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villainihavedonethymotheronao3 · 2 years

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AU where the rage of seeing his brother with That Witch triggers his curse and Philip has a horrifying transformation that he can’t control. He does still very much try to kill Caleb but Caleb assumes it’s the curse and he and his wife and some townsfolk manage to subdue him.

Since Philip can’t figure out how to turn back yet and being a ten foot swamp monster does make it hard to carry out his wicked plans, he lets himself be soothed. Caleb explains that it’s alright, he’ll find a cure, and they’ll stay with his wife’s family in the meantime. Internally Philip is seething but he figures it’s best to play nice. He doesn’t have many other options.

It takes him decades to figure out how to temporarily reverse his transformation and in that time he gets 5 satanic nieces and nephews who are very fond of using him as a jungle gym. Caleb is constantly fussing and the Clawthornes, though wary at first, have accepted him as a sort of Family Beast. (Caleb didn’t mention the eating palismen thing.) “Yes, that’s our Philip! He’s a bit odd. Made out of grime and muck, can only communicate through deafening roars or by scratching words on the ground. Bit angry but I’d be too under the circumstances.”

The elixir he gets off of a traveling salesman works! But only for a day. And, he realizes rapidly, he can build up a tolerance to it. He needs to ration his use.

The first thing he does is go looking for the Collector, who he did his own research on while trapped with the Clawthornes (nephews are surprisingly useful for turning book pages). Caleb is distraught when he disappears, of course, he runs himself ragged looking for him. But Philip pops back up eventually (plus one mirror tucked in his mud flesh and a plan to kill all witchkind) and the Clawthornes just kind of accept that Philip disappears now.

Since he can’t overuse his new cure he instead sticks close to the Clawthornes, relying on their trust for him as cover while he enacts his plans more subtly. He gets money by murdering people on the road and then uses that to bribe agents. It takes some effort to hold a pen in his larger form but anonymous screeds and books about the purity of magic are almost as convincing as a preacher, especially when accompanied by attacks on border towns by a strange, indescribable monster. There’s a surplus of wild palisman around the Clawthornes, no one notices when a few go missing, everyone assumes that they found new people or new places to live. And when he really needs to make a scene he chugs a potion and goes to spread his message in person.

‘Belos’ is the name of a rabble rouser who won’t show his face, who keeps spreading unsettling stories about the Titan and magic itself. Philip is just a large, unfortunate, slightly sticky guy with eyes everywhere and deer horns. He’s good at lifting heavy things and has a seemingly infinite patience for small children and he sometimes goes into the woods to nap or chase rabbits or something.

Eventually Caleb dies (80, in bed, surrounded by children; it’s more than he deserves, the traitor) but Philip still stays with the Clawthornes. They make a very nice cover story and he does need one as pushback to Belos reaches its peak. Even when his message starts to win the war, when there are more adherents to his makeshift religion than nonbelievers, when his puppet monarch (he used Caleb’s bones, which he had such easy access to, to make a grimwalker and claimed the child was Titan sent) is actually crowned, he stays. The elixir really doesn’t work that often. He needs to save it.

He is, he’ll admit, passingly fond of some of the little mongrels his brother produced. Lilith, for example, is clearly willing to do what it takes to accomplish her goals. Edalyn, on the other hand, spells trouble. He can see it in her strongwilled glare, the way the Collector balks at the curse hanging over her, in that smile so like Caleb’s. Because she’s a very real threat to his rule (and because he could be closer to the castle, his latest grimwalker is getting rebellious and might need replacing) he accompanies her when she runs away from home. Cursed Clawthornes have to stick together, right?

He’s astounded when she stumbles on the portal—the actual portal! He’d thought Caleb destroyed it, guilty that they couldn’t go home. Instead it’s here and it’s whole and he steps through it with her, this little witch with his brother’s blood…

And then they go back. He’s not fit for the human realm, not yet. When all the witches are dead, when he’s cured, then he’ll let himself enjoy air that doesn’t smell like rot.

In the meantime he lives in the Owl House and waits.

#the owl house #this does presume that Philip was fully bemused as of the fratricide event #which I’m not sure is the case #but it makes a nice little story #he’s so happy when luz arrives you cannot believe #you’ve never seen a more delighted goop deer #to increase the Abuse Vibes philip pops in on hunter and the Grimwalkers in the middle of the night #to give them talking points for the next day #as far as they’re concerned god is a gooey swamp creature who talks to them at night #maybe he’s built in some sort of advanced version of Odalia’s speaking crystal too #or just stuck some of his goop in their brains for on call advice #keeping king and the collector separate… hmm maybe Philip specifically leaves him someplace no one else will find him #except hooty who’s been seeing that haunted shadow kid for years but no one believes him #having been dealing with him since childhood Eda and Lilith are both very good at interpreting Philip’s various screams #but luz doesn’t know what the different roars mean which poses some problems #goo uncle philip au

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brightwoods · 1 year

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Does anyone else feel like almost all of the conflicts that had to do with the various character dynamics in Chain of Thorns didn’t actually get resolved, they just unexplainably ceased to exist after two books of building them up because CC didn’t feel like writing them anymore and she didn’t know how to resolve it naturally after how she’d built the issues up so much?

