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Dethroning Moment: Literature
Sometimes, when there's a moment of awfulness in a book, you wish were the writer and edit that part out, or burn the book.

Keep in mind:
  • Sign your entries
  • One moment per book to a troper, if multiple entries are signed to the same troper the more recent one will be cut.
  • Moments only, no "just everything he said, " "The entire book" entries.
  • No contesting entries. This is subjective, the entry is their opinion.
  • No natter. As above, anything contesting an entry will be cut, and anything that's just contributing more can be made its own entry.
  • Explain why it's a Dethroning Moment Of Suck.
  • No Real Life examples including Executive Meddling and Fan Dumb. That is just asking for trouble.
  • No ALLCAPS, no bold, and no italics unless it's the title of a work. We are not yelling the DMoSs out loud.

Series with their own articles:
  • Sensemaker: Scarlett Letter by Nathaniel Hawthorne. It's a reasonably good piece of fiction in general if a bit contrived. I cannot help but to be annoyed that the author has written in such a way that he seems to have a raging hate-boner for ugly people. The antagonist Chillingworth does objectively good things: He gains great medical knowledge from the indians at considerable personal risk and uses it for the benefit of the community. When Chillingworth comes home to see his wife (and indirectly himself) publicly shamed, he comforts Hester, medicates her and her daughter and mostly blames himself for his wife's infidelity. He helps Dimmesdale medically and emotionally by correctly insisting that Dimmesdale will never fully recover until he relieves himself of whatever is weighing his heart. Despite these good acts, the Puritans of Boston seem ungrateful for having a man who has put so much effort into becoming a great doctor for them and seem to interpret everything he does in the worst possible light. Everyone, including the narrator and Chillingworth himself assumes that he is doing everything for the very worst of reasons -because Chillingworth is ugly. Just to hammer in his badness the narrator makes Chillingworth ugly and uglier as the story goes on. The reader finds him/herself asking "what can an ugly person do that counts as a good deed to you, Nathaniel Hawthorne?" The dethroning moment of suck occurs when that question is answered near the end of the book. Chillingworth dies and leaves his great fortune (that we never heard of before apparently Chillingworth choose to live an austere life despite being rich) to the cute child Pearl -though he knows it is not his daughter. The author claims this was his only good deed. The author has answered: "Die! and leave his money to a beautiful person. That's the only good thing an ugly person can do because the only good ugly person is a dead ugly person!" Cue Evil laugh. Scarlett Letter; hate speech against ugly people.
  • Long Gunner 15: The entire battle of Yonkers in World War Z. The tanks are ineffective... somehow. The artillery is ineffective... somehow. Anything but a magical headshot from a semi-auto. 22 or mystical katana is absolutely useless, doubly so from those evil, evil Westerners.
  • Xander77: The wedding proposal in the Vorkosigan Saga novel "A Civil Campaign". It's also listed on the series Crowning Moment Of Awesome page, so YMMV, but the contrived nature of the scene specifically setup to present Ekaterine with a moment of awesome is so incredibly Narmish (and Nikki muttering "go-go mama!" made me throw up in my mouth a little).
  • Cliché: Atlas Shrugged's DMOS came at the conclusion of Chapter 7, Part II, or Chapter 17 of the entire book. Some asshole politician decides that he would rather have a train go through a tunnel despite it being not safe to do so rather than wait for a safer alternative because it would mean missing his rally. Everyone on board suffocates to death. You'd think this would be a scene demonstrating a Senseless Waste Of Human Life, but no. Ayn Rand sinks as low as demonizing every passenger on board as fitting one of her Evil Socialist Bad Dude character templates. None of the other Wall Bangers in the book even comes close to the horridness of this scene.
    • Steve Potter: In addition to the above scene, there was also John Galt's ninety minute speech... written verbatim. As terrible as the book was, it was at least interesting before this point. If Galt was say, promoting human ideals, the speech might have a little redeeming value, but instead we got a hundred pages saying that poor people are evil and people should look out for themselves. What shit.
