The panserbjørne are large polar bear-like creatures that have opposable thumbs on their front paws. Despite their large digits and immense strength they have remarkable dexterity. This, together with an innate gift for metallurgy, makes them exceptional metalsmiths, and they are capable of creating and repairing metal items far beyond the capabilities of human smiths. While they mainly speak English, they are shown to be able to speak other languages.
Bears are very difficult to deceive. One exception is Iofur Raknison; the bear-king emulates humans by drinking spirits, wearing expensive clothes, and wanting a dæmon. His gullibility is attributed to his failing to act like a bear. Bears' livers are poisonous – as in real life – due to a high concentration of retinol (VitaminA).
The word "panserbjørne" means "armour-bears" in Danish. The Danish pronunciation of the word "panserbjørn" (singular) is [ˌpʰænˀsɐˈpjɶɐ̯n], but the pronunciation used in the radio plays and the audio book readings of the trilogy (by Pullman himself) is /ˈpænsərbjɜːrnə/.[1] In the 2007 film The Golden Compass, they are also known as "ice bears".
Society
Panserbjørne are generally solitary creatures, but have a loose society centred on Svalbard. They are governed by a king; Iofur Raknison and Iorek Byrnison are the two kings who appear in the books.
Some bears occasionally hire themselves out to humans as mercenaries or labourers, but only in the Arctic regions, and it is implied that bears who do this may be shamed in some way. Lands further to the south have little contact with the bears, though their existence is widely known.
Becoming an outcast is the worst shame to a bear. The outcast is forced to leave his home and if he approaches Svalbard again, he will be shot down from afar with fire hurlers. Bears consider death by fire hurler to be dishonourable. The outcast may not participate in a legal duel, and any other bear may kill him without punishment or censure.
Duels are ceremonial occasions to bears, and they do not usually end in death. When a bear knows he will be defeated, he is obliged to signal his submission to the victor. On rare occasions, however, an issue may be so important that there is no other option than to kill one's rival. One such case is the duel between Iorek Byrnison and Iofur Raknison, which ends with Iofur's death and Iorek reclaiming the throne. Normally, an outcast like Iorek would not have been allowed to participate in a duel, but the then-king Iofur is tricked into making an exception. Ordinarily, a bear who kills another in a duel is made an outcast.
In the books the bears struggle to maintain their own culture and traditions against the intrusive effects of human society. This is most visible during the reign of Iofur Raknison, the usurper king of Svalbard for most of Northern Lights. Iofur tries to force the bears to become more human-like, to build palaces and universities, decorate their armour, and even acquire dæmons. Even the marble used to build the palace is offensive to the bears' way of life. Decorating armour is an even worse affront, because they think sky-iron (which seems to only be available at Svalbard) is the only thing armour should be made of. Iorek Byrnison defeats Iofur towards the end of the first book and returns the bears to their traditions. Later in the series, however, he begins to feel human feelings such as doubt, especially in connection to the Subtle Knife.
Armour and weapons
Armour is extremely important to the panserbjørne; they consider it the equivalent of a dæmon or soul, albeit one that they consciously make for themselves.
A bear fashions his own armour using 'sky-iron', a rare metal collected from meteorites which the bears discover on, or buried in, the ice. Although the magical metal described in Pullman's works is fictional, the native peoples of the Arctic do value meteorites (particularly the Cape York meteorite) as a source of iron for toolmaking. Sky-iron is described as being very durable, and has only been seen to be damaged by the Subtle Knife, which cuts through it with ease.
A bear's primary weapons are his immense strength, savage jaws, and razor-sharp claws. He uses these in close combat or when fighting duels with other bears. However, bears use fire hurlers, which are a combination of flame throwers and catapults, against human enemies and outcasts.
Witches
In Lyra's world, witches are exclusively female and live in the far north. They worship their own gods and goddesses of nature and the earth; they also understand the Judeo-Christian concept of "Mother Eve". Every witch who appears is described as very beautiful, as they stay young for their entire lives, but attain a look of wisdom. Some witches live to be over 1,000 years old. They dress in ragged black silk and are always barefoot. Witch queens usually wear a crown that they have created for themselves. Serafina Pekkala wears a band of everlasting, red Arctic flowers and Ruta Skadi wears a tiara of Siberian tiger teeth. Their crowns (like their dæmons which are always birds) reflect the witch queen's personality.
