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If the reader's discomfort at the Values Dissonance is precisely the point, then it sounds like its being done "deliberately"
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* ValuesDissonance: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to the ValuesDissonance, but that's precisely the point.
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* ValuesDissonance: DeliberateValuesDissonance: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to the ValuesDissonance, but that's precisely the point.
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None
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* HoYay: Will and Bran. Possibly Will and Merriman too, given that Cooper originally intended ''King of Shadows'' to be about a love affair between Creator/WilliamShakespeare and a boy actor. Note in ''Silver on the Tree'', where Bran comments on the prettiness of Jane Drew, which Will as an Old One seems completely oblivious to. This could be seen, however, as the author throwing in a HaveIMentionedIAmHeterosexualToday moment to discourage such thinking. It should also be noted that by the time of the last books, Will has very much settled into his role as Will the Watchman of the Light, with his humanity openly acknowledged as more protective coloration by this point. Poor Bran seemed very delighted to meet mortal kids in the last book. Being an Old One's best friend=not easy.
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* HoYay: HoYay:
** Will and Bran. Possibly Will and Merriman too, given that Cooper originally intended ''King of Shadows'' to be about a love affair between Creator/WilliamShakespeare and a boy actor. Note in ''Silver on the Tree'', where Bran comments on the prettiness of Jane Drew, which Will as an Old One seems completely oblivious to. This could be seen, however, as the author throwing in a HaveIMentionedIAmHeterosexualToday moment to discourage such thinking. It should also be noted that by the time of the last books, Will has very much settled into his role as Will the Watchman of the Light, with his humanity openly acknowledged as more protective coloration by this point. Poor Bran seemed very delighted to meet mortal kids in the last book. Being an Old One's best friend=not easy.
** Will and Bran. Possibly Will and Merriman too, given that Cooper originally intended ''King of Shadows'' to be about a love affair between Creator/WilliamShakespeare and a boy actor. Note in ''Silver on the Tree'', where Bran comments on the prettiness of Jane Drew, which Will as an Old One seems completely oblivious to. This could be seen, however, as the author throwing in a HaveIMentionedIAmHeterosexualToday moment to discourage such thinking. It should also be noted that by the time of the last books, Will has very much settled into his role as Will the Watchman of the Light, with his humanity openly acknowledged as more protective coloration by this point. Poor Bran seemed very delighted to meet mortal kids in the last book. Being an Old One's best friend=not easy.
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* NightmareFuel: The Mari Llwyd in the final book, at least to Bran (and possibly any reader with a fear of DemBones). Also, the fate of the painter in book three is literally this, since the Wild Magic the Greenwitch unleashes upon Trewissick is to resurrect the ghosts, dreams, and nightmares of the past so as to haunt the town, and they end up dragging the painter away in the place of a supposed traitor who had doomed the ship ''Lottery''. (One wonders if Creator/SusanCooper had read Shirley Jackson...)
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* NightmareFuel: NightmareFuel:
** The Mari Llwyd in the final book, at least to Bran (and possibly any reader with a fear of DemBones). Also, the fate of the painter in book three is literally this, since the Wild Magic the Greenwitch unleashes upon Trewissick is to resurrect the ghosts, dreams, and nightmares of the past so as to haunt the town, and they end up dragging the painter away in the place of a supposed traitor who had doomed the ship ''Lottery''. (One wonders if Creator/SusanCooper had read Shirley Jackson...)
** The Mari Llwyd in the final book, at least to Bran (and possibly any reader with a fear of DemBones). Also, the fate of the painter in book three is literally this, since the Wild Magic the Greenwitch unleashes upon Trewissick is to resurrect the ghosts, dreams, and nightmares of the past so as to haunt the town, and they end up dragging the painter away in the place of a supposed traitor who had doomed the ship ''Lottery''. (One wonders if Creator/SusanCooper had read Shirley Jackson...)
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* SequelDisplacement: ''The Dark Is Rising'' is the ''second'' book in the 'Dark Is Rising Sequence'. The first, ''Over Sea, Under Stone'', was written as a standalone children's story and published in 1965, and it took eight years for the TropeNamer to appear – during which time Susan Cooper {{retcon}}ned some of the first book's elements into aspects of a deeper story that then played out over four further volumes. Some fans argue the sequence can be read without the first installment; certainly ''The Dark Is Rising'' is the source of many of the series' defining features listed here, its best-known volume, and came to lend its name to the sequence as a whole.
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* SequelDisplacement: SequelDisplacement:
** ''The Dark Is Rising'' is the ''second'' book in the 'Dark Is Rising Sequence'. The first, ''Over Sea, Under Stone'', was written as a standalone children's story and published in 1965, and it took eight years for the TropeNamer to appear – during which time Susan Cooper {{retcon}}ned some of the first book's elements into aspects of a deeper story that then played out over four further volumes. Some fans argue the sequence can be read without the first installment; certainly ''The Dark Is Rising'' is the source of many of the series' defining features listed here, its best-known volume, and came to lend its name to the sequence as a whole.
** ''The Dark Is Rising'' is the ''second'' book in the 'Dark Is Rising Sequence'. The first, ''Over Sea, Under Stone'', was written as a standalone children's story and published in 1965, and it took eight years for the TropeNamer to appear – during which time Susan Cooper {{retcon}}ned some of the first book's elements into aspects of a deeper story that then played out over four further volumes. Some fans argue the sequence can be read without the first installment; certainly ''The Dark Is Rising'' is the source of many of the series' defining features listed here, its best-known volume, and came to lend its name to the sequence as a whole.
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* ValuesDissonance: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to ValuesDissonance, but that's precisely the point.
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* ValuesDissonance: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to the ValuesDissonance, but that's precisely the point.
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Once Acceptable Targets is no longer a trope
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* OnceAcceptableTargets: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to ValuesDissonance, but that's precisely the point.
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* ValuesDissonance: The racist and his son in ''Silver on the Tree'', targeting Pakistanis (and the child and family in question was actually from India). The fact his views and hatred are portrayed as being of the Dark, or at least the sort of thing that the Dark would promote and encourage, but at the same time Merriman later says that even without the Dark, "good men will still be killed by bad, or even other good men, and there will still be...anger and hate", does a very good job of relating mythic evil to the more everyday evil we find in the world. May create a great deal of discomfort in the reader thanks to ValuesDissonance, but that's precisely the point.
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None
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** King Gwyddno and Gwion from ''Silver on the Tree'' have this in spades. The insistent use of "love" and its derived terms when describing their interactions in the chapter in which they reunite makes it seem quite deliberate.
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Cut trope
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* FamilyUnfriendlyAesop: In a kind of/sort of a way. The books are awfully feudal. Which in many cases is historically accurate. But the themes of people who are born to great power and privilege and other people who are derelict in their duty if they do not serve them can be rather jarring. Jane, in the 1970s, spots Bran and instantly feels that he has "great rank...high natural degree" and has an impulse to curtsey.