  • Samadhir: The infamous rape-scene in Rand's The Fountainhead, where Howard Roark forces himself on Dominique Francon. Now, I'm aware of the various justifications that have been offered for the scene, like "it wasn't really rape" or "she actually wanted it" or that it was "rape by engraved invitation", which might actually be true (though that would open an entirely new can of Unfortunate Implications). But even if you accept that, the scene just doesn't make any sense whatsoever. Up until this point in the novel, Roark has shown absolutely zero sexual or romantic interest in anyone, and is also presented as a man of integrity who's a staunch supporter of individual rights and self-determination. And then suddenly, the novel wants us to believe that over the course of a couple of days, by seeing Dominique from a distance at his quarry and doing some repair-work in her house, Roark's sexual instincts arise, he recognizes her as his life's true love (as he never shows any interest in anyone but her throughout the novel), and manages to deduce enough about her psychological make-up from a couple of short meetings to know that she will enjoy being raped. Aside from being extremely improbable, the scene destroys much of Roark's character and makes him a lot less sympathetic. Of note is that the scene isn't an isolated incident; whenever a sex-scene occurs in the novel it's usually described as violent, rough, or "a shocking intimacy that needed no consent from her, no permission", a pattern that repeats itself in Atlas Shrugged. Since reading the novel, I have read several analyses where the rape-scene is presented as "an abstract meditation of violence and frigidity" or "a violent, joyful answer to the age-old paradox of what occurs when an immovable object meets an irresistable force" (no, seriously), which I think misses a much simpler explanation: Rand enjoyed rape-fantasies and so she wanted a scene in her novel that expressed that, regardless of whether it made any sense or if it destroyed its characters.
  • Ri L: At the end of Son of a Witch: after a long, rambling, essentially pointless story, suddenly these two characters have sex! Out of nowhere! With no explanation, leadup, or bearing on the story! Unfortunately Maguire tends to shoot himself in the foot in just about every story by dropping in something gratuitously and pointlessly sexual/scatological seemingly just for the shock factor (like the scene with the tiger in Wicked). It is, to paraphrase Yahtzee, like eating a delicious meal only to have the chef randomly come out and fart in your face.
    • Sophie Summer: Same for this troper. I also found the fact that she pretty much raped him and it was never really addressed very, for lack of a better word, disorienting. The scene didn't even really make sense, logically. Ok, so she's trying to warm him up. Ok, she's climbing on top of him. Wait, why is she undressing him? How did we get from trying to save his life to mounting him?
  • Insanity Prelude: Gregory Maguire's thing for gratuitous sexual/scatological/just plain squicky details. The "menstrual fountain" scene in Mirror, Mirror wasn't what put me off of his books for good (although it pretty much put me off of finishing reading that book)- it was when I tried to read A Lion Among Men and wham, gratuitous shit and equally-gratuitous masturbation (thankfully, this wasn't in the same scene.) That's when I realized it was really a pattern with his books.
  • Tropers/Rowlomir: Just the first chapter of Wicked; you read the whole book the first time and it feels kinda dark and interesting, better than the musical, you read it again taking more time and you have to question why Frex shitted so easily. Yeah, I actually could pass Son of a Witch, but there are parts of Wicked and A Lion Among Men which purpose I cannot explain.
  • In The World And Sea: The ending of It is what made me stop reading Stephen King forever. There is a severe Moral Dissonance going on with underaged kids. The reasoning for it sounds more Author Appeal Ass Pull than anything reasonable or logical.
  • Iron Lion: In The Belgariad, the Fate Worse than Death with which Belgarath punishes Zedar comes across as Disproportionate Retribution of the highest order. Zedar was a Punch Clock Villain at worst; some of his acts, such as his involvement with Errand, were necessary for the Prophecy of Light to resolve. And he triggered Belgarath's fury by doing no more than defending himself against a completely unwarranted attack by Durnik.
    • Exxolon: I agree on this one but the actions of the "good" guys in the prequel after the assassination of Gorek and nearly all his family are even worse. Essentially Salmissra at Zedar's urging sends assassins to kill the Rivan royal family in a doomed attempt to become immortal - she's hoping to impress Torak so much by killing the line of the prophecied Godslayer who's supposed to kill him that he marries her and makes her his immortal bride. Obviously Salmissra should pay for this, but the Alorns response is to invade Nyissa and slaughter 90% of the population as some kind of object lesson to stop future rulers meddling. 1.8 million people nearly all innocent people (barring slavers etc.) killed who didn't know about the plot and could not have prevented it even if they had. Even the assassins may have had little choice - disobeying Salmissra would lead to their own execution most likely. Salmissra gets off lightly - she takes poison and dies peacefully before the Alorn army reaches her.
  • Farseer Lolotea: In S.L. Viehl's Blade Dancer: Jory agreeing to have Kol's babies at some point in the future, after she'd previously made it clear that she didn't want babies. As if strangling them with that damn red string (to say nothing of Viehl's penchant for Mary Sues) wasn't enough...
  • Eegah!: From Animorphs, the characterization of Chapman in "The Andalite Chronicles." Elsewhere in the series Chapman was portrayed as a deeply tragic figure, who voluntarily became a slave to the Yeerks to ensure his daughter's safety and is now anguished at having to help them conquer the world. And then this prequel novel hits, and it turns out teenage Chapman is a Jerkass Nietzsche Wannabe who gleefully tries to sell out his whole planet For the Evulz, which kills a lot of the previously established sympathy for the character dead.
