Remaking LotR With Only Public Domain Sources

Foot of Mt. Ashitaka, Takahashi Hiroaka

Last summer I had the chance to go see Fellowship of the Ring in concert. Great show, movie still slaps. But I had an odd thought while watching it, brought on by my Leslie Stone transcription project and a slowly-compiling list of inspirational resources I’ve been gathering.

“Is it possible to remake Lord of the Rings using only public domain source material? Like a ship of Theseus type thing, where you replace individual components in the structure. How does it change? What does it transform into? Does it even remain recognizable?”

You know, normal thoughts.

To spoil the rest of this post it turns out you can, thanks to the transitive property of fiction, and the end result is a good deal of fun. Let’s-a-go!

Guidelines

All replacement components must be public domain in the United States at time this post goes up. This encompasses:

• ≤ 1930: Automatically PD
• 1931 - 1963: Published without copyright notice, or published with copyright notice but not renewed within 28 years
• 1964 - 1977: Published without copyright notice
• 1978 - March 1 1989: Published without notice and without registration within 5 years of first publication
• Any: Explicit relinquishing of rights by creator, including Creative Commons 0

There's also the grey area of works that are in the public domain in their country of origin but not necessarily in the US because of course the US doesn't just hold to the Rule of the Shorter Term. I bring it up because the art for this post is technically from 1932, but has been public domain in Japan since 1995 because they're Life+50 and they follow the Rule so [throws up hands]. It's outside the core premise I can have a cheat day.

For thematic cohesion (and for the amount of resources available), I'm going to predominantly lean towards pre-1931 works. I’ve also added some follow-up questions and potential additions to each entry, just to show how the method can result in a wildly divergent story and setting.

Middle-Earth

Sticking with the premise of “Earth in the mythic past” (something Tolkien gestured at but didn't really dial-in on) leaves us with the Hyborian Age as the primary public domain option. This works, but I don’t think it’s ideal as the primary base: Howard used it mostly so he could evoke whatever broad historical stereotypes he wanted without worrying about actual history / having to do any heavy-lifting with worldbuilding, and I don't roll with either of those. Still good for a bit of cafeteria picking and choosing, though, the Tower of the Elephant is bound to show up at some point.

The option I'm leaning towards now would be something in the general shape of our world (as a great many fantasy worlds are), filled in with various fictional and legendary (and occasionally real-but-mythologized) locations in the generally right place. To keep the vibes of mythic prehistory, I'm leaning towards ~10-8k BCE, because that gives me Doggerland, the African Humid Period, and the Anatolian proto-cities - but I'm not going to be too picky about accuracy. Gotta have mammoths.

• Addition: Filling up the map would probably be multiple posts by itself, so I’m saving that for another day. But it’s going to be chock full of lost cities, pseudoscientific sunken continents, legendary realms, historical misinterpretations of actual places and good ol’ bullshit.

The One Ring

The Ring of Gyges and the Ring of the Nibelung are more or less direct inspirations to the One Ring, so they’re out of the running. Instead, I’ll be going with a move that will have serious ramifications down the line: the Seal of Solomon, asterisk.

That asterisk is me doing that thing I love to do, which is add in a bit of historical metafiction to muddy the waters. (We can all thank Dr. Sledge of Esoterica for sending me down this rabbit hole.)

So the Seal is extrabiblical to begin with, but that’s never stopped anything from becoming extremely popular. When we cut away the cruft built up over the Middle Ages and Renaissance, the Seal of Solomon isn’t actually Solomon's Seal, but instead the Seal Famously In the Possession of Solomon: it's God’s signet ring, a bureaucratic artifact given to Solomon that allowed him to act as the authorized representative of the divine. This means that if you aren’t Solomon (an extremely large category of people, or so I am led to believe), possession and use of the Seal is basically stolen credentials. Depending on the status of the original in a given story, the Seal could even be forged credentials. All of this is an extremely good justification for why it brings ruin to its wielder / cannot be allowed to fall into the wrong hands / needs to be destroyed / returned / otherwise disposed of.

Then on top of that, Sauron’s end goal of “dominate and control all life in Middle Earth” can segue neatly into the historical metafiction layer by mirroring the appropriation of the Seal (and Solomonic magic more broadly) by Christian occultists and its subsequent transformation into what is, if you think about what is actually being described instead of taking a wizard's word for it, the use of supernatural prison slave labor.

