There are subjectives, and then there are these. While you may believe a work fits here, and you might be right, people tend to have rather vocal, differing opinions about this subject. Please keep these off of the work's page.
Dethroning Moment: Literature
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.
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.
terlwyth: Katniss' vow to force the Capitol children into The Hunger Games for retribution after the Capitol is defeated, claiming it to be "For Prim". Even after witnessing the horrors of the Games, her earlier nature implied she wouldn't wish the Games on anyone, and when you realize Prim was a caring soul. Mockingjay was a letdown overall, but this is horrible.
TimeTravelerJessica - For me its not so much that she voted on it (I can see her doing that to draw Coin out or something) but that the book never bothered to explain what ended up happening with the final Hunger Games - I can't imagine the new government actually forced them to go through with it but it would have been nice to explicitly state that the supposed good guys didn't turn around and force children into the games.
WafflePluto: This Troper found the death of Prim itself a DMOS. It felt extremely stupid that Katniss spent three whole books trying to protect Prim for that to happen at the end.
StormRequiem: I was also disappointed by Finnick's death as well. It was so anticlimatic, especially considering he was an important character in Catching Fire.
BlueButterfly: Similarly disappointed by the above; it felt very poorly portrayed considering the character. at this point Finnick has everything to lose - a potential future, his wife, and even a child, about whom he may or may not know. And yet he dies so that Katniss can save the day, which she doesn't. It seemed an utterly pointless and undignified end to someone who received so much Character Development (supposed The Casanova turns out to have a one true love) and Hidden Depths (the scene where he explains the objectification and abuse and utilises secret-collecting).
Ikissfrogs: The fact that Katniss can't forgive Gale for inadvertently causing Prim's death. It's not even certain that the twin bomb was planted by the rebels, and quite frankly, after all the evil things Katniss herself has done, her condemnation of him seems like the height of hypocrisy.
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'sThe 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 kinna 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.
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 JerkassNietzsche 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.
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, nonethless) 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.
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.
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 soley 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.
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???
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 The callousness of it all struck Obi-Wan profoundly. Units. Final product. These were living beings they were talking about. —AOTC novelization chapter 16. "Yes, Master," Obi-Wan said. "Prime Minister Lama Su has informed me that the first battalion of clone troopers are ready for delivery. He also wanted me to remind you that if we require more—and they've another million well on the way to completion—it will take more time to grow them." "A million clone warriors?" Mace Windu asked in disbelief. —AOTC novelization chapter 18.. 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 askingfor trouble. Also, there is no evidence whatsoever that this aspect is required for the plot to work. The biologybehind itis fishy as well.
Alexoftheworld: The book 'The Girl Who Could Fly' was nothing more than a cheesy, poorly written clone of 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. Youought 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.
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'sLight. 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?