of the overall plot.

In The Lord of the Rings film, Éowyn was surrounded by heroes like Éomer and Théoden, who, despite their flaws, demonstrate courage and intelligence. However, in "The War of the Rohirrim," the male characters seem to seek a quick death rather than interfere with the women. This contrast highlights the lack of depth and development in male characters, while the female characters become the center of the narrative. The topic of gender roles and their representation in film requires closer analysis, as it affects audiences' perceptions of both male and female protagonists.

This scene expresses a key theme of the epic genre. Before his death, Helm battles a snow troll that bears a striking resemblance to him: both are square-built and have gray beards, but the troll is significantly larger and has horns. This scene symbolizes Helm's internal struggle with his own toxic masculinity. Ultimately, the troll is killed by Hera, highlighting her strength and determination. Before his death, Helm comes to terms with his mistakes and tearfully apologizes to Hera for failing her and his country. This moment reflects the importance of self-discovery and redemption within the context of traditional epic narratives.

In the prologue, Éowyn's voice notes that this heroine "had done many deeds, but look not for stories of her in the old songs." This raises the question of why the Rohirrim passed her over in silence, given that she effectively saved the country. It seems that the men in power chose to leave her achievements outside the official history, creating an alternative version of events. This highlights the inequality and bias that existed in a society where the contributions of women were often ignored or downplayed. In this way, Éowyn becomes a symbol of forgotten heroines whose deeds deserve recognition and memory.

What Tolkien Would Say

For J.R.R. Tolkien, Rohan and the Rohirrim were a significant topic. As a professor of linguistics, he devoted his life to the study of Old and Middle English, which was reflected in his work, in addition to the hobbit stories. In some ways, the Rohirrim, with their culture and way of life, may have been closer to him than the mysterious elves or the proud Gondorians. They were inspired by the ancient Anglo-Saxons, although, unlike the latter, they did not actively fight on horseback. The Rohirrim had their own analogous creatures, such as the Ents, and architectural elements such as Orthanc, which means "skillful work," a reference to Roman ruins.

Interestingly, the enmity between the Rohirrim and the Dunlendings, lacking a clear moral judgment, is reminiscent of the historical conflicts between the Anglo-Saxons and the indigenous Celtic population of Britain. In one scene, Wulf's warrior is even seen holding a Celtic war trumpet, the carnyx, emphasizing Tolkien's deep connection to the historical roots of his work. This adds realism and depth to his world, making it even more captivating for readers.

The Rohirrim language in J.R.R. Tolkien's The Lord of the Rings is based on Old English. All the characters' names have clear meanings: for example, the name "Théoden" translates as "king." The very name of the Rohirrim country—"Mark"—evokes the ancient English kingdom of Mercia, which included cities such as Birmingham, Tolkien's hometown, and Oxford, where he taught. In this context, using a quasi-Greek name for the heroine, such as "Hera," seems inappropriate, as Tolkien could have created many more appropriate female names that reflect the spirit and culture of his world.

In Rohan, the trilogy's heroes are immersed in a world of epic tales and alliterative poetry reminiscent of Beowulf. Here, its own laws operate: heroic deeds and valor are placed on a pedestal, and memory, captured in words and songs, has the highest value. Of particular importance is the concept of "northern courage" - a kind of stoic philosophy that demands perseverance even in the face of inevitable defeat and death. This unique context shapes the characters and actions of the heroes, emphasizing the importance of honor and loyalty.

This text describes a complex and contradictory world that simultaneously delights and provokes criticism. Tolkien, deeply immersed in this theme, in his poem "The Return of Beorhtnoth, Beorhelm's Son," demonstrates skepticism towards Beorhtnoth, a 10th-century warlord. His pride led him to allow the enemy to occupy a strategically important position, resulting in the loss of the battle and the endangerment of his subjects. Similarly, the character Helm displays reckless cruelty, leading to conflict. However, in Tolkien, Helm remains a heroic and epic figure who exists beyond moral boundaries. This contrast between human foibles and the grandeur of heroism makes Tolkien's world unique and memorable. Works such as The Nibelungen feature strong female characters, such as the fierce warrior Brunhilda and the independent Kriemhild. Norse sagas also abound with vibrant female characters, and historical chronicles mention queens and military leaders such as Æthelflæd. Interestingly, the early Middle Ages were in some ways more democratic, while retaining elements of barbarian freedoms. However, the main focus of this period was on the image of the male warrior, reflecting the social and cultural norms of the time.

Tolkien, as an author, demonstrates the multi-layered nature of his characters and is critical of one-sided ideas about them. This is especially evident in the example of Éowyn from The Lord of the Rings, who became the prototype for Hera. Éowyn is a vibrant and complex character, with her own voice, courage, fears, and weaknesses. She strives for glory, fears being confined to the palace, and experiences her first love for Aragorn, but overcomes it with age. Éowyn overcomes her fear of the Witch King and accomplishes a great feat, making her noticeable and beloved among viewers and readers. Unlike her, Hera faces no trials; her success is predetermined from the start. This one-dimensionality of the character may be one of the reasons for the failure of War of the Rohirrim. Creating multi-layered characters like Éowyn allows for deeper immersion and greater audience engagement.