• Q: Who was actually supposed to have the ring?
• Q: Who do people believe is supposed to have it?
• Q: Who else has gotten their hands on it? 
• Q: Is it even legitimate in the first place?
• Q: Why hasn’t it been reclaimed yet?
• Q: So what kinds of spirits are we dealing with, and what leftover business do they have to settle?

• Addition: The shamir, because everyone loves a big magical worm
• Addition: The relationship with all the various spirits has changed drastically (for the worse) since the ring was originally handed out.
• Addition: Ancient sorcerer-priest-king, who might have just been a local warlord who got hyped up later on down the line.
• Addition: Demons! Oh, so many demons.

Eru Illuvatar and the Valar

I’m penciling in MANA-YOOD-SUSHAI and the Zoa, for the upper echelons of the pantheon, though I want to do a lot more with the lower layers; pre-1931 means we’re still early enough in spec-fic that mythopoeia has some early adopters but the usage of constructed pantheons isn't particularly widespread and there even fewer well-developed ones / ones that are not just used as stock colonialist antagonists.

The new religious movements of the period could potentially provide some good material, though they provide their own barrel of worms to deal with (mostly racism and racism accessories, with the added malus of "now with an organized belief structure behind it".)

The potential shortlist is currently:

• Theosophy, Thelema, Oahspe movement, Mormonism, Aradia / the Gospel of Witches, the Golden Bough, Uther Index of Folklore Motifs, HPL, CAS, REH, rest of the Weird Tales crew and the other pulps as well. Most of them will only provide one or maybe two gods each - weird pattern, I think it's probably to do with serial short stories and whatnot. 
• Spiritualists are unlikely to get much play, because ineffable invisible spirits are visually boring.

If you have any other good recs for "interesting bespoke gods (or really wild takes on classical ones) in PD stories", drop me a comment; this section is where I’m going to greatly diverge from Tolkien simply by virtue of me being a huge fan of some fantasy-ass fantasy religious practices, and that means importing a lot of material.

Mordor

The Land of Darkness from the Alexander Romance, because it’s a big vaguely defined land of badness and narrative convenience called the Land of Darkness.

• Q: Who lives there? What's life like for them?
• Q: How did it become the Land of Darkness? Is there something special about it, or is that just what people call it?
• Q: How has it previously interacted with the known world?
• Q: What does the known world believe about it, falsely or otherwise?

• Addition: Water of Life - The thing that Alexander is out to find, in the Romance. Nice and vague, the Water of Life could have whatever properties you please.
• Addition: Gates of Alexander - Everyone loves a nice "this is the end of the known world" structure.
• Addition: Gog of Magog - This is how it's rendered in the Ezekiel, as I understand it. Gog and Magog slipped in somewhere along the translation chain by the time Revelation was penned.
• Addition: Tied into beliefs about the apocalypse
• Addition: Hyperborea (magical land, far to the north, no sun, lot of bullshit to pick from, etc)
• Addition: There's so much stuff in the Romance, Skerples was way ahead of the curve on this.

The Nazgul

Alexander himself, complete with horns (this isn’t a non sequitur, the Horns of Alexander are a thing), handily fulfills the role of the Witch-King. “Celebrated hero (who might not be all that heroic) rides off with his retainers into the Land of Darkness to defeat a great evil and never returns (at least not until he’s suborned by said great evil)” is just good storytelling. I don’t make the rules. 

The other Ringwraiths are played by the 12 paladins of Charlemagne. I could go Round Table, but the Round Table has hundreds of them to pick from and I don’t want to comb through all those Large Adult Sons. Orlando innamorato / Furioso are as good a place as any for the 12, and gets us Orlando, Oliver, Fierabras, Astolpho, Ogier, Ganelon, Reynaud, Maugris, Florismart, Guy, Naimon, and Otuel.

• Q: How did things break back home when they never came back?
• Q: How are things currently breaking because of them?
• Q: How does the belief in Alexander’s heroic return cause problems?
• Q: What shit has history whitewashed? What actually good stuff did they do back then?

• Addition: Existing relationships / accomplishments / lore of the 12, adjusted as needed. Knights come pre-packaged with a bunch of connective tissue to other characters and quests, so they're high bang-for-buck.
• Addition: Bradamante 

Orcs

The modern orc is a green Klingon and Klingons are tharks with forehead ridges, so tharks it is. I lose the “this is what happens to people under fascism” thematic element of Tolkien’s orcs, and I won’t say the tharks were particularly nuanced in the Barsoom novels, but they’re a pretty easy canvas to add complexity to if you start writing them as people with a culture and history and whatnot.

