Few would argue against the formative role played by the fictional writings of J.R.R. Tolkien in the genre of contemporary fantasy. The success of The Hobbit and The Lord of the Rings trilogy among Western audiences sparked a conflagration of inspired fantasy authors ever after, writing their own modest tales for decades thence, spun around seemingly-alien or once-upon-a-time worlds peopled with elves, dwarves, dark lords, wraiths, goblins, trolls, wizards, on and on, the likes of which had little part in modern literature up until Tolkien’s intervention. A few such common staples to the genre today — orcs and hobbits/halflings, for instance — were entirely the original creation of Tolkien, whereas many other tropes, while not originating in his work, often resemble his iteration more than they do anything described in their source material of folk legend (elves as wise and immortal/long-lived humanoids, or dwarves as a similar racial — rather than spiritual — species of clever, diminutive, subterranean artificers).
Life and death are inescapably intertwined. Life feeds and flourishes upon death, whether directly, as with the cunning predator who feasts upon its slain quarry, or indirectly, as the docile frugivore who consumes the fruits brought forth by the decay of the countless lifeforms that create the loam. Life in turn must eventually surrender itself to its dissolution in death, struck down by the predation of beast, disease, or time’s entropy — the vital substance is transmuted into the sustenance that nourishes new life, and so the cycle continues in perpetuity, so long as life persists in the universal schema.