The One Ring™ roleplayIng game

Smaug has been defeated, the Battle of Five Armies has been won, and Bilbo has returned to the Shire. But much danger still remains, and from the Orc-holds of the mountains to the dark and corrupt depths of Mirkwood a darkness waits, recovering its strength, laying its plans, and slowly extending its shadow…

The One Ring Roleplaying Game™ is based on The Hobbit™ and The Lord of the Rings™ by J.R.R. Tolkien. Chock full of incredible artwork by leading artists, including John Howe and Jon Hodgson, and with rules designed by award-winning games designer Francesco Nepitello, there has never been a game based on Lord of the Rings more evocative of Tolkien’s unique vision.

Along with rich and detailed background information, character types unique to the world, and a setting that changes as the Tale of Years progresses, when you play The One Ring Roleplaying Game™ you really feel like you are playing in Middle-earth™.

Middle-earth is a huge place, stretching thousands of miles from the Lonely Mountain in the north to Far Harad in the south, and beyond. It’s an ancient land too, with a richly detailed history going back thousands of years to the dawn of the First Age.

But The One Ring Roleplaying Game is set in a very particular place, in a very specific time: Wilderland, 5 years after the Battle of Five Armies. Wilderland is at once familiar to fans of the novels, as it's the region both Thorin’s Company and the Fellowship traverse on their journeys.

The game’s designer, Francesco Nepitello, explains more about why he set the game then and there:

“Wilderland at the end of The Hobbit is an area that can be considered familiar to the reader of Tolkien. It's the land where the Eagles and Beorn live, where Smaug used to dwell, and where the forest of Mirkwood lies. Tolkien introduces it in The Hobbit, and then does not tell much about it until the events told in The Lord of the Ring. This leaves almost 70 years of ‘history’ to be filled by the players of The One Ring with their own heroic deeds.”

This land is filled with instantly recognisable locations from the novels: Mirkwood, Thranduil’s Halls, Lake-town, Erebor, the Lonely Mountain, Dol Guldur. All are locations ripe for exploration and adventure. Its also home to some of the best-loved characters from the novels too, from Radagast the Brown and the Elvenking Thranduil to King Bard of Dale and King Dáin of Erebor.

We asked Francesco about his favourite aspect of the setting: “There are several ‘grey areas’, subjects that Tolkien sketched only roughly in his books or in the appendixes to The Lord of the Rings, the very reason why we set The One Ring there. One of the biggest riddles for me is the nature of Beorn, the skin-changer. He's a Man, but as Tolkien puts it, he was ‘no doubt a bit of a magician’, whatever he might have implied with that statement!”

The setting is right at the heart of The One Ring – the cultures you create your characters from, the patrons who send you off on adventures, the adversaries you face and the campaign you play – rooting everything about the game in Middle-earth. When you sit down to play the game you really feel like you are bringing the novels to life.

The Game

Games of The One Ring are split into two phases: the Adventuring phase and the Fellowship phase. In an Adventuring phase, a company of adventurers heads off from their homes and into the Wild, in search of adventure; whereas the Fellowship phase provides heroes with the opportunity to rest and recuperate, to practise their skills or pursue a noble undertaking.

The Adventuring Phase

Within an Adventuring phase, adventurers are most often engaging in one of three distinct activities: travelling across perilous lands, interacting with wary or suspicious characters, and drawing swords to battle dangerous adversaries. Each of these activities is handled with its own mechanics.


Journeys to far-away lands are perhaps the most iconic parts of The Hobbit and The Lord of the Rings, and The One Ring has a special set of rules to handle them too, helping the players evoke the feeling of setting off on such perilous voyages. When embarking on such a journey, players pore over a map and plan their route, while the Loremaster uses the rules to determine how long it will take and how dangerous it is. The players then decide how they will proceed, taking on the role of the company’s guide, perhaps, or acting as its look-out, before rolling dice to see how the journey unfolds.

Sometimes, the journey will pass without event, and days and weeks of travel are narrated without complication. More often, however, one of the players will have rolled an Eye of Sauron, and this means one thing: a Hazard episode is triggered! Such an event might be as simple as the guide having lost his way, causing the party to become tired, or perhaps their provisions have run out. More deadly is when a Hazard leads to the company crossing paths with a monster, such as an Orc raiding party. And that is when swords are drawn and combat is joined…


Battles in The One Ring are fast, heroic and deadly. After determining whether it is the company or the enemy who have the initiative (and hence who goes first and who goes second), players pick a stance for their character. Each stance is a measure of the hero’s approach to the oncoming battle, determining not only the order in which they fight, but also how easily they can hit the foe (and how easily the foe can hit them) as well as offering up different non-combat options to them too.