    • EcliptorCalrissian: There's also The Ellimist Chronicles. While a good story on its own, every single tidbit about the Ellimist's nature from the regular series is completely ignored, which makes it fail - hell, not even try - at being the great revelation of our mysterious ally. If "Ellimist" were a more common name, you'd probably figure they were two guys who happened to have the same name. Also, Crayak's origin is pretty much "and one day some Crayak guy who destroys For the Evulz showed up." The standalone story about an alien gamer who happened to use the handle "Ellimist" is interesting, to be sure - but it is not about the Ellimist we know at all, and doesn't tell us anything we didn't know about Crayak.
    • TRANSawesome: 'The Experiment' was a crowning moment of suck in both morality and storytelling. It starts off looking like it's going into a fable about the importance of being a vegetarian (the slaughterhouse they're sneaking into is pure Nightmare Fuel) but by the end the moral seems to have slipped into "killing cows for their meat is bad, but burgers are tasty". If you're not going to pick a side in an ethical debate, then what's the point of devoting most of the book to it? And the net result of the Animorphs almost getting ground into burger meat? Nothing! The experiment had already failed and they achieved exactly the same thing they would have done if they found another reason to hang out at the mall instead.
  • Bguy: In the Dragonlance Chronicles novel, "Dragons of Spring Dawning", when Laurana falls for her Arch-Enemy Kitiara's Obvious Trap. Much of the Chronicles is about Laurana's personal growth as she evolves from a naive and self-absorbed child to a dedicated and intelligent heroine capable of successfully leading armies. This incident completely destroys all that Character Development and turns the Golden General into a love-sick ninny. She is so irresponsible as to abandon her army at the height of a war and so stupid as to blindly trust enemy general and romantic rival Kitiara, even though Kitiara has obvious motives to want to harm Laurana, provides no proof for the claims she is making, and insists on Laurana coming in person to a meeting site without bringing any guards or telling anyone. And as if turning Laurana into a complete idiot who can not see a trap that is obvious even to Cloudcuckoolander Tasslehoff Burrfoot is not bad enough, the reason Laurana does all of this, leaving her troops in the lurch and putting her own life in great jeopardy, is for a man who has already rejected her and who she believes is willingly serving the Dragonarmies. The end result is Laurana is kidnapped, nearly raped, and spends the rest of the novel as a Distressed Damsel.
  • AHEM 13133: In the Everworld series, this comes in the eleventh book, Mystify the Magician. While the book itself is generally half-assed, hastily scrapped together, and gives the feeling of being only partly finished, the ultimate Dethroning Moment comes with the transformation of the intriguing, ambiguous, and deeply human Magnificent Bastard Senna Wales into a Card-Carrying Villain hefting around the Villain Ball. Despite receiving extensive backstory and character development just two books ago, all of that is thrown out and she becomes a two-dimensional maniac. From Magnificent Bastard to Smug Snake, from True Neutral to Chaotic Evil, from Dangerously Genre Savvy to Genre Blind, from Visionary Villain to Despotism Justifies the Means with helpings of For the Evulz, from Manipulative Bastard to Bond Villain Stupidity, with Over Nine Thousand levels in jerkass and dumbass gained in the process. It felt like a betrayal of everything that had made the character original and interesting beyond any other run-of-the-mill villain, and then she proceeds to die one of the most unsatisfying deaths ever conceived. If there is anything worse than watching such a fabulous Magnificent Bastard go this low, this troper doesn't know of it.
  • Ravenya003: Susan's fate in The Chronicles of Narnia, specifically, The Last Battle. In the final book all the main characters die and enter Heaven - all of them except Susan, who has apparently lost touch with Aslan and Narnia because she's fostered an interest in "nylons and lipstick and invitations" and has ceased to believe in the fantastical adventures of the previous books. Not only does this feel rather Out of Character (it seems bizarre that a character who was witness to Aslan's sacrifice and rebirth can eventually dismiss it as "a funny game we used to play as children") but Fridge Horror sets in when you realize that because Peter, Edmund, Lucy and their parents have died in the real world, Susan has just lost her entire family to a train accident. There is nothing in the text itself to suggest that she'll eventually re-find her faith, and the fact that her friends and family ridicule her before deciding to simply not talk about her anymore is an incredibly callous way to go about dismissing a major character just so Lewis can make a subtextual statement about how overt femininity and sexuality is bad for women.
    • Sophie Summer: Her fate makes even less sense when you consider that all the children grew up to adults in Narnia before being changed back to children when they were sent back home. She's already grown up, so why would she just now be going through the lipsticks and nylons phase?