Witches are renowned for their excellent marksmanship, and carry bows with them wherever they go. They lower their bows to the ground as a symbol of friendship when necessary.
Witches occasionally choose human men who are in some way exceptional to be their lovers. All of a witch's sons will be human and all of her daughters will be witches. To a witch, the lives of sons or lovers are mere instants. Although some regret losing those they love, they accept that they cannot change who they are. They are however wholly unable to forgive anyone whom they love, who does not reciprocate those feelings.
Powers and abilities
Witches can feel cold, but are not affected by it. They can endure the lowest temperatures on earth comfortably. Because they are not burdened by heavy clothing, they can feel the beams of the Aurora on their bare skin.
There is a wasteland far north where no dæmon can go. This is the result of a unknown catastrophe. If a girl manages to get through the wasteland, she then becomes a witch. Her dæmon is then able to go extreme distances from them without dying witches. Because all witch dæmons are birds, they can easily fly away to carry messages, spy, or do other tasks for their witches – often to the alarm of anyone who has never seen a person or dæmon separated from one another.
If a witch has a branch of a special cloud-pine tree, she can use it to fly. A human cannot fly this way, although a witch can carry another person up on their cloud-pine if they need to, but they usually lift no one bigger than a child. In large numbers, witches and their cloud-pines can tow an airship with no directional engine and can have some control over the winds.
Witches, through intense concentration, have the power to be wholly ignored. In the right state of mind, a witch can make herself so unnoticeable that she is almost invisible. Although she is always completely solid, people will glance at her when they see her and move aside to let her pass, without any comment or objection, as if she were merely a part of the wall. Some witches have the power of prophecy, as they foresee the existence of, and identify Lyra as, the second Eve. They have spells and potions for healing, although seemingly only in the right environment and can also keep flowers fresh and prevent corpses from decaying until after a mourner has approached and seen the body. They are also shown to possess some limited form of telepathy, as demonstrated by Serafina Pekkala's ability to know Lee Scoresby's location by giving him one of her crown's flowers with which to invoke her when he is in danger and by her effect on Mary Malone's dreams to help her wake up gradually and accept her presence. Her dæmon is also shown to have the ability to unfasten padlocks with a combination of snow and his breath.
Witches have a legendary sense of direction and can remember the way to a distant place that they have been to only once before.
Clans
On his journeys through Lyra's world, John Parry (alias Stanislaus Grumman) catalogued 9 witch clans.
The first and most northerly are the witches of Lake Enara, led by Serafina Pekkala.
The Slavic witches of Lake Lubana are the most southerly, and are led by Ruta Skadi, who had been one of Lord Asriel's lovers.
The witch clans often warred amongst themselves. Some witches even helped the Magisterium at Bolvangar, though most switched sides when they learned the truth.
In the world Lord Asriel sets as his base for war, an altogether separate race of witches is shown to exist, which has both males and females, who live only as long as most humans.
Angels
In the trilogy, angels were originally the result of condensing Dust, although it seems that other conscious beings can also become angels. They appear as nude winged humans with a light of no apparent source shining on them, and, like the witches, appear to be both young and old at the same time. Angels are arranged in a hierarchy, according to their level of power, which also determines how luminous they are; the low ranking angels cannot be seen by the naked eye during the day, and are seen best at half light. The only way for humans to see them clearly is when they are enveloped in smoke. Angels long for the feel of a body, which Mrs Coulter uses to her advantage in The Amber Spyglass.
"The Authority, God, the Creator, the Lord, Jehovah, Yahweh, El, Adonai, TheKing, TheFather, TheAlmighty – those were all names he gave himself. He was never the creator. He was an angel like ourselves – the first angel, true, the most powerful, but he was formed of Dust as we are, and Dust is only a name for what happens when matter begins to understand itself. Matter loves matter. It seeks to know more about itself, and Dust is formed. The first angels condensed out of Dust, and the Authority was the first of them all. He told those who came after him that he had created them, but it was a lie."