For example, a hero in the Forward stance is right in the thick of the battle, and so goes first in the round and can strike the enemy relatively easily with a roll of a 6 (plus the enemy’s Parry score) and he also has the option to Intimidate the Foe, perhaps forcing the enemy to reconsider his attack and run away or back down. However, fighting at the front means a hero will also be hit on a roll of a 6 (plus their own Parry), and that’s where rules for endurance and wounds come in, as games designer Francesco Nepitello explains:

“The combat rules have their roots in Tolkien. Reading the books you definitely get the impression that a traditional ‘hit points’ mechanic cannot work if you want the game to feel ‘Tolkienesque’; heroes either survive combat relatively unscathed, or are ‘wounded’. Getting wounded sounds relatively innocuous – all you need is to protect yourself after all – but this idea lasts until you receive your first Wound - suddenly you wake up and feel vulnerable, exactly as I guess it must feel when you get smitten by a sword in the heat of a battle!”


The final set of rules in The One Ring are used for encounters, which might be used to resolve riddling with a Goblin king in a dark tunnel, persuading Beorn to lend you his might in a coming battle or even to bargain with a Dragon to let you leave its lair unscathed. These rules describe how the heroes interact with other characters or creatures, typically when their opponent is wary, suspicious or downright hostile towards them, or when the company is asking for something in return, be it assistance, information or treasure.

Each encounter begins with the heroes introducing themselves, telling tales of their adventures or singing songs of their deeds, to impress their adversary. It then proceeds to a series of interaction tests, wherein the characters try to extract information or persuade their opponent of their good intentions. Once the heroes have failed a number of tests greater than the Tolerance rating of the encounter, they have done as well as they are going to and the number of successes are totted up and used to assess the outcome.

Does the Goblin king believe your lies, will Beorn march by your side and will you escape the Dragon’s lair? Well, that’s for you to roll the dice and find out…

The Fellowship Phase

While an Adventuring phase is packed with dangerous battles and perilous journeys, Fellowship phases provide heroes with the opportunity to rest and recuperate, to practise their skills or pursuing a noble undertaking.

Designer Francesco Nepitello explains how the Fellowship phase came about:

“One of my primary design focuses was to make the passage of time a central feature of playing The One Ring. I feel that it is the unfolding of history what really turns the deeds of a character into an epic worthy of song. So, making the passing of the years a mechanic of the game was a must. I’ve played a lot of King Arthur Pendragon in my time, an excellent game that successfully tackles the issue, and I have seen other games inspired by the same principle (Mouse Guard among the foremost of these). So, the division in two distinct gaming phases was a natural choice.”

Whereas in an Adventuring phase, where the players are largely reacting to the Loremaster’s plots and story, in the Fellowship phase it is the players who get to set the agenda. At the start of a Fellowship phase, the heroes all retire to a location of their choice, whether to their home or to a sanctuary, a special location they have established as their own. Each player then decides upon an undertaking, an endeavour concerning the bigger picture, such as meeting with a patron or healing themselves of corruption.

In so doing, we get to see what a hero gets up to when not out adventuring, making them well-rounded characters not merely defined by their heroics, as well as making them feel a part of Middle-earth itself.

We asked Francesco where his characters like to retire to in the Fellowship phase, and the undertakings they like to perform.

“Lake-town is my favourite haunt. My favourite Undertaking may be the Receive Title undertaking, as it is very important for the life of a character and has very tangible consequences from the point of view of the mechanics, allowing a character’s heroic to be recognised by a culture other than their own.”

As well as undertaking larger-scale tasks, heroes can take advantage of the Fellowship phase to practise their skills and hone their abilities. In The One Ring, this character development takes the form of Advancement and Experience points, both of which are gained during the Adventuring phase, as Francesco explains:

“Character development is a major mechanical issue in any roleplaying game. Advancement must give a reward to a player, to satisfy his need for achievement, but balance must be preserved in the long run. To do this, I decided to split advancement into two separate fields, and have players accumulate Advancement points in one way, and Experience points in another. Advancement points replicate the learning process that comes from exercise and application, and Experience points simulate the exceptional potential for change derived from adventuring.”