  • Lale: Anne Elliot's "I have nothing to reproach myself with" speech in Persuasion. So, according to the narrator in Chapter 4, Anne considers her decision eight years ago a mistake, yet she tells Captain Wentworth she feels exactly the opposite? Hypocrite! Captain Wentworth has to apologize for taking her rejection seriously and not running back as soon as he had his first few thousand pounds to the woman who made it clear his proposal was unacceptable; yet, Anne doesn't have to make any sort of apology to him at all?! Double Standard! The plot doesn't lead to any Character Development or disillusionment for Anne but to her (and everyone else) realizing she always was and always has been perfect, and how dare anyone (including herself) think otherwise? Mary Sue! And her response to Captain Wentworth telling her how much he loves her and how badly he still wants to marry her is telling him that she would have suffered more had she remained engaged to him eight years ago? Why would anyone take her back after that?! I would cling to the frail hope that Austen was being ironic but A) the scene is played too seriously to be a Spoof Aesop like Lizzie's and Darcy's conversation in Pride and Prejudice, and B) it's consistent with the anvilicious moral of the absurdly-executed scene at Lyme. This speech ruins the entire book — what has been an equally beautiful and painful love story becomes a vehicle for preaching the importance of women yielding to persuasion and singing the praises of a supposedly perfect heroine! UGH! I want to rip my hair out and scream just thinking of it! And I want to throttle anyone who claims this is better than Mansfield Park! How can such a preachy novel (of out-of-date morals, nonetheless) be so overrated?!
  • Gravityman: What absolutely sold me that Twilight was utterly unredeemable was Charlie's reaction to Jacob taking Bella home. Now, to give you an idea of the Character Derailment at work here, Charlie had already been established as an overprotective police officer father toward Bella. But for whatever damn reason, after Jacob forcibly kisses Bella (technically sexual assault), and then basically brings her home to brag about it, Charlie fucking congratulates him for doing so. His exact words were "Good for you, kid." What may be even worse is that everyone plays this up as if Bella should love Jacob because of this.
    • NobodyFamous: Given her treatment of him before then, I'm honestly wondering if Charlie hadn't simply given up by that point. Perhaps the biggest moment of rage-inducing behavior is after Bella returns home from saving Edward in New Moon. This is when Charlie confronts her about the fact that she had run off to another country without even asking him or so much as leaving him a note telling him where she was going, leaving him with no clue where she was while she went gallivanting around Europe. This happened during a period of time where he was still mourning the death of his best friend, something Bella only bothers to note when Charlie starts to go purple in anger over the way she's talking to him. And rather than act like the mature selfless adult she likes to think she is, she blows him off, talks down to him like he's the child, brushes off his very valid concerns regarding how Edward treated her and the way she was going around trying to get herself killed, and gives him an ultimatum that if he doesn't back off and let her have her way then she will leave. Then after giving him this ultimatum, she proceeds to dismiss him so she can take a shower. His health, his concern for her, his actually trying to be a parent and ground her happy little butt for being so stupid are all completely ignored.
    • MH Mhasf 1998: My personal DMOS in Twilight is the Writer Cop Out at the end of the big epic battle against the Volturi. I mean, Meyer spends quite a bit of time hyping it up, and when the fight actually happens, it is good. The vampires partake in much badassery, it is well written (at least by Twilight standards) quite a lot of awesome things happen, and... it turns out to have just been an illusion planted into the Big Bad's mind. Then the Volturi leave, without any confrontation or conflict of any sort. I mean... no, just... just NO.
    • Otaku Sapien: Though even the fight scene was only an addition by the movie. In the books, there wasn't even that, leaving many fans feeling disappointed with the anti-climactic ending and some actually preferring the movie for this.
  • Ronfar: The scene in Naked Empire in which Richard and his followers hack their way through a crowd of unarmed human shields as the author praises Richard and his men for their heroism in seeing past their "peaceful" appearance: the human shields were protecting the Bad Guys, and therefore deserved to die, not even rating a "What a Senseless Waste of Human Life" moment.
  • Kilgore Trout faithfully bought and read just about every Star Wars Expanded Universe novel published that was set after Return of the Jedi. Did I read Dark Empire? Yes. The Jedi Academy Trilogy? Indeed, I bought that. Darksaber? I didn't like it, but I still bought and read it. The only one I think I didn't read was The Crystal Star and the Young Jedi Knights series. I bought all those books, from mediocre to good to awesome to terrible, because no matter how much I disliked any of them nothing was enough to make me give up on the EU entirely. (Darksaber was enough to make me give up on Anderson, though.) So what finally made me swear off the EU for the foreseeable future? Legacy of the Force. One of my favourite characters, Jacen Solo, turns pure evil for the flimsiest of reasons and begins acting wildly out of character—and this wasn't just a single author getting him wrong, this was everybody. Then, he kills off another of my favourite characters, Mara Jade, which I felt was a Moral Event Horizon. You can blow up a Death Star, you can destroy Carida, but if you kill one of the EU's greatest characters how the hell are you supposed to atone for that even if you want to? Kyp Durron at least came to regret his actions and tried to atone for them. Jacen didn't. I stopped reading the books after the seventh one and read what happened next on Wookieepedia. Turns out that Jacen converted Tahiri into a Sith, so that she proceeded to become his Dragon and does all sorts of horrible, evil shit. They kill off two of the biggest heroes in the story and top it off with a Retcon. They took Vergere, who made great points about how fucked up the Jedi philosophy was, and Retconed her into being a Sith because I guess George Lucas got his panties in a knot over the idea of some moral ambiguity in his universe.