Like how none of the characters but Cordelia and Thomas had any clue about the Alastair and Charles situation and then suddenly in CoT it was like who doesn’t know? Of course Matthew knew and didn’t say anything before and then randomly brought it up to Cordelia in Paris while assuming she knew too

Or how Alastair and Thomas went from how things were at the end of CoI with Alastair thinking it could never work because Thomas’s friends hate him to oh look everyone suddenly is friends with Alastair with no grudge with no development of that in this book at all, just an abrupt shift

Especially the Alastair and Matthew dynamic where Matthew hated Alastair and wanted him to have nothing to do with any of their friends and he spent CoI ranting about him to Cordelia. And then suddenly in CoT it’s like of course Matthew is supportive of Thomas and Alastair and oh look Matthew and Alastair are suddenly not just tolerating each other for Thomas’s sake but friends despite barely interacting and no development actually showing and never getting any mention of the other in their own POVs, just having Cordelia be like Alastair stop being dumb, you’re literally friends with him now

Or like everyone other than Christopher and Grace where it was like oh we don’t like her for how she’s treated us and her friends straight to anyway she’s one of us. Like yes Grace was useful and yes Tatiana manipulated her whole life, but none of that was why anyone changed their minds or opinions? It was just suddenly the flip of a switch when it was convenient for CC

Or Anna and Ariadne where it didn’t so much develop as Anna just acted mean to Ariadne on and off throughout the series and at the end of CoI she wanted nothing to do with a relationship and then in CoT she was just suddenly like sure I guess I do. Also, slightly different note, but I did not like that Anna barely interacted with anyone else for the entire book and she was just off in the corner being an irrelevant romantic subplot for almost all of the book except when she showed up to barely even be shown in the background being sad about her brother being dead

(Although Anna still got more of a reaction than everyone else and his death was poorly executed all around in the sense of how did you write this so predictably and poorly that no one even knows when he died and it’s so background and 99% of the characters don’t care at all and we don’t see his parents finding out or much of Thomas’s reaction or anything and it’s just as if he wasn’t a character anymore 2 seconds later which is a different genre of issue with CoT but similar problem in the sense that both issues made the book feel a lot more emotionless to read)

And how the issues of Thomas and Alastair being together as two men and Anna and Ariadne being together as two women in this time and the issues of what would happen if the fact that Charles and Alastair were gay got out to the entire Clave just disappeared and never got addressed at all. We know how the ClVe reacted to Alec Lightwood YEARS later. We know society was homophobic at the time TLH is set and that it seems like shadowhunter society was a lot less open-minded than mundanes a century later

I understand that Charles being blackmailed and making shitty decisions was annoying but it was like suddenly everyone finding out wouldn’t have consequences and all the other queer men characters were like how could you possibly be worried about this :/ as if they haven’t spent the whole series knowing they have to be careful about who they tell. And then suddenly it was just of course it’s totally fine and safe to have everyone find out and why wouldn’t you be fine with that. And it was really written in a way that had other queer characters like oh Charles is such a coward for not being ready to publicly tell a bunch of homophobic people his sexuality and it just wasn’t it??? And super weird after Thomas was terrified of telling even Anna and Matthew for years. And also, I did not care for the fact that when Charles did go risk getting outed to finally do the right thing, we didn’t even get to see it through any character’s perspective or how that important meeting went, we just got one line of dialogue from somebody else saying that it happened with no details at all. And I can’t think of other examples right now but there were quite a few moments like that where we got one line saying that something had happened that was important to the plot and to characters’ development that seemed like it would have been more interesting than some of what we did get to see where it was just totally breezed over and way too easy and totally background to less important stuff

And then there was the whole no one reacting to Ariadne and Anna dancing together publicly thing was like yeah that’s nice I guess but not realistic and it doesn’t go with the way things have been presented up to that point, it also just feels like a situation where CC was like well this would be easier for me so there just won’t be consequences and then they can easily end up happily together