A Fellowship phase takes place between Adventuring phases, signalling the end of a company’s adventure for a number of weeks or even months. It also helps mark the passage of time, especially at the end of year, as the Loremaster relates events from the wider world to the players, events that they will eventually help shape.

Francesco discusses the invaluable role of the wider chronology of Middle-earth: “The tale of years is an invaluable resource for a Loremaster and his group of players. Not for the amount of material that can be exploited to create new adventures (and that’s useful too), but for its potential to make a campaign a saga that is completely focused on the players as the protagonists of the tale. While it is not really apparent from the beginning, as soon as the players have a number of adventures under their belt, the Loremaster will find it extremely easy to just look at his characters’ ‘curricula’ and pick the right ‘loose ends’ and weave them in new personalized adventure hooks.

“And the heroes definitely have the chance to change the timeline too! At first by simply putting a name and a face to otherwise-unnamed heroes responsible for some recorded deed (did someone spy upon the return of the Ringwraiths to Mirkwood and report to the Wise?), but later on by having their names sung in the major halls of Middle-earth, if their deeds deserve it (did a war-duke emerge to lead the Woodmen of Wilderland against the Shadow over Mirkwood?).”


The One Ring Roleplaying Game uses a special set of dice: the twelve-sided Feat die, which is marked with numbers 1-10, as well as two special symbols, Gandalf’s rune and the Eye of Sauron, and a six-sided Success die, which is numbered 1-6, with a Tengwar rune on the 6.

These dice are available to buy separately in all good stores where The One Ring is sold or from our web store, or you can just use a regular d12 and some d6s.

Francesco Nepitello: “I love custom dice, this must be said, but for The One Ring the choice goes beyond the simple aesthetics. I wanted a game mechanic that was easy to read and felt completely built around the theme of the game. I think our dice serve the purpose, make for a very quick determination of rolls, and feels 'right', with their flavourful icons.”

The dice geniuses at Q Workshop have also provided us with the deluxe One Ring Dice Set. They’re gorgeous!

When you make a roll, you roll the Feat die plus a number of Success dice equal to the skill you’re using, add up all the numbers shown and compare it to the Target Number of the action (typically 14).

But what about those special symbols? Well, if you roll a Gandalf Rune, the roll is considered an automatic success (and a cheer is likely to go up around the table!). An Eye of Sauron, on the other hand, is not only considered a 0 on the Feat die, but sometimes means something bad has happened to you too (the enemy might get to make a special attack against you in combat, a hazard might befall you on a journey and so on). If you are a player of The One Ring, you will learn to fear the roll of an Eye of Sauron!

As for the symbols on the Success dice, for every Tengwar rolled, any success is made that much better: roll one and its a great success, roll two and its an extraordinary success, and so on. Note also that the numbers 1-3 are hollowed out. This means that, when your character is Weary (the most common – albeit temporary – detrimental effect, caused by losing too much Endurance in combat or gaining too much Fatigue on a journey), you ignore these dice results when adding up your total.

There are a few more twists too, such as carefully preparing for an action beforehand or cooperating with your companions, but perhaps the most evocative thing a player can do is to spend a point of Hope, allowing them to potentially turn a failure into a success.

Francesco: “Hope might be one of the words that recur more often in The Lord of the Rings, and I combed its lines and pages very carefully when I was designing the game. Tolkien didn't choose his wording lightly, and a careful analysis of the text left me with a number of terms I knew had to go into the game, words like Wisdom, Valour, and of course Hope. And the concept of Hope strikes me also as a good meeting point of Tolkien's own thoughts about the meaning of Christianity and the spiritual attitude of his 'pagan' characters.

In game terms, Hope is a very powerful 'game-changing' mechanic that limits randomness, but is a scarce resource the players need to manage, a fact that teaches them to carefully choose when it is the moment for their hero to shine.”

The core mechanics to the game are that simple, and all of the game’s various other mechanics are based on them.


The One Ring Roleplaying Game begins in Wilderland – the land that ranges from the Misty Mountains in the West to the Iron Hills in the East, and from the Grey Mountains in the North to the Southern tip of Mirkwood.

Bardings: Led by King Bard, the Bowman and Dragon-slayer, the Bardings have rapidly rebuilt Dale and are the fastest-growing power in Wilderland. A prosperous culture, Barding merchants seeking new markets for their goods are the driving force in the efforts to reclaim Wilderland in the name of civilisation.

