#object: alethiometer

[literaryvein-reblogs]

Writing Notes: Mystical Items & Objects

A Quick Guide to Creating Fictional Items

STEP 1: Give Your Item Purpose 

Crafting memorable items and artifacts demands purpose and intention.

And luckily for writers, there are countless routes you can take.

Symbolism: Embed deeper meaning with an item that represents your story’s themes, like a shattered mirror in a narrative about fractured realities or identities.

MacGuffin: Introduce items that ignite the central conflict or quest, becoming the catalyst for your story’s unfolding events.

Enhancement or Protection: Equip characters with items that empower their abilities or shield them from peril, exemplified by a cloak granting invisibility in dire situations.

Foreshadowing: Introduce an item early on that will play a crucial role later, subtly hinting at its significance without giving everything away.

Progression: Propel the plot or character development with items that carry them from one stage to the next, such as a mystical map revealing hidden worlds.

Misleading (Red Herring): Employ an item to divert attention, creating suspense and keeping readers on their toes with false leads or assumptions.

By carefully considering these categories, you can ensure that your item serves a meaningful role in your narrative.

STEP 2: Give Your Item a Backstory

Delving into the past of your fictional item adds layers to its meaning and significance, creating a story of its own that complements the main plot.

Consider the creator: was it forged by ancient beings, crafted in a moment of desperation, or is its origin shrouded in mystery?

Reflect on its journey: has it been a catalyst in significant historical events, or perhaps changed hands through various intriguing characters?

Ponder its mythology: what tales and legends has it spawned, and how do they influence those who encounter it?

By carving out a detailed history, your fictional item evolves from a mere object to a vital and captivating component of your narrative.

STEP 3: Describe Your Item

The ability to create a clear and compelling mental image of your fictional item in the minds of your readers is paramount. Examples:

The Lament Configuration from Hellraiser boasts an ornate gold filigree, clearly harboring dark magic.

In contrast, the Alethiometer from His Dark Materials seems simple enough, yet hides its ability to unveil cosmic truths.

Meanwhile, the black monolith from 2001: A Space Odyssey stands as a minimalist enigma, prompting viewers to question its purpose.

A memorable item can create a lasting impact, ensuring your story resonates with the audience long after they've turned the final page or the credits have rolled.

STEP 4: Consider Its Powers and Limitations

Navigating the balance of power and limitation is crucial when conceptualizing a fictional item.

Explore its strength and scope: What phenomenal feats can it perform, and where does its influence wane?

Understand its accessibility: Who is deemed worthy or capable of wielding such power, and what proficiency or awareness is necessary?

Acknowledge the stakes: Are there perils or repercussions tied to its usage?

By defining these aspects clearly, your item becomes a well-integrated, credible element of your world.

NOTE: Steer clear of making your item omnipotent to maintain narrative tension, and adhere to established rules (i.e. limitations) to prevent inconsistencies.

STEP 5: Give It a Name

The final touch in bringing your fictional item to life is bestowing upon it a fitting name.

Opt for the classic and straightforward: think “The Amulet of Fate,” aligning directly with its purpose or powers.

If you’re feeling whimsical, embrace the quirky—think of the real-world “whatchamacallit” candy bar or the playful “thingamajig”.

Or, simply state it as it is, calling a sword a sword (especially for mundane magical items where you may not want to reveal their powers).

Should you choose a particularly unique name, ensure you provide enough context for readers to grasp its significance.

ADVANCED TECHNIQUES

Now that you've laid the foundational work, elevate your item from intriguing to unforgettable by considering the following:

Mix and Match Types. By intertwining the ordinary with the extraordinary, your item takes on a life of its own and sets itself apart with ease.

Build Lore Around It. Trace your item’s journey to acknowledge how time has warped perceptions or fostered myths and misconceptions.

Use History and Mythology as Inspiration. Enrich your story by pulling from history and mythology, tapping into a wellspring of real-world intrigue.

Ultimately, do what best works for you as the writer. You may rearrange some of these steps, and tweak them to suit your writing process and style.

Source ⚜ Writing Notes & References More: On Mystical Items & Objects

[hayatheauthor]

Tips To Consider When Writing A Fantasy Religious Story

This was requested by @saltykidcreation if you want to request something send me an ask!

A fantasy religious story is a fantasy story where, even if a God-like character does not exist, true biblical values are made obvious in the book's theme because of the author's worldview. I personally don’t write fantasy religious stories, however, since this was requested I decided to come up with some tips for this genre.

Establishing a Rich Mythology

At the heart of every captivating fantasy religious story lies a well-crafted mythology that breathes life into the beliefs, deities, and rituals of your fictional world. Just as our world's religions have intricate backstories, your fantasy realm's mythology provides the framework for understanding the spiritual landscape. Here's how to create a mythology that resonates:

Deities and Powers

Develop a pantheon of gods and goddesses, each with distinct personalities, domains, and motivations. Consider drawing inspiration from real-world mythologies or inventing entirely new divine beings. For instance, in Neil Gaiman's "American Gods," gods from various cultures manifest in modern-day America, reflecting changing beliefs.

Rituals and Traditions

Infuse your world with rituals, ceremonies, and festivals that reflect the beliefs of your fictional religion. Whether it's a solemn pilgrimage to a sacred site or a joyful celebration of a deity's favour, these rituals offer opportunities to reveal cultural norms and values. Take the example of "The Name of the Wind" by Patrick Rothfuss, where the University's Archives hold religious significance, connecting knowledge and faith.

Holy Texts and Prophecies

Craft ancient texts, prophecies, or scriptures that guide your characters' beliefs and actions. These texts can hold hidden truths, enigmatic predictions, or moral codes that shape the course of the story. In Philip Pullman's "His Dark Materials" trilogy, a mysterious device called the Alethiometer becomes a tool of divination, echoing themes of destiny and belief.

Cultural Impact

Consider how your fictional religion influences art, architecture, fashion, and daily life in your world. Are there specific symbols associated with the faith? Does the religion inspire grand cathedrals, tranquil monasteries, or vibrant marketplaces? J.K. Rowling's "Harry Potter" series exemplifies this through the majestic Hogwarts Castle and its hidden rooms dedicated to various founders' beliefs.

A well-developed mythology adds depth and authenticity to your fantasy religious story, enriching readers' immersion and emotional engagement. As your characters interact with these elements, their beliefs will take centre stage, shaping their decisions and driving the narrative forward. 