    • Gholateg: Before all that? What killed the EU for this Troper, who had every damned book, Young Jedi and Crystal Star included? The death of Chewbacca, done only to "Shake things up" and "Make the next series interesting." Bastards. They couldn't even be bothered to give him a proper send off, but gave him a pointless, meaningless death. The little useless sod he gave his life for died a few books later, negating anything his death accomplished.
    • Undead2814: I'm with both the above. Chewbacca's death made me sit out anything related to the Vong, but I still came back once all that was done... just in time for Legacy of the Force to make me give up on the EU period. Really, the only thing I can add to the above is that, to me, at least, Legacy of the Force is one of those DMOS so bad that it prevents me from enjoying the previous work that came before, since all I can think about is how it all ends up. I'll admit that may be immature, but there you have it.
  • Sunny Rae: read all the Evernight series by Claudia Gray. Now, she loved the first book, the second book she liked, the third book was "meh", but the last book was just awful. Talk about a stupid ending. Bianca and Lucas, who spent all of the previous books trying to be together, are finally together at the end. The Big Bad is dead even after she became sympathetic, Lucas is no longer a "monster" (vampire) due to some Ass Pull Gray used by having Bianca, who is now a wraith, bringing him back with her ghostly blood. They had eternity together but they gave it up because Lucas turned into a whiny bitch about being a vampire and didn't like it. Now they have 50, 60 years tops together before Lucas dies of old age. Yeah sure, that's love. Leaving your lover to be alone for all of eternity because you didn't want to be a supernatural.
  • CC Hooks: Steven Wakefield's Suddenly Sexuality in Sweet Valley Confidential. Especially since he had shown no signs of being gay, and had married one woman (Cara), been engaged to another (Billie), and had a nervous breakdown over a third's death (Tricia) to the point where he broke things off with Cara twice to pursue girls who looked like Tricia and mold them into her (and one of them dumped him because of this, which caused him to snap out of this).
  • Millernumber1: Emma during the picnic on Box Hill. After a mounting sequence of self-delusions with increasingly serious social consequences, Emma Woodhouse publicly insults a defenseless, silly, socially precarious older lady who she has known all her life. To her considerable credit, she heeds the sharp reprimand of her oldest friend Mr. Knightley and makes a significant Heel-Face Turn from Rich Bitch into benevolent and mature lady of the village.
  • The Real CJ: There's a moment in Maskerade that made me very annoyed. Early in the book, Granny Weatherwax gives a gullible villager a potion that contains the ingredients "Suckrose and Akwa" — Sugar and water. It would have been very funny except, the joke is baldfacedly explained to the reader a short time later. Cue Mark Hamill in 3… 2… 1: "If you have to explain a joke, there is no joke!"
  • Lil Maibe: Unseen Academicals, after Nutt returns to the university after running away, he and his friends are greeted by Ponder Stibbons. Ponder is almost panicking because he couldn't train the team in the protagonist's absence and instead had them run on the spot, which wasn't very effective. The DMOS is the reason given why he couldn't train them. It is not because he, who has a shitload of jobs to do at the university, didn't have the time as his jobs need to be done. No. It's because he couldn't remember any of the stuff Nutt came up with! It's that moment that cemented the Mary Sue-status of the protagonist and the utter derailment of the previous established characters solely to have Nutt shine. That's stuff I expect in bad fanfiction, not in a genuine novel. And in a Discworld-novel even less so.
  • Mooncalf: Terry Pratchett's Thud!. There's a part where Angua and Sally are amazed that Nobby (sufficiently hideous and ugly that he has to carry signed papers identifying him as a human being) has landed an apparently genuine relationship with Tawnee, a dim but extremely beautiful stripper - he's apparently the only one who's ever approached her that way. They realize that while most men would get cold feet and consider her "out of their league", Nobby didn't care and asked her out anyway. Well that's neat, an interesting social observation. Except Angua announces it as "The jerk equation!" Say what? So apparently stepping out of your social bounds and trying to get along with a woman you're too ugly to deserve makes you a jerk? Tarring with a broad brush, there.