Beornings: The followers of Beorn are a rugged and self-reliant people. Their loyalty to their chief and his teachings is strong, and they protect their lands and oppose the Shadow with matchless ferocity.

Dwarves of the Lonely Mountain: Having reclaimed their ancestral home of Erebor, the Dwarves of the Lonely Mountain are rebuilding their domain. Their successful re-occupation has caused some of their number to consider which other long-lost holds could be likewise recovered.

Elves of Mirkwood: Centuries of battle with the Shadow has left the Elvenking suspicious of all other peoples. But with the alliance made between Elves, Men and Dwarves for the Battle of Five Armies and the eviction of the Necromancer from Dol Guldur, perhaps he and his people can forge stronger links with their neighbours.

Woodmen: The Woodmen, aided by the wizard Radagast the Brown, have endured in the Shadow of Dol Guldur for many years. Now, with the Necromancer gone, their culture has the opportunity to flourish and grow.

Hobbits: Mainly a cautious people, content to stay at home and tend their gardens, Hobbits are not usually given to adventures. But inside many young Hobbits is a thirst for adventure, a desire to see first-hand those things described in the old tales.

The various supplements add new cultures: Men of the Lake, Elves of Rivendell and Dúnedain Rangers are options opened up in supplements.

The setting runs through the heart of everything in The One Ring, and this is just as true where its heroes are concerned. Every player character is rooted in the setting, each defined by the culture they come from; be they Beorn’s savage followers, the Beornings, the noble Bardings who are rebuilding Dale or the elusive Elves of Mirkwood.

The game’s designer, Francesco Nepitello, explains why these cultures are so important to the game: “The main reason behind the majority of the design choices in The One Ring is faithfulness to the sources. In Middle-earth, culture is the main defining element in an individual, and by limiting the choices in that regard help us attain a genuine 'in-world' perspective.”

In broad terms, in The One Ring a hero is made up of two halves: their Heroic Culture (where they come from, such as Hobbits of the Shire, Dwarves of Erebor or Woodmen of Wilderland) and their Calling (why they adventure, including Slayers, Treasure-hunters and Wanderers), each of which opens up different choices for a player.

Whilst a Heroic Culture determines a hero’s attributes, virtues, rewards and skills, their Calling gives them a trait, a favoured group of skills, as well as defines their Shadow weakness (the tragic fate that awaits them should they succumb to the lure of the Shadow).

By combining the various Heroic Cultures and Callings in different ways, it’s easy to see that from these focused choices a vast cast of unique characters can be made. Add into the mix different background packages, a wide array of virtues (special abilities unique to a culture) and rewards (treasured artefacts possessed by a character) and countless other ways to customise a character and no two heroes – even two from the same culture – need be the same.

We asked Francesco to describe what type of character he plays when he gets the chance: “I like to play as a Woodman of Wilderland, as I had far more freedom when creating them as a Culture. Tolkien only hints at their presence in Wilderland, but I think I found his inspiration for them in the House of the Wolfings by William Morris. And their Hound of Mirkwood virtue is pretty cool too!”

The One Ring Roleplaying Game comes with a set of pre-generated characters to get you started and to serve as examples of each of the playable cultures.

The Shadow

Smaug may be dead and the Necromancer driven from his fastness in Dol Guldur, but Sauron is not defeated and his taint still lies heavy upon Mirkwood and his many agents and spies still roam Wilderland. It is these dark forces that the heroes of The One Ring must face, whether in the guise of physical foes such as Orcs and Wargs, or against the more insidious threat of the corruption of spirit and the destruction of hope.

In The One Ring Roleplaying Game, this latter threat is represented by a set of mechanics called Shadow points. We asked games designer Francesco Nepitello to explain more about them.

“In my opinion, Shadow points are both a measure of the loss of reason and corruption. They represent fear and doubt, gnawing away at the capability of an individual to trust in a brighter future. So, they represent self-doubt, insecurity, resignation and the result of giving in to our darkest urges. But in a world were evil is incarnate, Shadow represents also an outside threat, a corrupting force that can taint the spirit and twist the mind of a hero.”

A hero will inevitably accumulate Shadow points as he adventures, gaining them for venturing into blighted lands (which sap his spirit) or experiencing harrowing events (such as being haunted by a Wight or seeing a Nazgûl). They’re also gained when a hero does something decidedly unheroic, such as stealing from a villager or bullying others.