Worldbuilding and Cultural Depth

Creating a compelling fantasy religious story extends beyond the spiritual realm—it involves crafting an immersive world where faith intertwines with culture, society, and daily life. As you build your fantastical universe, keep these worldbuilding aspects in mind to ensure a rich and authentic backdrop for your narrative:

Cultural Diversity:

Just as our world hosts a tapestry of cultures, your fantasy realm should embrace diversity. Explore how different regions or communities within your world interpret and practice the same religion. George R.R. Martin's "A Song of Ice and Fire" series masterfully showcases distinct religious beliefs held by various societies, adding layers of complexity to the narrative.

Social Impact:

Consider how religion shapes social hierarchies, class systems, and power dynamics. Does the priesthood hold political sway? Are certain religious groups marginalized or revered? In Ursula K. Le Guin's "The Left Hand of Darkness," the planet Gethen's religious beliefs are deeply tied to its unique genderless society.

Iconography and Architecture: 

Infuse religious symbolism into architecture, art, and everyday objects. Temples, sculptures, and artefacts can embody beliefs and tell stories within your world. The stained glass windows of Notre Dame Cathedral in Victor Hugo's "The Hunchback of Notre Dame" visually depict biblical narratives while reflecting the spiritual essence of the setting.

Language and Terminology: 

Develop specialized terminology, prayers, and phrases specific to your fantasy religion. This linguistic distinctiveness adds authenticity and depth to the faith. J.R.R. Tolkien's "The Lord of the Rings" features languages like Elvish that enrich the cultures and religions of Middle-earth.

Impact on Conflict and Plot: 

Explore how religious differences can drive conflict or cooperation within your story. Religious tensions can lead to political strife, wars, or alliances. In Frank Herbert's "Dune," the complex interplay between the Fremen's religious beliefs and the political landscape fuels the narrative's intrigue.

Remember, effective worldbuilding integrates religious aspects seamlessly into every facet of your fictional world. By intertwining faith with culture, you'll create a vivid and immersive environment that enriches your readers' experience and deepens their connection to your story.

Weaving Themes of Faith and Doubt

Central to any fantasy religious story are the themes of faith, doubt, and the profound quest for meaning. These themes can elevate your narrative, sparking introspection and emotional resonance. Here's how to skillfully weave these threads throughout your story:

Character Beliefs

Explore how characters' beliefs shape their worldviews, actions, and interactions. Does a protagonist's unwavering faith lead them on a heroic journey, while a sceptical character questions the mystical elements surrounding them? In C.S. Lewis's "The Chronicles of Narnia," characters' diverse beliefs guide their roles in the unfolding saga.

Spiritual Journeys

Craft character arcs that mirror spiritual journeys, complete with challenges and revelations. Allow characters to grapple with doubts, undergo transformative experiences, and emerge with a deeper connection to their faith. The character Eowyn in J.R.R. Tolkien's "The Lord of the Rings" confronts her inner struggles and finds a newfound purpose.

Crisis of Faith

Introduce moments of crisis where characters' faith is tested to its limits. These moments can lead to internal turmoil, moral dilemmas, and choices that define their paths. In Philip K. Dick's "Do Androids Dream of Electric Sheep?" the protagonist questions the nature of humanity, blending themes of religion with questions of identity.

Divine Intervention

Explore the concept of divine intervention and its impact on characters' lives. This can be a source of guidance, trials, or even scepticism. In "American Gods" by Neil Gaiman, the gods' involvement in human affairs raises questions about their true motivations and the nature of belief.

Existential Quests

Delve into existential themes as characters search for meaning beyond the material world. Incorporate quests that transcend physical boundaries, encouraging characters to uncover truths about existence, mortality, and the afterlife. Terry Pratchett and Neil Gaiman's "Good Omens" humorously navigates themes of fate, destiny, and the cosmic battle between good and evil.

By exploring the intricate balance between faith and doubt, you'll create characters who resonate with readers on a deeply human level. These themes not only enrich your narrative but also invite readers to ponder their own beliefs and uncertainties

Utilizing Symbolism and Allegory

In the realm of fantasy religious storytelling, symbolism and allegory serve as potent tools to convey layers of meaning and depth. These literary devices can bridge the gap between the fantastical and the profound, enriching your narrative in powerful ways:

Symbolic Artifacts

Introduce artefacts or objects that hold symbolic significance within your world. A mystical amulet, an ancient tome, or a sacred tree could embody themes of faith, wisdom, or protection. Consider the One Ring in J.R.R. Tolkien's "The Lord of the Rings," representing the corrupting influence of power.

Allegorical Journeys

Craft allegorical quests that mirror spiritual journeys or moral dilemmas. Characters might embark on physical journeys that parallel inner transformations, mirroring the trials and growth inherent in belief systems. In John Bunyan's "The Pilgrim's Progress," the protagonist's journey to the Celestial City mirrors the Christian path.

Metaphorical Creatures

Introduce fantastical creatures that symbolize spiritual concepts. A mythical phoenix representing rebirth or a guardian dragon embodying both danger and enlightenment can add layers of meaning to your narrative. In "The Chronicles of Narnia," Aslan the lion is a symbolic representation of Christ.

Cosmic Forces

Use cosmic events or celestial phenomena as metaphors for divine influence or moral alignments. A comet's appearance could herald significant events, while an eclipse might signify moments of transformation or impending conflict. The Dark Tower series by Stephen King weaves cosmic forces into the fabric of its multiverse narrative.

Subtextual Commentary

Employ allegory to comment on real-world issues or philosophical concepts. By grounding your fantastical narrative in allegorical discussions, you invite readers to reflect on broader themes while engaging with your story. George Orwell's "Animal Farm" is an allegory for political corruption and societal manipulation.

By artfully integrating symbolism and allegory, you add depth and resonance to your narrative. These devices not only enhance the fantastical elements of your story but also invite readers to explore the layers of meaning hidden beneath the surface.

Crafting Moral Dilemmas and Choices

A hallmark of captivating storytelling is the inclusion of moral dilemmas that challenge characters' beliefs, forcing them to confront their convictions and make difficult choices. Within the realm of fantasy religious stories, these dilemmas become even more potent, as characters navigate the intersection of faith, ethics, and personal growth:

Clashes of Belief

Introduce conflicts where characters' divergent beliefs clash, sparking debates and raising questions about the nature of truth and morality. Such clashes can lead to both external conflicts and internal struggles. In "The Golden Compass" by Philip Pullman, characters' differing beliefs influence their actions in a world with soul-representing daemons.