What else could be made about?

Tolkien's works, especially The Silmarillion and other works about Middle-earth, are filled with complex and fascinating heroines. Each has a remarkable, and sometimes tragic, story that could easily form the basis for a separate film. Perhaps these characters should be mentioned to filmmakers so that they can take note of their stories and perhaps consider creating new projects. It is always interesting and inspiring to imagine what film adaptations of these heroines' lives might look like.

Lúthien is one of the most powerful female characters in Tolkien's works, personifying love and courage. She was an inspiration to the writer, as she was associated with his wife, Edith. Lúthien, an Elven princess and daughter of the Elvenking Thingol, falls in love with the mortal Beren. In return for this love, the enraged Thingol demands the magical Silmaril stone from the crown of the dark lord Morgoth as a wedding gift. However, Lúthien does not fit the traditional image of a princess awaiting her prince. She bravely escapes her father's control, rescues Beren from Sauron's prison, and together they overcome numerous obstacles to obtain the Silmaril. Moreover, Lúthien displays incredible power by resurrecting Beren from the dead. This magnificent story deserves a screen adaptation, and could be entrusted to directors such as Peter Jackson, David Lowery (the director of The Green Knight), or Robert Eggers.

Haleth is the namesake of one of Helm's sons and the leader of an ancient line of men, the Haladin, in The Silmarillion. After the tragic deaths of her father and brother at the hands of orcs, Haleth took responsibility for her people, becoming their chieftain and successfully resisting the siege of their settlement. When the Elven noble Caranthir offered her protection, Haleth proudly refused, choosing an independent path for her people. She led the Haladin to safety, ensuring their survival. After her death, a monument was erected in her honor, and her line became known as the House of Haleth. This story is ideal for a quasi-historical action film, reminiscent of "Centurion" or "King Arthur," emphasizing the strength of human will and the desire for independence.

Aredhel was an elven princess, known as the "White Lady of the Noldor" for her pale skin and preference for snow-white clothing with silver jewelry. She was tall and strong, and enjoyed hunting and horseback riding. Aredhel's story is full of tragedy: during one hunt, she became lost in the forest and found herself in the kingdom of the dark elf Eöl. They subsequently married and had a son, Maeglin. However, Eöl did not allow Aredhel to leave his forest, which led to her misfortune. When she and Maeglin decided to escape, Eöl, pursuing them, accidentally killed Aredhel. After this, her family executed Eöl, but Maeglin, who survived all these events, became a traitor and led to the fall of the elven city of Gondolin. This story is reminiscent of an epic saga, capable of inspiring a grand film like the works of Martin Scorsese.

Morwen is a human, the wife of one of the most famous heroes of the First Age, Húrin. Húrin was captured by the enemy, and Morwen, enduring years of separation, continued to live under occupation. Her stern character and outstanding beauty inspired fear in her enemies, who even believed her to be a witch. Fate was not kind to Morwen or her children with Húrin, and a happy life remained only a dream for them.

Many years later, old Húrin, returning from captivity, found Morwen dying. She died in his arms. The burial mound where she was buried remained as an island, even when the sea swallowed these lands. This inspires an existential drama similar to Lars von Trier's Dogville. This story of love, loss, and memory can be reimagined in a modern context, emphasizing the eternal human challenges and existence in a world full of change.

Andreth is the central figure in the philosophical essay "The Speeches of Finrod and Andreth." In this work, a wise human woman engages in a profound conversation with the Elven king Finrod about the differences in the fates of humans and elves, the reasons for these differences, and their significance for the fate of the entire universe. Gradually, the dialogue reveals Andreth's personal history: she was in love with Finrod's brother, Prince Aegnor. However, unlike the legendary couple Beren and Lúthien, their love was not consummated—the mortal woman and the immortal elf did not find happiness together. Tolkien's text contains some of the most touching and heartbreaking lines about unrequited love, and the philosophical depth of this story can eclipse even the most popular modern romance novels.

Berúthiel was a queen of Gondor who lived over two thousand years ago, long before the War of the Ring. She was of the dark Númenóreans, a people who, despite their kinship with the Gondorians, served Sauron. Her marriage to King Tarannon was unhappy and childless: Berúthiel is described as "vile, lonely, and loveless." Possessing magical powers, she used magical cats for espionage, which inspired fear and hatred among the Gondorians. Ultimately, King Tarannon banished her from Gondor, sending her on a ship, with only her cats, to the mercy of the waves and the north wind. The ship was last seen passing Umbar by moonlight, with a grapnel on the masthead and another on the bow as a decorative element. This story presents a unique opportunity to create a new interpretation from Berutiel's perspective, in the spirit of films like Cruella or Maleficent, allowing us to look at her life and motives from a different perspective.