Seen in The Amber Spyglass, Arctic foxes are partially sapient and mischievous creatures. They can only understand the present tense, a trait which leads to much confusion when they eavesdrop on others.
An excerpt of Arctic fox dialogue: "Bear must go south! Swear! Witch is troubled! True! Swear! Promise!" This happened when the fox in question had overheard Iorek Byrnison and Serafina Pekkala's conversation about the migration of the armoured bears because of a situation similar to global warming, and the fox was trying to trade information for its life with a cliff ghast threatening to eat it.
Gyptians
Gyptians are a fictional ethnic group in the universe inhabited by Lyra Belacqua; they are roughly analogous to Romani people. The name 'Gyptian', like 'gypsy', an exonym used by some to refer to Romani people, is derived from the word 'Egyptian'.
Gyptians are water-travellers, they live mainly aboard boats traversing the canals and rivers of 'Brytain'. The Gyptians' primary source of income appears to be through trading as they travel. Lyra describes them as "coming and going with the spring and autumn fairs". Gyptians are said to pride themselves on their ability at card games. John Faa's group of Gyptians come from – and have a 'home base' in – "Eastern Anglia", the counterpart in Lyra's world, of East Anglia in our world.
They are divided into large families, the heads of which make up the Gyptians' Council, which is ruled by John Faa, the King of the Western Gyptians, the Council also includes Farder Coram. Gyptians sometimes gather in a "byanroping (sometimes called a roping), a summons or muster of families". Their society, while widely dispersed geographically, is tightly knit. Gyptian children are extravagantly loved and looked after by other members if they stray. Their ethnic group is small enough for all Gyptians to know each other by name, yet large enough to gather 170men to travel north on a rescue mission.
Gyptians have a distinctive physical appearance, which Lyra attempts to assume. They also have a distinctive accent and vocabulary containing "Fens-Dutch" words. The Gyptians' Dutch-ness also shows itself in their preference for drinking "jenniver" (Dutch jenever), in their Dutch names (Dirk Vries, Raymond van Gerrit, Ruud Koopman), and their use of Dutch terms such as "landloper". Landloper is an old Dutch word meaning "land-walker"; it is also a derogatory term meaning 'tramp', which the Gyptians use disparagingly to refer to someone who is not a Gyptian.
An additional source of inspiration for Pullman's creation of the Gyptians may have been[citation needed] the subculture of cargo narrowboat operators that grew up in the British Isles in the 18th century, in the period between the development of the canals and the emergence of the railways. The families of these operators were constantly on the move and their children were seldom educated outside the home, as a result, narrowboat people tended to be regarded with suspicion by landsmen.
Gyptians are an honourable people, and appear to owe debts to Lord Asriel for defeating a proposed Watercourse Bill in Parliament, amongst other things. When they are made aware of the excesses of the Church researchers at Bolvangar they do their best to stop them. Despite their honourable nature, they are sometimes perceived negatively by mainstream society. Although they trade fairly, they are described as partaking in "incessant smuggling and occasional feuds" in which they may kill other Gyptians. Non-gyptian teenagers, to whom Lyra talks, insinuate that Gyptians steal horses, and that they are unconcerned by the disappearance of a Gyptian child. At a party held by MrsCoulter, Lyra states that Gyptians "take kids and sell 'em to Turks for slaves", although this is likely to be one of Lyra's inventions.
The Gyptians believe themselves to be "hit worse off than most" by the spate of child abductions in Northern Lights, and this may be what prompts them to collectively plan a rescue attempt. This could also be a result of Gyptians having little other recourse in society, as they are described as having little standing in law.
Some Gyptians and half-Gyptians, such as Bernie Johansen, take up employment on land, although it appears that these are a minority. Some hide their gyptian heritage while still reporting information back to the gyptian leaders.