Test of Principles

Develop scenarios where characters must make choices that challenge their faith or require them to compromise their values. These choices can lead to soul-searching moments that reveal the depths of their character. Guy Gavriel Kay's "Tigana" explores characters' moral choices amid political and religious conflicts.

Consequences of Devotion

Examine the consequences of extreme devotion to a religious cause. Characters who blindly follow their faith might be driven to commit ethically questionable acts, raising questions about the balance between devotion and ethics. In "The Sparrow" by Mary Doria Russell, the characters' missionary zeal leads to unforeseen moral dilemmas on an alien planet.

Doubt and Redemption

Narrate character arcs that involve doubt and eventual redemption. Characters who experience crises of faith might embark on journeys of self-discovery and growth, ultimately finding renewed purpose or understanding. In "The Magicians" by Lev Grossman, the protagonist's journey of doubt and rediscovery aligns with themes of magic and faith.

Personal Growth Through Struggle

Showcase characters who emerge stronger from moral challenges, reflecting personal growth as they navigate the complexities of their beliefs. These experiences can lead to a deeper understanding of faith and a more profound connection to the divine. Jacqueline Carey's "Kushiel's Dart" features a protagonist whose unique perspective challenges and evolves her understanding of religion.

By infusing your narrative with moral dilemmas, you encourage readers to grapple with complex questions, fostering empathy and introspection. These dilemmas illuminate the nuances of faith and the intricate choices that define the paths characters undertake.

I hope this blog on Tips To Consider When Writing A Fantasy Religious Story will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[kirjavas]

his dark materials asks

favourite episode (and why)?

favourite character?

favourite costume?

favourite quote from the show?

favourite book quote?

favourite chapter/episode title?

favourite character relationship?

favourite pan form?

any scenes/characters/actors you think are underrated?

top three episodes?

favourite mrs coulter outfit?

favourite set/location?

favourite lyra and will moment?

favourite dæmon?

favourite/least favourite change from the books?

any book scenes you would have liked to see in the show?

favourite casting choice?

which character do you think was portrayed best?

favourite scene(s)?

favourite piece of music from the soundtrack?

zeppelin, gyptian boat or balloon?

favourite book in the trilogy?

favourite season?

what do you wish the show had done differently?

favourite cast member?

scariest/funniest/saddest scene?

bested acted scene?

pick a meal

favourite lie lyra told?

favourite prop/object?

pick an unhinged mrs coulter moment

alethiometer, knife or spyglass?

which special effects did you like best?

which of the three title sequences is your favourite?

pick a scene that lives in your head rent free

which world would you most like to live in?

favourite portrayal of a minor character?

which character death hit you hardest?

are there any scenes you think were perfectly adapted?

pick a terrible scene from the golden monkey

[shilohthegreat]

1 2 4 and 5 for all your SpIns. (: ~ delta-parker

What first got you into your special interest?

for jayvik ummmm i started getting reccomended fanart of them back in 2024 when the show was airing still on netflix . i think the first fanart i ever saw was the "BEHOLD! THE HEXBUG!" artwork that makes the rounds occasionally . anyway i got sucked into the yaoi hole (my official anniversary with jayce + viktor as f/os is 1/12/25) and now i cant stop thinking abt those gay science fags . so

as for plushies ive loved them all my life !!! since Infancy basically

and for his dark materials . i read the bookseries in fourth grade initially but it didnt exactly Stick (i was witnessing the horrors beyond my comprehension at the time) but then i reread them when i was 14 and . its been autism ever since my apologies

What is your favourite part about your special interest?

for jayvik im obsessed with the both of them sorry but especially viktor . i love jayce so much he makes me mentally ill as well but viktor is the character that gets put into the blender ,,, to put it simply

plushies .... i am very objectum but it is generally the softness + the relationships i form w them . they all have their own personalities .

as for HDM hsshhshshshdhdbd its about Love . its all about Love . the entire bookseries changed my brain chemistry + even my own spirituality and religion . i dont mean that lightly . and also dæmons are cool i guess

If someone wanted to get into your special interest for the first time, where would you recommend they start?

FOR JAYVIK . it seems daunting but i promise once you watch the episodes or even a few compilation clips from arcane you will also be mentally ill about them . i have fanfic recs but thats an entirely different post by itself

for plushies . i dont know its very common for people to have a stuffed animal that is special to them in some way but generally pick one and carry it around w you and Bond and see where it goes . you will have a friend i promise

as for HDM . READ THE GOLDEN COMPASS/NORTHERN LIGHTS !!!!! go in blind !!!!!!!!

Share something cool about your special interest with us?

jayvik . i didnt anticipate that id be yaoi-ing out with fellow arcane fans about it and i did get into it like 3 months late after all the hype died down but HSHSHHSHHHH !!!!!! i love all the friends ive made just bc we're yaoi-ing out .... together

for plushies: i am very picky abt my stuffed animals . especially if they're realistic or something . but occasionally there will be an outlier and i become obsessed w them over a matter of days . this happens a lot w my new ones but the longest its lasted is w logan . i didnt know that logan would be a comfort object (or a boyfriend) . its like WOUGH

for hdm . did you know that the metal used in intercision is a maganese-titanium alloy specifically found in the Alethiometer and the Subtle Knife ?

[iviarellereads]

The Golden Compass, Chapter 4 - The Alethiometer

(THIS PROJECT IS SPOILER FREE! No spoilers past the chapter you click on. Curious what I'm doing here? Read this post! For the link index for His Dark Materials, read this one! Like what you see? Send me a Ko-Fi.)

In which it just gets more creepy but at least we finally learn what the book's named for.

Mrs. Coulter asks Lyra to sit with her for dinner. Lyra asks if she's a female Scholar, which is a role Lyra views with disdain presumably because of the attitudes of the male scholars she's spent the last many years with.(1) Mrs. Coulter says no, she's a member of the college Dame Hannah runs, but her work takes place outside it. Then she asks Lyra about herself, and Lyra eagerly recalls "her half-wild life", right up to the visit from the ghosts. Mrs. Coulter compliments Lyra on not being afraid of danger. Lyra ignores the Librarian for the whole of dinner, only talking to Mrs. Coulter.

After, when all the ladies and Lyra are chatting over coffee, Dame Hannah asks if Lyra will go to school, and Lyra says no, probably not, it's better for everyone if she just continues living at Jordan College and learning from the Scholars in their spare time.(2) The other lady asks if Lord Asriel has plans for her, and Lyra says sure, he's going to take her to the North next time he goes. Mrs. Coulter says she remembers him mentioning just that when she met him recently.