Tying into the Land of Darkness: tharks would already be adapted to the cold of Mars, and would naturally gravitate towards northern climates. Plus “Gog of Magog” is basically the archetypical orc name so that’s double appropriate.

• Q: What’s the relationship between the tharks, Alexander, and the Sauron analogue?
• Q: How did they get here, anyway? Is other Martian life also transplanted here? Were the mi-go involved? (Yes)
• Q: What happens after this whole plot?
• Q: What relationships do they have with nearby humans?

• Addition: Barsoomian wildlife, since there are now 7 books to pull from and ERB loved him some monsters.
• Addition: John Carter - human warlord who has somehow risen to prominence among the tharks - could be analogous to Alexander, a direct lieutenant to Alexander, or just some opportunist taking advantage of the current political situation.
• Addition: Other inhabitants of Mars, Barsoomian and otherwise
• Addition: Water of Life = River Iss? Oh ho ho, delightfully devilish, Seymour...  

Sauron

Nyarlathotep: Sauron was literally the evil vizier to the last king of Atlantis and was called both “bringer of gifts” and “the wizard”. He's gonna be played by the Crawling Chaos.

Azathoth is then the natural choice for Morgoth, and if I correlate Mt. Etna with Mt. Doom there’s an avenue open to bring in Typhon. Exactly what the relationship is with Nyarly, or what Nyarly’s relationship with the rest of the world is, I am going to leave for later.

• Q: What is Nyarlathotep’s role in all this? How has he interfered in the world?
• Q: What sorts of monsters has Azathoth-as-Typhon spawned?
• Q: What happens if Azathoth gets out from under the mountain? How would that happen?

• Addition: Mythos material directly linked to Nyarly or Azathoth, which actually leans towards the Dreamlands, which can loop right back around and include basically everything Dunsany wrote.
• Addition: Say it with me, everyone: "It's the fucking mi-go, Charlie Brown!"
• Charlie Brown is, unfortunately, unavailable until 2046 thanks to Sonny Bono and the Copyright Extension Act. 

Mount Doom

I had originally planned on Mount Etna for the Typhon connection, but in snooping around for alternatives I stumbled across Mount Elbrus, which hits basically every check every box I want to hit, plus extras: it’s volcanic, it’s fucking huge (largest volcano in Eurasia), it’s erupted within historical record ( ~50 CE), it’s located in the Caucasus (and thus in the same general direction as the Land of Darkness via transitive property) and has mythological importance via Zoroastrianism as Hara Barazaiti.

• Q: Perhaps instead of destroying the Seal, the quest is returning it to the heavens?

• Addition: Hara Barazaiti lore - planets orbit around it, pretty sure Mithra was born there... 

Numenor 

Is literally Atlantis, which means I’m spoiled for choice. There is simply so god damn much available to sort through, those theosophists loved writing some bullshit about Atlantis.  

To start with, I'm going to use the real-world historical Atlantis (the Theran Eruption of ~1600 BCE that obliterated half of Santorini) as my baseline, say Phorenice from The Lost Continent was its last monarch, and I'll pencil in “Minotaur narrative” for later.

• Q: What did Nyarlathotep do in Atlantis?
• Q: Was the Seal known to / in possession of Atlantis?
• Q: What leftovers of the Atlantean empire remain?
• Q: Were the mi-go involved and why is the answer “yes”?
• Q: Typhon/Azathoth the cause of the eruption? Maybe there are two important mountains?

• Addition: Entirely unscientific dinosaurs
• Addition: Atlantean technology
• Addition: Atlantean ruins

**

I’m going to call it here for now; there’s a lot of material to cover and I haven’t even gotten to the Fellowship yet. It’s been an incredibly fun exercise so far, and I think it’s already shaping up to be something special. Experiment successful. The method works. Probably (definitely) going to expand beyond the boundaries of the initial premise, knowing how much my pattern-seeking brain likes drawing connections.

It’s very refreshing - honestly it feels a little bit like I am almost getting away with something - to do something so purposefully derivative at every step of the process, only to see that it somehow circles back around to feeling new again simply because the strictures of public domain force me to bypass 95 years of genre feeding on itself. I'm rebuilding LotR out of sources Tolkien would have known about, but not limiting myself to the sources he used. Looking at it that way it's almost an alternate history (almost, but not quite, considering all the sources that would have been copyrighted at the time.) of what could have been.

I have a feeling - call it a hunch - this will expand well beyond the boundaries of the initial experiment.