Serafina Pekkala's witch clan, who are based at Lake Enara, share a friendship with the Gyptians. This friendship was born from the relationship between Serafina herself and Farder Coram: Farder Coram once saved Serafina's life, and became her lover and father of her son.
Spectres
Spectres of Indifference, commonly shorted to Spectres are beings of spirit escaped from the void between universes. Most commonly, a Spectre is created from each new window between worlds opened by the Subtle Knife. They appear in the second and third volumes of the trilogy The Subtle Knife and The Amber Spyglass. Before such openings, there were fewer or no spectres.
Spectres feed upon the Dust that makes up a person's soul: their attack leaves a person in an immobile, zombie-like, indifferent to all stimuli state. They are invisible to and do not harm pre-adolescents, as Dust has not yet settled upon them. When travelling, all human groups in Cittàgazze are required by law to contain a man and woman on horseback to flee and look after the young in the case of a Spectre attack. They are normally not air-borne, so air travel over Cittàgazze is the only safe means possible for an adult to cross the city. Cittàgazze, a city infested with them, is bereft of adults and filled with gangs of children.
When the effects of a Spectre attack on a human are explained to Will, he hypothesises that they, or similar creatures, may also exist in our universe and may cause mental illness. This opinion is formed by the case of his mother, who seems to be suffering from paranoia and other symptoms of a disorder similar to schizophrenia.
Spectres cannot be killed by any physical means, although numerous methods of countering their attacks exist. Angels can neutralise Spectres and ghosts are able to hold them in combat. Humans whose dæmons have been removed from them via intercision can pass them without being attacked and humans can repel them with the Subtle Knife. Stanislaus Grumman uses his skills as a shaman to control one and send it onto a church zeppelin to attack the pilot, causing the craft to crash. MrsCoulter convinces a group of Spectres that following her command would give them more access to prey and is thus able to control them, and is able to make them "forget that they were earthbound" (so that they can fly). Consequently at the end of The Subtle Knife, Will and Lyra's guard of witches is taken by surprise and most have their Dust consumed by Spectres while flying.
During the final battle of The Amber Spyglass, Spectres fight against Lord Asriel's forces, cornering Lyra and Will's dæmons so as to eliminate the children who have been such thorns in Metatron's side, but are held back by the ghosts (including Lee Scoresby and John Parry) while the children and dæmons escape to the Mulefa world.
Mulefa
Mulefa are members of a fictional species of sapient beings who inhabit a parallel Earth in the novel The Amber Spyglass. "Mulefa" is plural, the singular is "zalif" (which is pronounced subtly differently for a male or a female).
These elephant-like creatures evolved a distinct anatomy based on a diamond-framed skeleton without a spine: they have four legs, short horns, and a prehensile trunk that functionally takes the place of hands. Signing with the trunk is an integral part of Mulefa language. They form close-knit communities, one of the reasons for the closeness may be that – lacking hands – it usually requires two or more Mulefa trunks working together to accomplish complex tasks like tying knots.
A feature of the Mulefa is their use of large, disc-shaped seed pods from their world's enormous "seed-pod trees" in locomotion; the pods fit neatly onto a spur on their front and rear legs when each zalif has grown enough to use it. They propel themselves using their other two legs, like a cyclist without pedals. In their world, ancient lava flows, which solidified into smooth rivers of rock running across the land, serve as roads. The Mulefa have a symbiotic relationship with the seedpod trees – their use of the pods on the "roads" allows the pods' extremely hard exteriors to crack and the seeds to emerge. These are germinated by the Mulefa, allowing the seed-pod trees to reproduce. As the book notes, the three elements of seed-pod, spur, and rock formation enable the continued existence of the Mulefa.
Technologically, the Mulefa's civilization is reminiscent of humanity in the Stone Age. Mulefa live in wattle-and-daub villages and use simple tools – there is no evidence of any form of mechanisation in their world. They do not use metal for any purpose other than ornaments. Reference is made to their domestication of the grazer herds, their non-intrusive use of trees to make lacquer, and their distilling of acid from rocks. One of their few natural enemies are huge white birds called tualapi which regularly destroy settlements with chilling ferocity, and which the Mulefa have no real defence against (save retreating further inland). The Mulefa also appear to lack any sort of organised government; they appear to live in village groups with little or no contact between settlements. The Mulefa's less advanced technology may be due to their limited trunks – the versatility and dexterity of hands giving humans an advantage. The fact that their natural environment supplies them with everything they need may also preclude any need for further development.