Lyra asks if Mrs. Coulter is an explorer, to which she says, in a way. She's been to the North a few times. That's all it takes to win Lyra's heart and full attention for the rest of the evening.

As the guests get ready to leave, the Master asks Lyra to go wait for him in his study, for a chat before she goes on to bed. She does so, and watches the front hall but never sees Mrs. Coulter put on her coat and go.(3)

Finally, the Master comes in, and asks if Lyra likes Mrs. Coulter. Lyra thinks she's just wonderful, yes. The Master sighs and says he should have talked to Lyra sooner than this, but matters are in motion and he couldn't put it off any longer. He's been fond of her, he would like to protect her longer, but it's time for her to go to another school, to get the sort of education that old men simply cannot provide a young lady.

Lyra is terrified of being sent to a musty old house, a sad excuse for a college, "with dowdy female Scholars who smelled of cabbage and mothballs like those two at dinner". But, the Master asks if Lyra would like to go live with Mrs. Coulter instead. She's acquainted with Lord Asriel, who surely wouldn't object,(4) and she could provide a woman's education.

Mrs. Coulter, of course, is eager to take Lyra in as an assistant, and makes a big to-do about needing her papers in order and calculations done which Lyra will have to learn. Lyra is willing to do anything for her.(5) Mrs. Coulter suggests Lyra go to bed, as they'll have to leave on a zeppelin very early, so Lyra does.

Only, Lyra is awoken very early by Mrs. Lonsdale, to speak with the Master before breakfast. The strangeness of the request wakes Lyra immediately, so she obeys without question. At the Master's college, he swears her to secrecy, and gives her an alethiometer: a truth-meter, one of only six ever made. Not even Mrs. Coulter should know Lyra has it. Unfortunately, Lyra will have to learn to read it herself, and she'll have to get back to her room without anyone seeing

The Master half mentions Asriel, and Lyra asks why, so the Master explains that Asriel presented it to the College some years ago. Before he can say more, there's a knock, and she has to flee by the garden door. Back in her room Mrs. Lonsdale has finished packing her things, and won't open the suitcase to let the new object in, so it has to go in her coat pocket.

Lyra says goodbye to the kitchen staff, feeling guilty about forgetting about Roger but hopeful that Mrs. Coulter can help her look for him. And then, as quick as everything else in the last day, she's in a zeppelin watching the world fly by as Mrs. Coulter talks of London and the glamorous trappings of Lyra's impending adulthood.

London is at least as glamorous as Mrs. Coulter implied, or at least her flat is. For lunch they go to the Royal Arctic Institute, where Mrs. Coulter tells Lyra never to eat bear liver, even to save her life, as it's poisonous.(7)

After lunch, they see the institute's library and some of the relics stored there, and then it's shopping for Lyra, who is deemed desperately in need of a wardrobe fit for a young lady of society. Then it's back home, and a bath, in which Mrs. Coulter washes Lyra's hair, and Pan has to turn away from Lyra for the first time because it would be inappropriate for him to witness "these feminine mysteries".(8) After the bath, it's bedtime in her glorious new bedroom… except at the last moment, after they're alone, Pan asks where "the thing" is.

Lyra retrieves the alethiometer from the coat she'd put in her new wardrobe.

It lay heavily in her hands, the crystal face gleaming, the golden body exquisitely machined. It was very like a clock, or a compass, for there were hands pointing to places around the dial, but instead of the hours or the points of the compass there were several little pictures, each of them painted with extraordinary precision, as if on ivory with the finest and slenderest sable brush. She turned the dial around to look at them all. There was an anchor; an hourglass surmounted by a skull; a chameleon, a bull, a beehive … Thirty-six altogether, and she couldn’t even guess what they meant.

Pan points out the wheels, three of them, each turning one of the three short hands to point to one of the images. The fourth hand is longer and made of a different metal, and can't be controlled at all. They don't know what the name means except for "meter" meaning "measure", and they've no clue what it's for, so they just try pointing the hands to different symbols to see what happens.

They debate whether the Master meant for Lyra to give the device to Asriel or to keep it away from him as well, but are interrupted by Mrs. Coulter suggesting Lyra turn out the light and get some sleep. Lyra agrees and says goodnight, turning off the light and tucking the alethiometer under her pillow.

=====

(1) Coulter is obviously pretending helplessness to give Lyra room to show off and be comfortable, but this "female Scholar" thing gives me a headache. (2) By the end of the chapter we know, of course, that this was one of the most naive things Lyra's said which is a high bar to reach. But, in her way, she's rebuffing the "female Scholars" she fears so much before they can presume to get their hooks in her. (3) Do you think she was eavesdropping, waiting for Lyra to agree? Or just waiting in full confidence of her effect on the girl? (4) Do you agree? (5) An interesting reflection of the children Mrs. Coulter has been abducting elsewhere. Lyra's not being stolen off the street, though this is likely just as thoroughly rehearsed and planned. But, what's so special about Lyra? Does she know about the fate the Master mentioned? (6) What a thoroughly odd bequest! (7) Basically true! Polar bear liver has been known to give desperate European explorers death by overdose of retinol, a form of vitamin A. It's not a pretty way to go, either. Also, note how she's stringing Lyra along with promises. Do you think they'll really go North? (8) Have you grasped the relationship between daemons and their people yet? Why would it be inappropriate for Pantalaimon to watch Lyra bathe? He's half of her, even if he's the male half.

[miloscat]

[Review] The Golden Compass (PSP)

His Dark Tie-in Game.

Wayyy back in 2016 I played the DS licenced game for the Northern Lights movie. I still haven’t seen the film but the PSP game is a decent way to follow up the Arctic animal companion game Never Alone, thematically. The DS game was unique among all the released versions; every other port was made by Shiny Entertainment. Remarkably, they put out the same game on PC, Wii, PSP, PS2, PS3, and 360.

The PSP might actually be the format it’s best suited to, with its cramped level design and disjointed gameplay. Or to put it another way, every other port was hampered by game design decisions built around the limitations of the weakest platform. My experience did suffer from mid-level loading and frequent audio hitches, not to mention the less-than-ideal PSP thumbstick. But there’s some kind of charm to the relatively low-res textures that are trying to capture this detailed fantasy world.