A few Shadow points is nothing to worry about, so long as a hero has more Hope. But, as soon as a character has more Shadow than Hope, he becomes Miserable as his spirit is weakened by grief and sorrow. From this point on, the next time he rolls an Eye of Sauron he experiences a bout of madness as he gives in to his darker emotions (as set out during character creation by his Calling – see here), be that his rage, his cowardice or his lust for treasure. Once the bout of madness has passed, a character is himself again and his Shadow score is reset – but now he has a permanent point of Shadow that can never be removed, and a flaw representing his degeneration into madness. The more he succumbs to the Shadow, the greater his degeneration until he is lost to the company forever…

But it is not just insidious corruption that threatens the heroes of Middle-earth, for there is also the more visible threat of the servants of the Shadow: Orcs, Trolls, Spiders, Wargs and darker things besides.

Francesco explains how he approached these monsters: "The monsters of Middle-earth are among the things that set this world apart from other fantasy world. The creatures that Tolkien created appear as if they were taken out of an ancient song, so everything we introduce in The One Ring must have that quality of authenticity. My favourite monsters might well be the Marsh-dwellers, as I based them on the beautiful ‘Mewlips’ poem by JRRT himself. There is a certain Lovecraftian quality to them, a mood that is very well suited to the dead bogs and marshes of Middle-earth.”

It is these adversaries that the heroes must face in combat and, just as heroes have Hope, so too do their foes have a mechanic called Hate. Francesco again:

“Hate is very much the opposite of Hope, and well represents the driving force behind the actions of many servants of the Shadow. From the point of view of the mechanics, Hate is a resource for the Loremaster to manage to apply his strategy in a battle, and also something the players may try to reduce, to force their enemies to flee.”

Hate points can be spent by the Loremaster to power a monster’s special abilities, giving it horrible strength or allowing it to cast dreadful spells, for example. While even combat against lesser foes such as Goblins and Attercops can be deadly when faced with sufficient numbers or judicious use of special abilities, no hero in Middle-earth would do battle with a Troll and not be rightfully afraid – as any long-standing player of The One Ring will tell you!

We asked Francesco if he had any tips for fighting such terrifying creatures.

“How to best a Troll? Ready your spears!”

Continuing the Journey

The One Ring Roleplaying Game is supported by a fantastic line of award-winning supplements, all of which are available from our webstore or your local hobby store now:

Tales from Wilderland™ contains seven ready-to-play adventures that can either be played on their own, or together to form an epic campaign. From a failed robbery to kidnapped Hobbits, a blood feud to a malignant threat, these adventures will keep the company busy for many a session.

The Loremaster’s Screen & Lake-town Guide™ not only contains a handy screen, complete with reference tables and Jon Hodgson’s stunning depiction of Lake-town, but also a complete Lake-town supplement, including a new heroic culture.

The Heart of the Wild™ describes the setting of Wilderland in greater depth than ever before, from the banks of the Anduin and the foothills of the Misty Mountains to the dark heart of Mirkwood. Not only is the book packed with setting information, including adventure hooks aplenty, but also a bestiary of horrible monsters to give your players nightmares!

The Darkening of Mirkwood™ builds upon the setting information of The Heart of the Wild with a truly epic campaign spanning thirty years of game-time, in which the fate of Mirkwood and all its denizens hang in the balance. Enough adventures not just for a company, but quite possibly for their descendants too.

Rivendell™ takes your adventures west across the Misty Mountains to the Last Homely House, expanding play into eastern Eriador, covering not only Rivendell itself, but Angmar, Fornost, Mount Gram, Tharbad and everywhere in between. There are also rules for creating your own Magical Treasure; playing Rangers of the North and High Elves of Rivendell; turning the baleful Eye of Mordor on your company; and facing more powerful adversaries than ever before.

Ruins of the North™ contains six standalone adventures West of the Misty Mountains, which can be run together as an epic campaign across Eriador spanning many years. Children kidnapped in the night, unusually cunning Trolls, a mysterious caravan, the fate of a company of Hobbits, the legacy of the Dúnedain and an evil awakening beneath the barrows – six new stories set in the ancient land of Eriador.