By their own admission – to Mary Malone– Mulefa have much slower thought processes than humans, and do not easily visualise abstract concepts such as those in mathematics, or easily establish links and patterns. They do however have an extraordinary race memory, remembering all of their history starting from 33,000years previously, which is when they first interacted with the wheel-pod trees, an event captured in a story that is their creation myth. The Mulefa see this event in a very positive light. The period of 33,000years coincides with the time frame given in the books for the awakening of human consciousness in other worlds, as evidenced by Mary Malone's anthropological research regarding Dust. Mulefa are also able to see Dust directly without the aid of an instrument such as the amber spyglass. The oil from their pods allows them to "grow up", making them more self-aware and able to see Dust.
In the TV series, the Mulefa's heads are shown to be giraffe-like with elephant-like trunks and they have hippopotamus-like feet.
Tualapi
The Tualapi are the only known enemies of the Mulefa, destroying the Mulefa's villages and causing the loss of many seed-pods. They are described as large, white birds whose wings look like ship sails from a distance. Tualapi are almost always seen in groups. Father Gomez, a human from Lyra's world who entered the Mulefa world, was able to repel a Tualapi attack after killing one of them with his rifle.
The Mulefa have no defence against Tualapi other than retreating inland during their attacks. Tualapi attacks generally result in the destruction of Mulefa habitats. Like most animals from the universe of Mulefa, their limbs are in a different position than those of our animals, with a single limb (in the Tualapi's case, a wing) at the front; a pair (legs) at the middle; and a single limb (again in the case of Tualapis, a wing) at the back. Although they are similar to birds, they do not fly. Instead, they use their wings as sails and rudders to navigate rivers, and emerge onto dry land when attacking the Mulefa.
Just after he killed the first Tualapi he met, Father Gomez watches the reaction of the survivors carefully and comes to the conclusion that the creatures know about death, pain, and fear, which means they can be controlled and used for greater tasks. Father Gomez manages to get control over the rest of the swarm and starts to use the Tualapi for transport, suggesting he managed to domesticate or enslave them.
Gallivespians
Gallivespians are a humanoid species from another universe that appear in the third volume of the trilogy. They are no taller than the width of a man's hand, so, to make up for their small size, they have venomous spurs on the backs of their heels. These spurs can kill or cause intense pain and temporary paralysis. Their venom needs time to build up to full potency so it cannot be used frequently.
In the Gallivespian universe, "big people" (humans) serve the Authority and throughout history have been trying to exterminate the "little people", believing they are demonic. Because of this, most Gallivespians join with Lord Asriel against the Authority, and due to their size and proficiency at using tools capable of instant communication (called "lodestone resonators", which are described as using quantum entanglement), are most useful as spies. Gallivespians are proud and arrogant by nature, compensating for their small size with their massive egos. They seem to possess little subtlety, and they are good spies only due to their size.
Gallivespians use various carefully bred species of dragonflies for transport. They carry larvae of the species particular to their clan with them, which may be quickly cultivated into a fully grown dragonfly. Once grown and imprinted on their Gallivespian, the dragonflies are entirely obedient until death. Gallivespians themselves also have a very short life, living no more than about ten years, and dying in their prime.
In The Amber Spyglass, the two Gallivespians who feature prominently are the Chevalier Tialys and the Lady Salmakia. These two are initially sent to protect Lyra and Will and guide them to Lord Asriel. Lyra and Will have their own ideas, and the spies are powerless to force them into action as long as Will controls the Subtle Knife. Tialys and Salmakia eventually befriend and help Will and Lyra on their personal quest. The only two other named Gallivespians are Lord Roke, commander of the spies in Lord Asriel's Adamant Tower, the central fortress for the rebellion, and Madame Oxentiel, who succeeds to Lord Roke's position after his death.