And then there was the whole Thomas and Alastair thinking they couldn’t realistically be together thing and knowing they couldn’t get married or be known to be together by anyone they’re not close to and then at the end it’s still not really addressed how they’re going to be together? Like there was the laziest write off of the family tree being wrong and then we still are just left to assume that eventually they move in together and suddenly it’s not a problem and everyone’s fine with it? And then I also feel like we don’t actually know if everyone found out about Alastair and Charles’ sexualities after the blackmail or if people are going to assume about Thomas and Alastair or if that’ll cause issues or if no one knows outside of who they’ve told and they have to be careful or what. Which like wouldn’t necessarily need to be addressed if it wasn’t for the logistics of being together as two men in that time being part of the obstacle that they were struggling with being in their way and then it felt like it was totally forgotten to even be one at the end by CC

Idk like I’d love to think they just lived in a world where homophobia didn’t exist but it felt like homophobia was a plot point when CC wanted it to be an inconvenience and then suddenly disappeared just to make her writing easier the moment she didn’t want it there anymore instead of actually addressing the plots she raised with it if that makes sense?

And sorry, I really did not mean to go on a rant this long. And maybe everyone else had a very different reading experience than I did and other people don’t agree with some or all of this. I personally am just very confused about how the book was almost 800 pages long and it felt like so much of the development in it was us abruptly being told that development had happened rather than actually getting to see it and how so many of the issues were abruptly solved in an I don’t want to write this issue anymore kind of way rather than anything actually needing to be worked at outside of the Belial situation

Edit: You know what, I mentioned it in my tags but I feel like it’s annoying enough to put in the body of the post and make it even longer. What the fuck was with everyone outing or potentially outing everyone else just so that characters could openly talk about the queer characters and tell them to do what they want them to? Why did Matthew out his brother multiple times? Like yes, the people he said it to coincidentally already knew, but he didn’t know that. And why was Thomas outing Alastair? The straights got to keep their secrets as long as they wanted and fix their problems more naturally. Why did I have to sit through queer characters constantly having their sexualities and romantic histories to everyone else when they clearly had not okayed it? Why were the queer characters doing so much of the outing? Why were people who cared about them and knew what it felt like to be afraid of the wrong person finding out just broadcasting their sexualities to make it easier for CC to breeze past development to have their things get resolved fast? Why did no character have an issue with it at all?

#As a queer person the whole using homophobia against her characters as plot just to pretend homophobia doesn’t exist and call her characters #cowards for worrying about it as soon as she’s decided writing it doesn’t serve her plot agenda anymore really icks me right out #Like yeah I’d love homophobia to not exist but girl what are you doing that’s so gross to go about it that way #ALSO everyone outing or potentially outing everyone else to other characters to make it easier to get the queer characters to do what she #wanted them to was a HORRIBLE vibe. Why is Matthew outing his brother? Why is Thomas outing Alastair? Why is everyone telling everyone else #people’s sexualities as if it’s nothing and everyone has a right to know when that character clearly did not feel that way #And it’s so out of nowhere every time too #Hot take: Charles protecting Alastair’s privacy instead of outing him was more valid than anything any of the other queer characters said #about Charles or Alastair’s sexualities even if I hate Charles and his going along with the blackmail was bullshit #Also now that I’ve written all of this down and 99% of what I wrote about in here has to do with the canon queer characters that’s not #a great look either that she did breeze over some of the stuff with the other characters for sure but she was way more likely to skip depth #and development with the queer characters in CoT #CC said no slow burn gradual changes in this book… there’s only room for abrupt 180s and Cordelia running 🏃‍♀️#Sorry if this has weird typos and other mistakes in it. I typed on my phone and didn’t check for autocorrect nonsense and I’m too lazy to #reread this all rn at my current brainpower level #CoT #Chain of Thorns spoilers #Chain of Thorns #The Last Hours #The Shadowhunter Chronicles #Cassandra Clare #My Posts

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dreamofbecoming · 9 months

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thinking about a stoncy dynamic that’s not romantic or sexual or necessarily even platonic, but it used to be all or some of those things, and now it’s like they don’t know each other really at all anymore unless there’s danger, and then they immediately fall into perfect step with each other without even noticing

they don’t talk and they kinda avoid each other socially after they tried out every configuration of the three of them and none of them worked, but the minute a threat appears suddenly they’re flanking each other without having to discuss it. they fall into battle formation without even a glance. they always know where the other two are in a melee, they don’t have to check. it’s instinctive- stay equidistant, fan out, protect the party. one of them loses their weapon and one of the others throws them another, and they catch it and keep fighting. neither one looks, neither one breaks stride. they move around each other on reflex, like magnets.

just battle-hardened kids who are awkward as hell kids but also seasoned warriors who know each other down to their bones, but only in a fight.

something something the only place you fit in my life anymore is with your back pressed to mine and your weapon raised