This version of the game certainly does a better job adapting the film than the DS game did (although apparently the structure of the game is based on a version of the film prior to a last-minute edit that rearranged the third act), with a richer 3D world and a mix of in-engine cutscenes and FMV movie clips. There’s spoken dialogue throughout with Lyra and Pan’s actors reprising their roles and everyone else with decent soundalikes, while the gameplay has a try at representing different tones and scenes with its various states and modes.

The problem is that none of these modes is well executed, at all. When it’s Lyra 3D platforming it’s clumsy, with a bad camera and no drop shadow. When Iorek is brawling it’s shallow and repetitive. Lyra and Pan are sometimes called upon to do “evasion” sequences of boring QTEs, while Lyra’s silver-tongued conversations are presented as gauntlets of tedious (and difficult!) minigames. These latter two also have a set of consumable items to make them easier, although you get totally loaded up with more than you’d ever need.

I do like how Pan has different forms that let him buddy-up with Lyra for different abilities: the ermine takes on precision actions and can scan your surrounds for interactables and lore, with the cat you can dash and climb, the hawk lets you glide Pathless-style, and the sloth(!) can grab and swing on poles. They’ve also added bits to the story which I always love to see in a tie-in game, although it’s mostly in the form of new boss characters for Iorek to fight, like an electro-tank, a magic shaman, a super-hunter with a wolverine dæmon, the witch-queen, and a heavily armoured flamethrower guy. But the strongest sections of the game are when it slows down and Lyra can explore an area, take in the detail they’ve packed in to make it feel real. These “adventure game” feeling parts also spotlight the alethiometer feature.

The eponymous device has a complex series of symbols, which Lyra gradually learns more about. This is often represented by picking up a big glowing collectible in the world, but there’s cleverer occasions where an object in the world will grant you the understanding of one of the three meanings of an icon, representing how Lyra’s life experiences are giving her deeper wisdom which leads to more accomplished use of the oracular object. You can then ask it prebaked questions, whether for plot or fleshing out the lore, using the meanings you’ve discovered and filling in gaps as a player by induction or intuition. Sadly this does then lead to another boring minigame, but there’s the core of a really interesting dynamic here.

Due to the nature of the story the back half is very action-heavy when Iorek becomes playable, although they move a section of this to the start of the game, I guess for a more exciting cold open. But it’s rarely engaging enough to not become frustrating or dull, even with how varied the gameplay styles are. Every individual part is stilted and ends up dragging, so ultimately the game feels like it both skips around and plods along. The sprinkling of good ideas, occasional cheesiness, and the strength of the source material can sometimes shine through, but on the whole... what a mess.

[oakleystreet]

A L E T H I O M E T E R

CREATION: 1612 in Prague (first model).

CREATED BY: Pavel Khunrath.

MADE OF: usually gold, the needles being composed of an alloy of titanium and gold.

PURPOSE: interprets the truth by interacting with Dust.

The Alethiometer is an object created by Pavel Khunrath, an alchemist, around 1612 in the city of Prague. Khunrath had meant to create a device that could read the stars alignment, but upon discovering the alloy coming from the mixture of gold and titanium, he realised that the magnetic properties of this alloy worked much like the needle of a compass pointing north, except this one forced its mythical alloy needle to point to the truth.

Khunrath’s experiments benefitted from the rule of the emperor Rudolf II, who was liberal and keen on allowing alchemists to perform in the city, but once he died and his new successor, emperor Frederick, proved to be more conservative, Khunrath was sentenced to death, burned at the stake in the name of the Magisterium.

The Alethiometers were once deemed unreadable without the books, with the extraordinary exception of Lyra Belacqua’s innate skill. It is believed one takes years, even with the help of the books, to read properly and clearly any questions made. 

Six instruments are known to exist and they were scattered across the world. Their possession can be considered even heretical depending on the country one is using it, and the Magisterium often tries its best to get ahold of every single one of those, since a good reader with a single instrument and proper books can do a lot.

Before the Great Flood (likely post-February 1986, according to the timeline), some of the alethiometers moved hands quite considerably.

one alethiometer was placed in the University of Uppsala, and it’s implied someone read this instrument for Oakley Street (LBS, chapter 13, page 256);

one was placed in the Bodleian Library in Oxford, used by a group of scholars who did studies on the depth of particular symbols and used by Hannah Relf to make questions on behalf of Oakley Street (LBS, chapter 13);

one had been in Bologna, in possession of a scholar who also read on behalf of Oakley Street and who had been killed, and a few weeks prior to the flood, this instrument was handed to Hannah Relf personally, to be read for Oakley Street. (LBS, chapter 13);

one was placed in Geneva, being read by the Magisterium although it is never disclosed which group has it;

one was placed in Paris, assumingly in an university, and was read on behalf of the Magisterium;

one was with Gerard Bonneville, who had stolen it from monks in Bohemia, and then it was stolen by Malcolm Polstead and by the end of the flood, it was gifted to the Master of Jordan College and Lyra Belacqua.

Between the events of NL and TAS (ranging between 1996 and 1998), the alethiometers also seem placed in different places from the original locations in LBS:

one was in possession of the Consistorial Court of Discipline in Geneva, being read by Fra Pavel. It isn’t clear if this is the same one as the one in Geneva during 1986.

one was in possession of the Society of the Work of the Holy Spirit, also in Geneva;

one was in possession of Lyra Belacqua, moving worlds as she did so; this one is the same alethiometer that had been in possession of Bonneville;

one was with Lord Asriel at the Basalt Fortress; it isn’t disclosed which one this was;

two alethiometers are unaccounted for based on their original locations and because the ones owned in this time spot can’t be traced back to the old locations, it’s hard even to guess which one is which. Hannah Relf, for example, could have lent her alethiometer to Asriel’s alethiometrist, or they could have stolen one; the same goes for the CCD and the Society’s one. The only one accounted for is Lyra’s.

During the events of The Secret Commonwealth, the alethiometers seem to have changed hands once again.

one is placed in La Maison Juste, being read by Olivier Bonneville, who eventually leaves the city and takes it with him (i think he loses it when he is arrested but imnot sure /fc);

one is with Hannah Relf, very likely the same one from Bologna;

one is still with Lyra Belacqua, the one which had belonged to Bonneville;

Paris, Uppsala and Bodley’s (fact check but the other 3 are never disclosed but im not sure and im tired)

KNOWN ALETHIOMETRISTS

Hannah Relf, in Oxford (during HDM, although she never is portrayed reading it and TBOD);

Fra Pavel, in Geneva (during TAS);

Teukros Basilides, in the Basalt Fortress (during TAS);

Lyra Belacqua, in Oxford (during HDM, LO, S, TSC);

Olivier Bonneville, in Geneva (TSC);

A reader at Uppsala University (during LBS);

A reader at the Society of the Work of the Holy Spirit (during TAS);

THE SYMBOLS AND THEIR MEANINGS

The Alethiometer is composed of 36 symbols that can be drawn in different styles but that follow a same common principle, such as the hourglass always having a skull on top. (?) (The symbols will get a separate post discussing their meanings in canon).