The name Gallivespian echoes that of the gall wasp. The word gall means both an abnormal outgrowth and is a synonym for impudence or bile, whilst vespa is Latin for wasp. The name also recalls the protagonist of Gulliver's Travels, who encounters a world of tiny people.
Cliff-ghasts and night-ghasts
Cliff-ghasts are the more prominent type of ghasts in His Dark Materials. Since many of the characters grow up in the same world as the cliff ghasts and may have encountered them before the start of the Northern Lights they know what these creatures are and consequently no character at any point explains them. Cliff-ghasts can fly, and are mortal. Lee Scoresby, who hates killing sentient creatures, has no apparent qualms about killing ghasts. They are scavengers and enjoy killing and taunting. In the play adaptation they are depicted as hooded and shrouded, though in the Northern Lights they are described as having flat heads, large, bulging eyes, and wide frog-like mouths. They give off a horrible stench.
Cliff-ghasts can speak, though they do not converse with any of the characters. They are heard twice: once overheard and once talking amongst themselves as they butcher an Arctic fox. They at first seem to have no clear grasp of honour or respect even for each other, but Ruta Skadi does stumble, whilst invisible, upon the oldest cliff-ghast of all, a blind patriarch referred to as "grandfather" by all the others who take care of him and feed him. They are at first apparently one of the magic elements unique to the world of the Northern Lights, but then appear in other worlds. When the great war begins, they are the only beings known not to take sides, merely waiting to feast on the casualties (although they predict the victory of Lord Asriel's forces). They also, for reasons never explained beyond that of their Grandfather's advanced age and memory, know of the Æsahættr, the Subtle Knife's existence long before any human or witch outside of Cittàgazze does, and recognise that Lord Asriel will need it in order to win the battle.
Night-ghasts are reminiscent of the nightmares of mythology, to whom bad dreams were attributed. The name "ghast" echoes "ghastly", which comes from an Old English root meaning "deathlike" or "terrifying".
Deaths
Deaths are only featured near the middle of The Amber Spyglass. Much like a dæmon, they accompany a person throughout their life, serving to gently alert the person when it is their time to go to the underworld. Deaths are described as human-like in appearance, yet unnaturally quiet and able to blend into the background with uncanny ease. However, as most people do not wish to see their death, deaths are courteous enough to hide from their humans. Deaths are presented as caring yet stern creatures, showing no pity for a person's dæmon which must vanish upon death. Deaths are present in a physical form in some worlds, much as dæmons can be seen in Lyra's. Deaths can disappear in a similar manner to dæmons. In The Amber Spyglass a dead girl says that her death "went forever".[2] Lyra is confronted with her death when she and Will enter the underworld in order to contact the ghost of Lyra's dead friend Roger.
Ghosts
In the trilogy, all people have a ghost which lives on after they die, ghosts have vague forms resembling the person when alive. Unlike a dæmon which dissipates upon a person's death, the ghost is led away by their death and becomes trapped indefinitely in the Land of the Dead. Will and Lyra remedy this by causing all the ghosts to escape from the Land of the Dead. When they escape, they disintegrate and become disconnected atoms merging with the rest of the universe.
Harpies
Harpies in His Dark Materials are portrayed as being similar in form to the harpies of myths, having human heads and breasts on bird-like torsos including wings. In His Dark Materials, they are the guardians of the Land of the Dead, harassing the ghosts without mercy. They appear to hunger for information and knowledge in the form of stories and appear to have the supernatural ability to know when they are being lied to and use their knowledge of this and other wrongful acts committed in life by their victims to torment them.
When in The Amber Spyglass where Lyra and Will open a portal from the Land of the Dead to allow the ghosts to escape, the Harpies are given the new task of guiding arriving ghosts to the portal. The Harpies are also entitled to question the ghosts, requiring them to tell the stories of their lives and any knowledge they have gained. They are entitled to deny ghosts guidance to the portal (potentially trapping them in the Land of the Dead for eternity) if they have "nothing of value" to tell (and are old enough to be expected to) or if they lie.