  • Baeraad555: Snuff for the Discworld series as a whole. Vimes, whose most sympathetic traits have always been his proletarian sympathies and uneasy awareness that he could become a brutal Knight Templar but for his constant self-examination, spends the novel learning that it's perfectly fine for him to be filthy rich and have feudal serfs, and we are told in no uncertain terms that he's so innately virtuous that he could never do anything bad. The moral of the story is that chattel slavery is bad but that it's fine to pay a member of an ethnic group half what you pay someone else for the same work, because that's just the all-benevolent free market at work. And then, in case that's not enough self-congratulatory self-righteousness for you, the plea of a broken old man for his villainous son to be exiled instead of executed is officially granted - only for us to be told that the son will be quietly executed, because slavery is really bad, you see! And most damning of all? The novel is not even especially entertaining.
  • Zero Helix: For this troper the true low point is The Science Of Discworld 4, something that reads like a complete 180 to the tone of the previous SODW books altogether. There was none of the parody, none of the humour, just the "science vs religion" Aesop that the first three SODW books had so delicately and masterfully deconstructed, instead now hammered home gratingly, anviliciously straight. It just didn't feel like Terry Pratchet at all... and you know what? I know we're not supposed to generalise in these entries but I feel like someone has to address the elephant in the room, the reason that so many fans have had to admit that there's been a definite decline in Mr Pratchet's work since Nation. It's possible that, like Herge before him, with his magnum opus done, Mr Pratchet is simply using his twilight years to experiment with his characters... But there is another possible explanation for the decline, something that nobody wants to admit we're all thinking, because if true, it would make these Dethroning Moments something to inspire great sadness rather than anger. :(
  • The Adept Rogue: The Inheritance Cycle has this scene where Eragon, along with Arya, Nasuada and some other important members of the Varden gathers together to discuss about the curse Eragon had accidentally placed on Elva. The context of the situation was that Eragon had become more powerful and knowledgeable regarding the Ancient Language to try and undo the curse. Over the course of the conversation, our heroes basically agree that Elva's powers are too useful for their cause, and it's better if they're not removed. They further remark that if Elva can't accept this decision, then she's a selfish brat who doesn't deserve the powers she have. What? We're talking a barely 2 year old girl here, not a hardened soldier or a wise woman. She has been forced to magically grow up and mature just so that she could be strong enough to carry the burden Eragon had carelessly (and needlessly) placed on her. And now the heroes expect her to endure this for the rest of her life just because it's damn convenient for the war, which no toddler should be involved in the first place???
    • Smoko: As someone who quite liked the series up until the third book (it was a refreshing change from the usual morally ambiguous, look-at-me-I'm-so-dark-and-bloody fantasy series). There were a moment that damaged it for me, to the point where I never picked up the fourth book. When Eragon uses Sloan's true name to force him to go to the elves and stay there, never to see his daughter again. Now, using someone's true name is Mind Rape of the first class; they are fully aware of what is being done to them, and they can't do anything except obey. This is the method Galbotorix uses to control his slaves. Yet not only does Eragon do it, he claims that he has the right to do it, and later on he's actually praised for taking that assumption. The instructions Eragon gives Sloan are also dangerously vague; he makes provisions for food and water (though how he can enspell animals to kill themselves for Sloan is anyone's guess) but places no protections in case another human being decides to run a sword through him or even if he just walks into a hole and breaks his neck (he is blind, after all). Yes, Sloan was a bastard. He'd also just been through months of torture and mutilation and the knowledge that they were doing the same thing to his daughter a few cages away. He's hardly a Karma Houdini.
    • Kereea: For me it was the end of Eldest, when Murtagh was revealed as having turned evil. It felt very forced and like the author realized Murtagh was the Ensemble Darkhorse and didn't want him stealing Eragon's thunder. Especially since it's main other purpose was to give a reveal quite a few people had assumed by that point (which later turned out not to be true anyway). The books lost me right then and there.
  • Super Saiya Man: From George R. R Martin's A Song of Ice and Fire we have Joffrey's death. This is right off the heels of the Red Wedding where most of the protagonists are killed off. Instead of him being killed in a rebellion, stabbed in the back by a main character, or dueling Arya in her epic Roaring Rampage of Revenge... he gets killed off by choking on poisoned pie. To make Tyrion's and Sansa's lives more horrible since they get blamed.
  • Peteman: It'd be so easy to say "Everything Curtis Saxton has tried to quantify in Star Wars, except maybe the Executor", but that's against the rules. So I'm going for the "quintillions of droids" bullcrap. It'd be like if during the American Civil War, the South tried to separate and had an army the size of (modern) New York City for every village, town, and city of both sides. It's not just because this is arguably bigger than the total population (including the non-Republic worlds) of the Star Wars Galaxy. It's the fact that this overshoots the G-Canon established clone numbers from the Attack of the Clones novelization by at least 12 orders of magnitude note . This goes above and beyond his usual several orders of magnitude overestimation. Just because the numbers are ridiculous in one direction does not give one the right to summarily ignore higher tier canon, especially in order to give just as ridiculous numbers in the opposite direction.