Hourglass

Sun

Alpha and omega

Marionette

Serpent

Cauldron

Anchor

Angel

Helmet

Beehive

Moon

Madonna

Apple

Bird

Bread

Ant

Bull

Candle

Cornucopia

Chameleon

Thunderbolt

Dolphin

Walled Garden

Globe

Sword

Griffin

Horse

Camel

Elephant

Crocodile

Baby

Compass

Lute

Tree

Wild Man

Owl

[viciousgold]

I knew I was forgetting something in that guide; terminology of marisa's world (this also isn't all of them, just some basic ones, I also took out the places and people bc we already covered that in the guide)

general terminology:

Aeronaut: Balloonist. Obsolete term. From the Greek aer 'air' and nautes 'sailor'.

Alethiometer: "The Golden Compass". Literally meaning 'Truth Measure'. From the Greek alethes 'truth' and meter 'measure'. Compare to the modern English philosophical term alethiology 'study of truth'.

Anbaric: Electric. From the Arabic anbar 'amber' and the Latin electrum 'amber'. Electric was originally adopted to describe objects that develop static electricity when rubbed, a property first observed in amber.

Atomcraft: Research into particle physics, specifically using uranium.

Cauchuc: Rubber. From the Quechua caoutchouc, meaning 'natural rubber or latex'.

Celestial geography: Celestial navigation.

Chapel: Scientific Laboratory.

Chaplain: Head of a Scientific Laboratory.

Chocolatl: Chocolate. From the Nahuatl chocolatl 'chocolate'.

Chthonic Railway Station: Underground Railway Station. From Greek chthonos 'underground'.

Cloud-pine: A type of wood used by Witches for flying.

Coal-silk: Nylon. A synthetic fibre made from coal that was invented as a substitute for natural silk.

Dæmon: The physical manifestation of a human soul in Lyra's world. This distinct spelling is intended to evoke the older sense of an "attendant spirit" and thereby distinguish it from the Judaeo-Christian use to refer to an evil spirit or devil.

Dust: An elementary particle. Known as shadows, shadow-particles or dark matter in Will's world, and sraf in the mulefa world. The name Dust was chosen in Lyra's world based on an interpretation of the end of the Third Chapter of Genesis in the Bible, where God curses Adam and Eve for eating the fruit of the tree.

Fire-mine: A geothermal vent in which the panserbjorn work in metallurgy; supposedly impenetrable to humans and witches.

Gyropter: Helicopter. Obsolete term. From the Greek gyros "spiral" and pteron "wing".

Marchpane: Marzipan.

Naphtha: Oil. A petrochemical like kerosene.

Peaceable Ocean: The Pacific Ocean. Name given in the 16th century in recognition of the calm seas experienced by explorer Ferdinand Magellan. A direct translation of the Latin pacific 'peace-making, tranquil' into English.

Photogram: Photograph. Obsolete term. From the Greek photo 'relating to light' and gram 'something written'.

Experimental Theology: Physics.

Tokay: A rare golden wine. Probably based on the Hungarian wine Tokaji.

[cozcat]

His Dark Materials fan week 2021 | day 5 | a favourite adaptational change | the alethiometer theft in the National Theatre play

In the play, Lyra and Will exchange the alethiometer and the letters before parting in Will’s Oxford - as a show of mutual trust. Thus, instead of stealing the alethiometer on purpose, Lord Boreal steals a clearly precious object from Will, assuming it to be the letters from John Parry that he is searching for. It’s a short, simple way of showing that these characters have nobody to trust but each other, and Will’s guilt at having lost the alethiometer adds another layer to the search for the knife.

[blueraspberrykaiyaa]

It’s funny how important a little silly knife is like it’s so stupid why did they love objects

Will and his aesahettr

And Lyra and her alethiometer like go to school kids

Lmao

@raspberryrumii why were you so obsessed with your alethiometer

[no-light-darkness-visible]

HDM Fanweek 2021 Day 3

A Favorite Object: The Oakley Street Hollow Acorn

Although I was well into adulthood when La Belle Sauvage came out, I was really interested in spy stuff when I was a kid and learned about things like dead drops and how to figure out if you are being tailed. Later, as a teen, I was into geocaching and got really good at finding sometimes tiny caches. The Oakley Street acorn is a lovely combo of those interests.

I’d be unable to use an alethiometer in real life. I’d be unable to use The Subtle Knife or bear armor. They would be mere display pieces. I have a revolver like Lee’s locked and hidden away and I pray that I never need to use it outside of a firing range.

But the acorn? Oh hell yes. Give me twenty of those. Give me fifty. I will hide them in my friend’s purses with goofy messages. I will put them in the library with notes for strangers. I will create a geocache in the 2020′s with an acorn. No magic required, I can make my own with this, thank you.

[lordeasriel]

Ooh these questions are all so good! I'm having to limit myself here: 1, 3, 6, 9 and 25

1. His Dark Materials or The Book of Dust? Why?

TBOD for sure. HDM is epic and all but I find it lacking in purpose when push comes to shove; TSK was very lacking as a sequel and TAS felt incomplete and rushed, plus most of it feels like it had no consequences or outcomes, either in TAS or TSC.

LBS and TSC establish a more in-depth world and I find the characters from TBOD more likable and more relatable; for example, I care a lot more deeply about Robert Luckhurst and Anthony Hassall (both characters that are minor and that die early on in both novels) than I do about Lee, for example, and he is a character that features in pretty much three novels.

Everything in HDM feels rushed and a bit careless, and while TBOD has a complex and confusing and conflitcting worldbuilding, it still manages to make you see a whole world alive, while HDM feels, as a whole, a very limited experience. With TBOD, I realised that the Magisterium couldn't possibly hope to control the whole world - nor do it the same way everywhere - and it made me see that, while people in Europe would be living in certain ways, people from other places would definitely live differently.

3. Favourite niche character.

Glenys Godwin!

6. A controversial opinion on HDM or TBOD.

For HDM, it's that I think Will is a very poorly written character, which is no news in this blog lol I find him a very flat character and he also sucks as an in-character person. His motivations are flat, his role in the story is the reason why I felt HDM was ruined to me and so on.

