Purtill, Richard L. (2006). Lord of the Elves and Eldils. Ignatius Press. pp.53–55. ISBN 978-1-58617-084-4. Media Release". Harbourfront Centre. Archived from the original on 7 November 2017 . Retrieved 31 October 2017.

Recut and rescored the barrel escape so that no Orcs or Elves pursue the company, which not only makes the sequence closer to the book but also removes some of the most ridiculous CGI action.Inconspicuous marks or annotations declare it to be from a different publisher than an edition it is otherwise identical to (e.g., book club edition). Recut Azog’s introduction to remove the Wereworms and instead have his horn be the sound that draws everyone’s attention to his introduction. Extended Scenes Kept: All of the Rivendell extended material pertaining to Bilbo & the quest is kept. We get more dialogue with Gandalf/Bilbo before they enter the valley, a well-needed discussion between Gandalf/Elrond to explain the grander purpose of this quest, and a beautiful scene with Elrond/Bilbo which not only introduces their friendship, but also sets up Bilbo's motivations moving into the Misty Mountains. On the 6th printing, Ballantine airbrushed out the lion on the cover because it greatly irritated Tolkien.

Subtle visual changes to make the films look more natural and match closer with The Lord of the Rings films, while still retaining most of their intended look.Wolf, Mark J. P. (2012). "More Than a Story: Narrative Threads and Narrative Fabric". Building Imaginary Worlds: The Theory and History of Subcreation. Routledge. ISBN 978-0-415-63119-8. OCLC 781675594. a b Shippey, Tom (2001). J. R. R. Tolkien: Author of the Century. HarperCollins. p.41. ISBN 978-0-261-10401-3. Helms, Randel (1981). Tolkien and the Silmarils (1sted.). Boston: Houghton Mifflin. p.86. ISBN 978-0-395-29469-7. As apt a description of Thorin Oakenshield as of the dwarf-lord of Nogrod; but yet when we see Thorin in person, ... there is a notable addition, a comic pomposity altogether suitable to what Tolkien intends in The Hobbit...

All three Extended Edition Hobbit films ripped from the official 1080p Blu-rays and combined into one movie. Flieger, Verlyn (2005). Interrupted Music: The Making of Tolkien's Mythology. Kent State University Press. p.67. ISBN 978-0-87338-824-5. Kean, Danuta (17 January 2017). "The Da Vinci Code code: what's the formula for a bestselling book?". The Guardian . Retrieved 7 August 2019. Removed Bilbo killing a Warg to keep him as a non-warrior at this point. Throughout this edit, he only ever struggles to fight one Goblin and then kills two spiders, mostly with the help of the ring or element of surprise. Other than these instances of combat, he uses his wits and brains to escape situations, like the book. Although I adore Tove Jansson I have to question the somewhat shifty look, the axe and the night cap. The Forgotten Birthday: Tales of English Writers

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The overcoming of greed and selfishness has been seen as the central moral of the story. [102] Whilst greed is a recurring theme in the novel, with many of the episodes stemming from one or more of the characters' simple desire for food (be it trolls eating dwarves or dwarves eating Wood-elf fare) or a desire for beautiful objects, such as gold and jewels, [103] it is only by the Arkenstone's influence upon Thorin that greed, and its attendant vices "coveting" and "malignancy", come fully to the fore in the story and provide the moral crux of the tale. Bilbo steals the Arkenstone—a most ancient relic of the dwarves—and attempts to ransom it to Thorin for peace. However, Thorin turns on the Hobbit as a traitor, disregarding all the promises and "at your services" he had previously bestowed. [104] In the end Bilbo gives up the precious stone and most of his share of the treasure to help those in greater need. Tolkien also explores the motif of jewels that inspire intense greed that corrupts those who covet them in the Silmarillion, and there are connections between the words "Arkenstone" and " Silmaril" in Tolkien's invented etymologies. [105] Auden, W. H. (2004). " The Quest Hero". In Rose A. Zimbardo and Neil D. Isaacs (ed.). Understanding the Lord of the Rings: The Best of Tolkien Criticism. Houghton Mifflin. pp. 31–51. ISBN 978-0-618-42251-7. Jones, Nicolette (30 April 2004). "What exactly is a children's book?". The Times. Archived from the original on 29 April 2011 . Retrieved 15 June 2008. HarperCollins Alan Lee illustrations, 2000, published for Dealerfield Ltd. Pictorial laminated boards. Almost certainly just a variant of 1997 Alan Lee. Digitally altered a repurposed shot of the Dwarves to fix continuity, as they are supposed to be about to turn their heads and look over at Bilbo falling.

Chance compares the development and growth of Bilbo against other characters to the concepts of just kingship versus sinful kingship derived from the Ancrene Wisse (which Tolkien had written on in 1929), and a Christian understanding of Beowulf, a text that influenced Tolkien's writing. [100] Shippey comments that Bilbo is nothing like a king, and that Chance's talk of "types" just muddies the waters, though he agrees with her that there are "self-images of Tolkien" throughout his fiction; and she is right, too, in seeing Middle-earth as a balance between creativity and scholarship, "Germanic past and Christian present". [101]

Removed Thorin's charge with the Nazgul theme, as again, Azog is not present here. Instead, right as some of the Dwarves are about to fall, the Eagles arrive to save the day.