In the TV series, the Harpies are shown to have large bird-like bodies and reptilian faces.
His Dark Materials is a trilogy of fantasy novels by Philip Pullman consisting of Northern Lights, The Subtle Knife (1997), and The Amber Spyglass (2000). It follows the coming of age of two children, Lyra Belacqua and Will Parry, as they wander through a series of parallel universes. The novels have won a number of awards, including the Carnegie Medal in 1995 for Northern Lights and the 2001 Whitbread Book of the Year for The Amber Spyglass. In 2003, the trilogy was ranked third on the BBC's The Big Read poll.
Lyra Belacqua, later known as Lyra Silvertongue, is the heroine of Philip Pullman's trilogy His Dark Materials. In His Dark Materials Lyra is a young girl who inhabits a universe parallel to our own. Brought up in the cloistered world of Jordan College, Oxford, she finds herself embroiled in a cosmic war between Lord Asriel on one side, and a deity figure known as The Authority and his Regent, Metatron, on the other. Lyra also features prominently in the subsequent trilogy The Book of Dust.
The Subtle Knife is a young-adult fantasy novel published in 1997 and the second book in Philip Pullman's His Dark Materials trilogy. The novel continues the adventures of Lyra Belacqua recounted in the first novel, Northern Lights, as she investigates the mysterious phenomenon of Dust. Will Parry is introduced as a companion to Lyra, and together they explore new worlds in the search for Will's father.
The Amber Spyglass is the third and final novel in the His Dark Materials trilogy by Philip Pullman. Published in 2000, it won the 2001 Whitbread Book of the Year award, the first children's novel to do so. It was named Children's Book of the Year at the 2001 British Book Awards, and was the first children's book to be longlisted for the Booker Prize.
Lyra's Oxford is a 2003 novella by Philip Pullman depicting an episode involving the heroine of His Dark Materials, Pullman's best-selling trilogy. Lyra's Oxford is set when Lyra Belacqua is 15, two years after the end of the trilogy.
Northern Lights is a young-adult fantasy novel by Philip Pullman, published in 1995 by Scholastic UK. Set in a parallel universe, it follows the journey of Lyra Belacqua to the Arctic in search of her missing friend, Roger Parslow, and her imprisoned uncle, Lord Asriel, who has been conducting experiments with a mysterious substance known as "Dust".
Will Parry is one of the protagonists in Philip Pullman's trilogy His Dark Materials, along with Lyra Belacqua. He first appears in the series at the start of the second novel, The Subtle Knife, and continues through to the final book, The Amber Spyglass. Introduced as a 12-year-old boy, he meets and befriends Lyra in the world of Cittàgazze and teams up with her in order to uncover the mysteries of Dust and the disappearance of his father many years previously. He takes possession of the Subtle Knife which he uses to aid Lord Asriel in his bid to destroy the Authority.
In Philip Pullman's His Dark Materials and The Book of Dust trilogies, Dust or Rusakov particles are particles associated with consciousness that are integral to the plot. In the multiverse in which these trilogies are set, Dust is attracted to consciousness, especially after puberty; the Church within the series associates Dust with original sin and seeks its end. Pullman described Dust in an interview as "an analogy of consciousness, and consciousness is this extraordinary property we have as human beings".
A dæmon is a type of fictional being in the Philip Pullman fantasy trilogies His Dark Materials and The Book of Dust. Dæmons are the external physical manifestation of a person's "inner-self" that takes the form of an animal. Dæmons have human intelligence, are capable of human speech—regardless of the form they take—and usually behave as though they are independent of their humans. Pre-pubescent children's dæmons can change form voluntarily to become any creature, real or imaginary. During adolescence a person's dæmon undergoes "settling", an event in which that person's dæmon permanently and involuntarily assumes the form of the animal which the person most resembles in character. Dæmons are usually of the opposite sex to their human, though same-sex dæmons do exist.