For TBOD, I think it's that I think Olivier will end up with Lyra. It's not something I'd want, because I want Lyra not to move on from one relationship using another, but it's something I've noticed in small patterns and I've seen it before in TSK and I feel like it's where it's headed.

9. For TBOD 3, one thing you don't want to be in the book.

Following my massive list of "Philman pls don't" things, another thing I don't want in TBOD 3 is some justification for Marisa's behavior. This speech that something made her into what she is was always something that irked me whenever interviews for the show happened and it's something that terrified me, because I worried Philman would kinda be enlightened by it and write some bullshit to justify her attitudes. This clashes so hard with the whole 'you cannot change what you are, only what you do' theme of the books that I'd hate to see some explanation for Marisa being who she was.

Especially cause I know it could be some childhood trauma explanation or some sexual violence consequence she suffered and boy, I hate just thinking about that.

25. An object you'd like to own, if you could.

The Alethiometer. I like puzzles, I like Lyra's world, and I feel like I would spend a whole lifetime studying it and trying to understand it. In fact, if I had the option to do so and I lived in Lyra's world, I'd probably be an Alethiometrist. I find that state of mind thing you have to have to use it something I'd probably find useful in my lfie today.

[mxrisabelaxqua]

Day 3: Favourite object(The Alethiometer)

Chapter 3 — Truthseeker

[kirjavas]

Number 25 for the hdm/ tbod asks :)

<33333

an object you'd like to own, if you could i would take the alethiometer in a heartbeat but i've always been drawn to the knife too (although i wouldn't trust myself with it)

[bluebellravenbooks]

An Oxford tour with His Dark Materials: part 2

As an overly enthusiastic Oxford resident, I was delighted by the latest HDM episode. Here are my thoughts and comments on the city as shown in the series. Today I'll fangirl about the city museums; you can find part 1 with the introduction to Oxford here.

After wandering the streets of Oxford with Will, unsuccessfully trying to find her Jordan College (and actually visiting the prototype of Jordan in the books, which is Exeter), Lyra notices a poster for an Arctic exposition and heads to the museum. This beautiful building houses the Natural History Museum, which has, along with many other things, the last remains of soft tissue of dodo (this made dodo a sort of a local Oxford symbol and a subject of humorous folklore).

(Pro tip for when the pandemic ends: there is a cafe on the balcony with a magnificent view of the room. From up there you can see that every column is topped with a different leaf pattern - the level of detail in this building is just beyond comprehensible.)

Lyra has to cross this room to get to her destination - the Pitt Rivers Museum of anthropology.

Now, this is easily one of my favourite places in the world, and the show actually gives a pretty true-to-life idea of how it feels - except you can't see that all the drawers are stuffed with objects as well, and there are two more levels on the balconies above the main floor.

Lyra stops near a display of traditional waterproof coats made from animal intestines - interestingly, in the first book she wore one of those during her trip to the North, while in the TV series it was obviously changed to something pretty that wouldn't keep her alive in the real North for a day. (Booo to that costume choice from someone who has seen real winter, and who thinks that the traditional costumes are actually cool.)

Having consulted the alethiometer (there are some objects in Pitt Rivers that look very similar to it, by the way), Lyra walks past this display of creepy wooden statues. Yes I can affirm that they are just as creepy in real life, but also actually very, very cool. This thing is a donation box - called "Antropologists' Fundraising Ritual" - and it has little statutes of some of the original collectors who contributed to the museum, made by the artist from sustainable and discarded materials. There's an amazing level of detail in these statues - one of the anthropologists even has a tiny cat that she used to take on her trips, using the cat as a cultural ice-breaker. When you walk past, these statues move and jingle menacingly and their eyes light up, and if you drop a coin into the slot they bow (while jingling just as menacingly).

I love this thing with all my heart. If I ever manage to do something with my research, please let me be commemorated like this.

The displays are organised in a unique way in Pitt Rivers - not by counry or century, but solely by topic. For example, you can see the Writing display behind Boreal, and there are others such as Animal Forms, Human Forms, Music and so on. While this looks like a museum curator's worst nightmare, this also makes for an amazing viewing experience, allowing you to compare and see patterns in a way that's just not feasible if objects are distributed across three floors.

Lyra and Boreal contemplate some skulls. This is a good point to add that, of course, being a British anthropology museum, Pitt Rivers is miles away from unproblematic. While some of the objects have well-traced and ethical history of acquisition, many others belong to the cultures that have lost a lot, and there's a strong argument that they need their cultural objects more than a museum does. From what I know, Pitt Rivers looks at returning objects on a case-by-case base, but they always return human remains if they have been requested. Which is a start, of course, but there are still tons of colonialst baggage here.

One of the most popular displays in the museum had the famous "shrunken heads" - I think that's the very case that Lyra is looking at; very recently a decision was made to remove them from the public view. Pitt Rivers is trying to deal with the colonial heritage issues, and I respect that a lot; however in this particular case I felt that their messaging came across wrong. Surely studying the objects and presenting them in a more thoughtful way, providing context and information, promoting the discussion of past mistakes, is better than just hiding them away? However I'm very aware that I'm not an expert in this field, and that culture/colonialism/museums discussion is a complicated one, so I won't say more on this - for the interested among you, this has been covered quite extensively in local news.

To finish on a lighter note, I'll add some of my own pictures of these museums, so that you can appreciate their (somewhat ethically controversial but still extremely interesting) beauty:

Next up: the last part of the episode, some stunning aerial views of Oxford and the disappointingly fake Botanic Garden :)

[cdyssey]

“Lyra’s Jordan” Reaction:

Hello!! I just recently got into the His Dark Materials series, and now that I’m almost done with the The Subtle Knife, I wanted to start the first season of the show! It caught my eye on Tumblr and made me want to start the books in turn. I’ve heard such good things about the series, and I’m keen to see what it does with this gorgeous world of Pullman’s.

DJDJS, nooooo, not the expositional text scrawl. I get it. You have to introduce people to this world, but still.

OH, it’s Asriel, Stelmaria, and Lyra!!!!!

Aughshsh, baby Lyra smiling at the Master. 😭

Lmao, the canon of Asriel literally just dropping his baby off at a college is objectively the funniest thing in the world. The Master is just like, Wtf? What is wrong with you, man? (To which the right answer, ofc, is a lot of things.)