  • Woolie Wool: The rape scene in Chronicles of Thomas Covenant. The sheer senselessness and cruelty of it completely destroyed any sympathy I may have had for Thomas Covenant and made me throw the book down in disgust. There's no point or attempted justification, it's just "I'm gonna violate you now, kay?" If this asshole is supposed to be the hero, why should I care if he defeats the villain or not?
  • Septimus Heap: The first book of Septimus Heap. There is a line where it says that Jenna has no Magykal powers. It can break your mind trying to understand why this line - and the whole Muggle Princess aspect - had to be part of the story. In a story where all people with Magyk have Green Eyes, giving the hunted-down Princess to a Wizard family is basically just asking for trouble. Also, there is no evidence whatsoever that this aspect is required for the plot to work. The biology behind it is fishy as well.
  • Alexoftheworld: The book 'The Girl Who Could Fly' was nothing more than a cheesy, poorly written clone of a far more successful series, but two moments destroy it. One scene is where the main character, Piper, is crippled and loses her memory. One kid didn't know what his powers were. All of a sudden, he has the power to heal and bring back peoples memories. The second one involves the villain, Dr. Hellion. The twist is that she can fly, but as a result of a tragic accident involving the death of her sister, she is devoted to killing other mutants. If she's so depressed about her sister, why didn't she just kill herself? Killing other mutant creatures isn't a way to make you feel better; it's just selfish! And to make matters worse, we are expected to ignore all her actions and pity her. Now do you see why this book makes me vomit?
  • HMSaph: There was one moment in Inkspell that made me really angry. I thought Dustfinger's wife Roxanne was an okay character until the penultimate chapter. Basta had killed Farid earlier in the book, and Dustfinger made a deal with the White Women — his life to bring Farid back, and the deal was made. Roxanne decides to take Dustfinger's body somewhere, and when Farid disagrees with her, saying that Orpheous can use Word Power to bring him back, she gives us this needlessly cruel line:
    "Get out of my sight! The very first time I saw you coming to my farm, I knew you brought bad luck. You ought to be dead, not Dustfinger. That's how it is and that's how it stays."
  • Wanderer2004: The entire, final story arc with Wendy Nogard in Wayside School Gets A Little Stranger. I understand her heartbreak, but there was no excuse for her to take it out on others. She must’ve racked up quite a secret criminal record before reaching Wayside, so who knows how many folks she must’ve harmed. And the way she almost dropped Mavis out the window while setting it up to resemble an accident? Okay, so she reads a baby’s thoughts, and BAM, instant redemption? That’s absurd even for Wayside. I would think redemption involves admitting one’s own wrongs (most often out loud to others), confessing that one indeed slipped up and is imperfect, and then striving to better oneself. But no, the book doesn’t see it that way.
  • DrGonzo: The Horus Heresy novel The Outcast Dead has a glaring error in its narrative that kills the whole book for me. For context, the whole book takes place on Terra, just after news of the Heresy has reached earth, and the Istvaan III massacre has already taken place. Mark that last bit, it'll be important later. About a third of the way through the book, the Emperor receives the ill-fated psychic warning from Magnus of Horus' betrayal, which winds up angering the Emperor enough to send the Space Wolves to Prospero for some smashy-smashy. The moment of suck comes in when you realize that in two previous books in the series (both by the same author as this one, even) explicitly says that this warning was sent before Terra was aware of Horus' betrayal and before the Istvaan III massacre. Handling the established timeline in such a lazy way brings down the entire book and contradicts the entire point of the Magnus storyline.
  • Warrior Cats:
    • BlackCatMisfortunate: The series' Dethroning Moment was in the Power of Three arc when it's revealed what the arc title really means. It left a sour taste in my mouth that the plot revolves around cats with superpowers. While I still enjoy the books and read them, I sometimes find it hard to believe that the same people who wrote the first arc wrote the newer books. Despite the fact that there are more fantasy elements present in the later arcs, it shows how much less imaginative the series has become overall. The specific moment for me to choose for a DMoS nomination, though, would have to be when Lionblaze realizes that his power is that he can't be injured in battle (making him essentially invincible) because it removes any suspense from any fight he'll ever be in; the audience knows that he's going to win, and while there is still a threat of other cats being hurt, Lionblaze is never in any real danger even if he takes on much larger animals known to kill cats by himself—which he does. Despite the fact that it is sometimes Played for Drama the audience is always aware that Lionblaze will never risk being hurt or dying in combat. Since this is a series where Anyone Can Die, it takes away a lot of the suspense and investment in battles.