Hobbit Tales™ is a standalone card game that sees players competing to tell stories of their (Hobbit-sized) adventures. What makes it of particular interest to players of The One Ring is that it includes a set of rules for using the cards to generate Hazard episodes in the roleplaying game.


Horse-lords of Rohan™ – This setting supplement takes us south along the Anduin and into the land of the Rohirrim, where we explore not only the culture and lands of the Riders of Rohan, but also their rivals the Dunlendings. We’ll also venture into the depths of Fangorn Forest and into Isengard itself.

The Adventurer’s Companion™ – The first supplement aimed squarely at players. Including a whole wealth of advice, ideas and background for making your own hero and company, as well as new Heroic Cultures including Bree-folk, Riders of Rohan, Dwarves of the Blue Mountain, the Elves of Lorien and People of Gondor, a new Calling, and new options for combat.

Journeys and Maps™ – a deluxe set of Middle-earth game maps and a guide to travel for The One Ring.


Long and perilous journeys are at the very heart of The Hobbit and The Lord of the Rings, so they similarly form the heart of The One Ring Roleplaying Game. The journey rules give the players the feeling that their characters are embarking on an epic trek across Mirkwood or the Misty Mountains or down the Anduin. The part of the journey rules that captures this the most is when the players first plot their route, huddling over the map of Middle-earth and arguing over whether the best way to get from Beorn’s house to Lake-town is by going around the top of Mirkwood, or straight through the middle.

The One Ring Roleplaying Game features two distinct maps: the Adventurer’s Map and the Loremaster’s Map. Not only are these included in the game as pages in their own right, but also incorporated into the end-papers, a neat solution that makes them instantly referable without the risk of coming loose or being lost. Cubicle 7’s layout artist and graphic designer Paul Bourne designed both maps:

The Adventurer’s Map is designed to look like an in-world artefact; rare, possibly incomplete and only somewhat accurate. Players use this map to plot their routes, and must use their judgement (and their character’s Lore skill) to work out which route poses the least danger.

The Loremaster’s Map, on the other hand, spells out exactly where that danger lies. It’s overlaid with a hex grid, so that the Loremaster can calculate how far the journey will be (each hex is 10 miles, making you realise just how big even this small corner of Middle-earth is). It’s also colour coded, with each colour representing the difficulty of the terrain to cross (green being moderate, all the way up to the daunting of red), and marked with symbols to show whether a land is free, wild or under the Shadow.

All of these aspects allow the Loremaster to take the company’s proposed route and quickly work out how long the journey will take, how difficult it will be and what potential dangers they might encounter.

We asked Paul what his favourite feature of the map was: “My favourite feature is the Hobbit travelling song written in runes around the edge of the map, which ties in nicely with the journeys aspect of the game.”

The supplements for The One Ring also feature detailed scenic maps by artist Jon Hodgson.

Dol Guldur
The Ruins of Carn-Dûm

Reviews and Awards

Below follows what just a few of our fans have said about The One Ring Roleplaying Game, so don’t just take our word for it!

“A stunningly presented and produced game that details an original rules system emphasising roleplaying and character over tactics and power gaming. It should be a delight to all fans of Middle Earth." - Neil Lennon, RPG.net

“The One Ring is a lovingly crafted, beautifully executed RPG set in J.R.R. Tolkien’s Middle-Earth. Anyone who is a fan of both Middle-Earth and RPGs should find the game compelling, and it’s a good gateway from one love to the other, especially for Tolkien fans who aren’t already gamers.” - Christopher H, RPGNow

“The best Middle-earth RPG ever is a triumph of fidelity to and understanding of the source material.” - Bill Edmunds, RPG.net

The One Ring Roleplaying Game has received numerous awards and awards nominations including 3 ENnies, a Golden Geek, Best in Show at Lucca, and four Origins Award nominations.

Where to buy

The One Ring Roleplaying Game is available now from all good hobby games stores, or direct from the Cubicle 7 Webstore.

The One Ring Roleplaying Game is published by Sophisticated Games and Cubicle 7.

Middle-earth, The Hobbit, The Lord of the Rings, and the characters, items, events and places therein are trademarks or registered trademarks of The Saul Zaentz Company d/b/a Middle-earth Enterprises and are used under license by Sophisticated Games Ltd and their respective licensees.

The One Ring Roleplaying Game™

Designed by Francesco Nepitello and Marco Maggi

Art in this presentation by: John Howe, Jon Hodgson, Tomasz Jedruszek, and Jan Pospisil

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