OH, Dafne Keen is already everything I’ve ever wanted in a Lyra adaptation. Playful, witty, adventurous, (currently) carefree. The type of girl who has no qualms playing with a skeleton’s bones.

And I’m also really glad we get to see these shots of Lyra and Roger playing together. It feels like such a real childhood friendship.

Ooooooh, the show’s letting us see what Asriel’s up to even when Lyra’s not around, which I think is a great move. In the book, Asriel really only showed up at the beginning and end, so having some extra content to help flesh out his character is nice.

Whoa! The title credits and score are so pretty. They remind me of the ones from The Crown.

The Librarian’s fond smile at Lyra when she says please is wonderful. And then she yeets out JSJSJSJSJS. Perfect Lyra.

“The retiring room is expressly forbidden!” / “Not for family reunions.” SJSJSJ.

The Master’s hand shaking as he pours the poison into the Tokay. 🥺

They did such a good job capturing Stelmaria’s air of elegance and regality. I love her VA!!!

God @ Asriel pinning Lyra down. You suck. When I was reading the book, I didn’t know what to think of him until this precise moment, which shaded all my impressions of him from there on out.

(Holistically, tho, I actually do love both his and Mrs. Coulter’s characters. They’re both stunningly vile, but Pullman invests them with such interesting nuances that they’re genuinely two of the most electric characters in a series full of electric characters.)

God @ Lyra rubbing her shoulder after Asriel lets her go. Worst. Father. Of. The. Year.

“I’m sure he had a good reason. To be honest with you, if I were him, I would be afraid of me.” / Huh, I don’t remember if these lines were in the book, but the self-awareness here is really interesting. Asriel knows that he’s playing with dangerous fires, and he’s still doing it anyway.

That sweater on Asriel? And that little gray curl in his hair? Hot damn.

A subtle worldbuilding detail that the show was spot on to pay attention to is how all of the Scholars are essentially old men.

Between Asriel and Dr. Malone, Pullman really understands how much of academia runs on asking for grants hahahaha.

OH, MY GOD. IS THAT MA COSTA.

SHE’S SO WARM AND LOVELY AND OH MY GOD. BILLY. HE’S SO SMALL. JESUS.

And the inclusion of this little coming of age ceremony is beautiful. 😭 The Gyptians are so wonderfully communal.

BILLY 😭😭😭😭😭😭😭.

Aufh, Asriel carrying a sleeping Lyra to bed. That’s so soft.

Ur still a shitty father, tho.

But you’re a nuanced man, and I appreciate that.

Lyra waking up and smiling gently in realization. Asriel untying her shoes. Oh, my g o d.

“Can I see the man’s head?” / “No, why would I let you do that?” KWEODIDJ.

This Master and Librarian conversation has me tender. They both care for Lyra so much.

Lyra desperately pleading for Asriel to take her with him. 😭😭 And Asriel’s response: “I am sorry, but I just don’t have time for you right now.”

GOD.

“Did it look like this?” / “What?” / “The airship that my parents died in.” / “No. No, it was smaller.” Jesus.

Something that got me from the books, and that gets me here, too, is that the adults in Lyra’s life had had a similar refrain. “A college is no place for a child.” “The North is no place for a child.” And because these are the only paradigms that Lyra knows, whether through experience or imagination, the most consistent lesson that she’s ever been taught is that there is no place where she belongs.

JOHN FAA!! I love him.

And man, I’m really appreciating the way the show is paying close attention to the Gyptians, who are marginalized in their world. The way that they’re organizing to look for Billy just has me feeling some type of way.

OH? Lord Boreal!!??

“That includes her.” IT’S TIME.

I’m not going to lie. The Tumblr gif that got me interested in the series was a set of Ruth Wilson acting her ass off, so I’m ready to be hurt by her in so many more ways than one.

LMAO, this evil theme at her power walk entrance. Perfect.

The golden monkey!! He looks so deceptively cute here.

It is insane how much Dafne and Ruth weirdly favor each other. If you told me that they were really related, I’d actually believe you.

Thinks about how this is the first time Mrs. Coulter has seen her daughter in, like 12 years.

Also, ooooh, the Master in the background is intently monitoring the conversation because he knows how significant it is, and ofc, he’s absolutely wary of Mrs. C.

She’s so soft-spoken here. 😭

AUGH, and her reaching up to briefly stroke Lyra’s cheek.

“You feel utterly alone. And you feel utterly... magnificent.”

Lyra’s wide-eyed adoration of Mrs. C breaks my heart. It only makes the revelation of her true nature all the more awful. Though she doesn’t know it at this point, Lyra looks up to both of her parents, and both of them so completely fail her.

Wow, in the show, is the implication is that Mrs. Coulter gets Roger kidnapped because Lyra talked about him to her??????? Brutal.

OH, GOD. RUTH WILSON’S FACE AT LYRA UNRESTRAINEDLY HUGGING HER FOR THE FIRST TIME. THE SURPRISE, the CONFUSION, the TENDERNESS.

Roger. 😭

Ma Costa sobbing and Tony hugging her oh my g o d. I’m upset. It is no coincidence that this scene almost comes directly on the heels of the Mrs. Coulter/Lyra hug. The juxtaposition is bonechilling. Mrs. Coulter is partaking in the joys of motherhood for the first time, and Ma Costa is contending with the grief of missing a child directly because of everything that Mrs. Coulter is doing.

“Lord Asriel himself brought it to the college when you were just a baby.” Cue the Master and Librarian smiling fondly at their little Lyra, remembering. 🥺

Lyra frantically shrieking for Roger stings. The show did an excellent job of capturing their friendship—honestly, better than the books I would argue.

“BECAUSE YOU’VE BEEN A GOOD AND STRONG MOTHER TO HIM, MAGGIE.” I’m crying a little at this line because my name is Maggie, and so now I love Ma Costa even more if that’s at all possible.

John Faa’s casting is pitch perfect. He’s authoritative and stern but so caring and compassionate at the same time.

In an alternate universe, Mrs. Coulter and Lyra track down the Gobblers would be such a badass plot line.

“We’ll have plenty of time to discuss whenever you wish.” Wow, this line echoes Asriel’s from earlier: “I am sorry, but I just don’t have time for you right now.” But the irony is that they’re both saying nearly the same thing. Mrs. Coulter may say this, but she absolutely doesn’t mean it.

OH, the complexities here!! The monkey noticing that Lyra shoves the alethiometer deeper into her pocket, Pan noticing the monkey growling, and then Mrs. Coulter looking up. Such quick but charged moments.

What a magnificent first episode. I’m already hooked.