Microsoft Word final-current Developments at the Intersection of British Children-online-version doc

Artemis Fowl
concede to fairy technology a comparatively dominant position. Here, the plot 
is strongly influenced by the technology, which therefore stands in the foreground.
Of the fairy technology Fogarty and Henry are confronted with, the above-mentioned 
portals stand out as extraordinary. Without them, the contact between the worlds would not be 
possible.
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Besides the portals, other fairy technology encompasses weapons, defence systems, 
communication and intelligence. Reminiscent of Pullman’s Will in The Subtle Knife, fairy 
prince Pyrgus owns a Halek knife with a crystal blade,
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lending him extraordinary strength 
and superiority over opponents.
A third branch, the forest faerie, distinguishes itself from the fairies of the Light and 
those of the Night by their pronounced pacifism and neutrality. Reminiscent of Tolkien’s 
Lothlórien-elves, these forest faerie voluntarily withdraw from the ordinary everyday life of 
larger settlements. Instead, like Pullman’s mulefa, those faeries form an alternative, harmonic 
community, living in line with nature in remote regions of the forest. It is only with the 
explicit consent of the forest faerie that selected members of the outside world are granted 
access, particularly in crisis situations. By means of their voluntary isolation, these fairies can 
therefore keep their powers hidden from the general public. Whereas vague allusions to their 
incredible spell technologies
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are made, the full scope cannot be fathomed. One can give 
them credit for playing their cards close to their chests. Nevertheless, it transpires that if they 
so desired, these fairies could not only easily take over and control the entire fairy realm, but 
the primary world as well.
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Here, the point made is their deliberate and wise abandonment of
confrontation and violence. These noble traits raise the Forest Faerie – comparable to 
Pullman’s mulefa – above the petty quarrels of the others. 
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In this respect, his versatility matches that of Artemis Fowl. Both understand and work with fairy technology 
without any problems whatsoever.
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An exception from this rule is a potion which, when drunk, has the same effect of translation into a parallel 
world. However, this is no standardised method in the series and limited to one incident so far. Compare 
Brennan, The Purple Emperor, p. 297.
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Ibd., p. 27. 
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Compare Brennan, The Purple Emperor, p. 245.
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Ibd., p. 232.

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Despite the above-mentioned innovations, the relation between the latter and the plot 
is well balanced, which ensures that the plot is enriched by the addition of interesting new 
dramatic elements and that the plot itself remains the centre of attention and not the extras. 
Other authors, above all Eoin Colfer, are also enthused by this new possibility. Yet, they have 
to pay heed to a possible predomination of the dramatic effects over the story they intend to 
tell.
A high level of mechanisation of magic can be found in the bestselling series of 
Artemis
Fowl. Although he is Irish, its author, Colfer, illustrates the topical redefinition of 
magic’s field of application in modern British fantasy for children in a special way. By 
combining traditional elements of magic with ultramodern and futuristic technologies,
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Colfer ventures into new areas, thus enlarging the horizon of possibilities. With his intelligent 
and resourceful inventions the author becomes an influential pioneer of modern magic. This 
commitment is not restricted to Artemis Fowl. Instead, Colfer’s involvement with original 
concepts extends to further novels penned by him, in which magic treads new paths. In The