Lord Asriel is a character in Philip Pullman's His Dark Materials trilogy. Asriel is a member of the aristocracy in a parallel universe dominated by the Church. Possessed of enormous determination and willpower, he is fierce in nature and commands great respect in both the political and academic spheres, being a military leader and a fellow of Jordan College in his world's version of Exeter College, Oxford.
Marisa Coulter, known simply as Mrs. Coulter, is a character in Philip Pullman's His Dark Materials trilogy and one of the main antagonists of Northern Lights: the former lover of Lord Asriel and biological mother of Lyra Belacqua.
The Golden Compass is a 2007 fantasy adventure film film written and directed by Chris Weitz that is based on the 1995 novel Northern Lights by Philip Pullman, the first installment in Pullman's His Dark Materials trilogy, which was published as The Golden Compass in the United States. It stars Dakota Blue Richards as Lyra Belacqua, Nicole Kidman as Marisa Coulter, and Daniel Craig as Lord Asriel, alongside Sam Elliott, Ian McKellen, and Eva Green. In the film, Lyra joins a race of water-workers and seafarers on a trip to the far North in search of children kidnapped by the Gobblers, a group supported by the world's rulers, the Magisterium.
The Golden Compass is a 2007 action-adventure puzzle video game developed by Shiny Entertainment for PlayStation 2, PlayStation 3, PlayStation Portable, Wii, Xbox 360 and Microsoft Windows, and by A2M for Nintendo DS. The game was published on all platforms by Sega, and was released in Europe in November 2007, and in North America in December. It is the video game of the 2007 film of the same name, although it is also partially based on the 1995 novel upon which the film is based, Northern Lights by Philip Pullman. The game was released prior to the film and features a slightly different sequence of events towards the end of the story, as well as additional footage at the end of the game not seen in the film. This was due to a last minute re-edit of the last half-hour of the film by New Line Cinema, which could not be incorporated into the game, as it was based on the shooting script. Due to this the game manages to portray motives and themes of the book in much more detail, including details only present in later books of the trilogy. The Golden Compass was the last game developed by Shiny before Foundation 9 Entertainment merged them with The Collective. A significant feature has Dakota Blue Richards and Freddie Highmore reprising their roles from the film.
Once Upon a Time in the North is a 2008 novella by Philip Pullman. The book serves as a prequel to Pullman's His Dark Materials trilogy. The premise of the story involves the meeting of Iorek Byrnison and Lee Scoresby:
I've just finished a short book which will be coming out next spring, probably March or April in this country. It's called Once Upon A Time in the North, and it's about Lee and Iorek. When we see them for the first time with Lyra, Lee is not that old; he's fifty, sixty, something like that, so they know each other for a long time. But I wanted to write a story when they first met as they were young, and I've just written it. I'm making a little book like Lyra's Oxford.
This article covers the fictional locations in the His Dark Materials trilogy and related works by Philip Pullman.
His Dark Materials is a play written by British playwright Nicholas Wright, adapted from the Philip Pullman fantasy novel trilogy of the same title. The production premiered in the Royal National Theatre's Olivier Theatre, London, in 2003. Due to the complications in staging a piece containing the narrative of three books, the play was performed in two parts in alternate performances. The play is published by Nick Hern Books.
The Secret Commonwealth is a 2019 fantasy novel by Philip Pullman, the second volume of his planned trilogy The Book of Dust. The story is set twenty years or so after the events of La Belle Sauvage and ten years after the conclusion of the His Dark Materials trilogy. Lyra Silvertongue is now an adult.
La Belle Sauvage is a fantasy novel by Philip Pullman published in 2017. It is the first volume of a planned trilogy titled The Book of Dust and is set twelve years before Pullman's His Dark Materials. It presents events prior to the arrival of the six-month-old Lyra Belacqua at Jordan College, Oxford.
His Dark Materials is a fantasy drama television series based on the trilogy of novels by Philip Pullman. It is produced by Bad Wolf and New Line Productions, for BBC One and HBO, with the latter handling international distribution. The show follows the orphan Lyra as she searches for a missing friend and discovers a kidnapping plot related to an invisible cosmic substance called Dust.
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