    • Lightflame: Even though Omen of the Stars is my favourite of the arcs, a reveal about a third of the way through Sign of the Moon is the lowest point for me. Ashfur is in StarClan. This is the guy who was an accomplice in a plot to kill his Clan leader Firestar, and who tried to burn Jayfeather, Lionblaze, and Hollyleaf alive. (Those three weren't just his Clanmates. Lionblaze was his apprentice.) Why did he get there? Apparently it's because of his motivation: he got friendzoned. Never mind that Thistleclaw went to the Dark Forest because he liked fighting, or that Hawkheart was sent there because he accidentally killed a she-cat who was destroying his herbs. Four counts of attempted murder and a count of treason are apparently perfectly acceptable if you got friendzoned.
    • piv: The reveal of the Dark Forest in Starlight did this for me. Beforehand, it seemed as if StarClan was unbiased, their only objective being keeping all four clans alive. The idea that every clan cat went to StarClan regardless of how they acted in life also feeds into the shades of grey morality that the authors tried to show in the series. The fact that some cats go to StarClan and some to the Dark Forest, when cats on both sides have committed similar crimes and broken the warrior code in numerous ways just reeks of injustice. It also takes away from StarClan’s ability to guide the clans: a lot of those Dark Forest cats must have had some experiences that they would use to benefit the clans, or at least their own clan.
  • Highwaystonowhere: GONE by Michael Grant is mostly a wonderful series, but was it really necessary to degrade Diana Ladris in the way they did with the disgusting, torturous birth?
    • Creamstripe: I'm a huge fan of the series, but I personally objected to some of the more meaningless deaths in the final book, including Brianna's Light. Michael Grant is a good author, but seriously, is it necessary to kill off characters left and right simply to elicit an emotional reaction from the audience? We get it. The Gaiaphage is a sadist who slaughters people For the Evulz, now can we go on with the plot?
  • RAZ: I've been a big fan of the Agent Pendergast series since The Relic, but after reading Two Graves I'm seriously considering dropping the series. In the previous novel, Cold Vengeance, Pendergast discovered his wife Helen had actually survived the events of her apparent death and spent the entire novel searching for her, only for her to be captured by the society she'd been in hiding from at the very end. Oh well, it's a cliffhanger, but as long as there's a solid resolution to it that should mean it'll be worthwhile reading, right?. Nope. She's killed off anti-climatically at the very beginning, also meaning the events of Vengeance were completely fucking pointless. What a way to turn everything into a waste.
  • PugBuddies: Mortal, the second in the Books Of Mortals series by Ted Dekker, had a huge Dethroner. In Forbidden, the first book, he introduces us to Feyn, basically queen-to-be of the entire planet. She was a strong female character, but not in the way he usually writes them: Instead of being a fierce warrior, she was a shrewd leader, committed to truth at all costs. Well, by the beginning of Mortal, due to a huge Crowning Moment Of Awesome on her part, she is legally dead. Through basically dark magic, her creepy half-brother, Saric, the series' Big Bad, revives her, stripping her of her free will and making her his puppet. She commits many heinous acts throughout the book because, as stated before, she has no free will. Dekker explicitly states this, and yet when she betrays the heroes at the end, she's treated as irredeemably evil. Dekker acts as though she chose to do all of those terrible things, when in reality, she literally had no choice. To see a strong female character reduced to that status for the sake of a plot twist was a huge Dethroner.
  • Smoko: The Obernewtyn Chronicles is an excellent series that is generally very underrated. However, the romance between Elspeth and Rushton is sickening, and it's a real shame, because it was set up to be quite interesting. In the first three books, Elspeth and Rushton are obviously attracted to each other but they both have very serious flaws that would prevent a healthy relationship between the two. Rushton is overly aggressive and controlling towards Elspeth—never trusting her judgement, fighting tooth and nail to prevent her from going anywhere with the slightest risk—and Elspeth in turn is terrified of intimacy and has her own trust issues. So, you would expect to see a relationship between them actually address these issues—and it does. Elspeth's issues. Everything that is wrong in the relationship is entirely her fault and Rushton is pure and blameless. This reaches quite frightening depths in The Stone Key, where Rushton is openly abusive to Elspeth and still she shoulders the guilt, having thoughts like "If I had only made love to him, he wouldn't be so bad" and "His aversion to me was proof of love." And in the end, it turns out that while Ariel did tamper with Rushton's mind, he never intended for him to be anything but loving towards Elspeth so as to hurt her more when he tried to kill her, meaning Rushton chose to behave in such a repulsive way. While all this is bad enough, it gets worse. In The Sending not only are Elspeth and Rushton still together, it's held as a shining example of True Love. They are literally spiritually bound to one another, that's how strong and true their feelings are, and it's even stated that neither of them could ever fall in love with anyone else ever again. Elspeth is a teenager throughout the series, and starts her relationship with Rushton at about the age of fifteen. A disappointing and disgusting end to what could have been a really good premise.

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