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Dethroning Moment / Comic Books

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"And That's Terrible" doesn't even begin to describe these moments. Nor does the amount of Ret Conning, Canon Discontinuity, or Running the Asylum it will take to dilute the bad memories.

Keep in mind:

  • Sign your entries.
  • One moment per work 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," or "This entire comic," or "This entire series" entries.
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  • 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.invoked
  • No Real Life examples, including Executive Meddling. 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.

Works with their own pages:
  • Triassicranger: A The Bash Street Kids annual from the late 90s features 'Erbert in a strip on his own getting a conker from his dad (which he mistakes to be a puppet. He is very short sighted, you see). He goes out to play with the conker/puppet until a bully challenges him and smashes 'Erbert's conker. That's not the worst bit however, enraged at this, 'Erbert picks a fight with the bully and the final panel has him covered in rubbish and says "And that teaches you". The bully, who has got away scot-free says "What a weirdo". And that was meant to be funny?
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  • Daddy Mulk: from the Italian comic book Rat-Man, the moment that Chuck Norris shows up and kills Rat-Man's enemy. No, it's not bad because it's another example of lame Chuck Norris Facts, it's bad because it killed any seriousness and credibility of not only the story, but the entire narrative arc had up to that point. You see, the robot Rat-Man was going to face was presented as a credible threat, and Rat-Man was so terrified of it that, to avoid confrontation (the robot was programmed to kill any superhero he'd meet) he dropped for the first time in the series his costume and decided he no longer was a hero. Sure, it was another example of the Brick Joke (ab)used by author Leo Ortolani (in an earlier story it shows as a gag that, every time Rat-Man picks up a book, he can't read it because Chuck Norris asks him to fight bad guys), but you can't ruin the mood of three issues just for the sake of a lame sight gag. Way to go, Leo.
  • taylorkerekes: Archie Comics' Sonic the Hedgehog issue 172. Not so much for what Fiona did to Tails, but actually for Sonic being a Kick the Dog target. First, Fiona sets Sonic as her prime example of "not counting on anybody" and when Sonic tries to protest, Scourge takes Sonic into another physical spat along with Fiona telling Sonic to simply "shut up already". Worse: Scourge says that the only thing separating him and Sonic is a bad day. Sonic responds by telling Scourge that "a little bit of selflessness" and "a little bit of decency" were all that separated Sonic from him. Scourge is at a loss for words for a bit, until Fiona abruptly cuts in and kicks Sonic aside claiming that he "had his chance"; she then puts him down by calling him a weakling for "holding back" and that "it's all about survival of the best", and Scourge goes right back to his Jerkassery. What could have been Sonic's chance for giving his enemies a new state of mind abruptly, and epically, ended in a Kick the Dog scenario at its worst for no explainable reason!
    • NVPOWER: It gets worse. Later on, it turns out that Sonic did give Scourge a new state of mind...a horrific one. When Scourge went back to his home dimension, he thought a long time about what Sonic told him and came to the conclusion that if he can do everything Sonic can do, than this must mean that he can also do things that Sonic could do if he wanted to but doesn't because he's a taking over the world, for example. Which Scourge did. This is a form of Fridge Horror that shows what would happen if Sonic went evil and it makes Sonic indirectly responsible for the suffering of millions. The ultimate Kick the Dog moment.
    • bludemon: Sonic the Hedgehog issue 223&224 bothers me more than anything. The entire Freedom Fighters vs Geoffrey fight in which the good guys can't even hold a candle to Geoffrey. I know he is a highly skilled spy but we seen people like Sally, Tails, and Bunny land several hits on Sonic the Hedgehog and he is the supposed toughest guy on Mobius. The entire fight was like one big Curb-Stomp Battle where one guy can take on five people who have been fighting since they were kids.
  • SnailFish: I generally like Invader Zim, but the first two issues soured my opinion on the comics and get worse the more I think about it. Basically Zim comes out of hiding after years, and Dib has gained weight and fused to his chair from the wait. After rigourously getting into shape, and then chasing Zim across space to stop his plans, it's revealed Zim's real plan was to broadcast footage of Dib's gross workout montage to the universe, thoroughly humiliating him. Meaning this entire set-up was just to pile even more pain and humiliation on Dib. Seriously, what the hell? It just baffles me how people hyped this as a brilliant comeback, when it's really just "Lol, let's give Dib a sliver of hope just to torment and mock him even more."
  • SteleResolve: Pretty much the Spawn universe became a jumbled pile of messy retcons and conflicting canon not far into the series, but the absolute worst, most unforgivable retcon was when Todd Macfarlane tried to change the identity of Al Simmons' killer. Chapel, the original killer, was not Macfarlane's creation, and due to some legal issues or something he was unable to use him in the film adaptation of Spawn; instead, he was replaced by a woman named Jessica Priest. That's no big deal, it's understandable. What isn't is when he decided, for some reason, to retcon it so that Priest was the killer in the comics as well. So in one of the most half-assed retcons of all time, he tried to make it appear that Spawn's memories had been tampered with to make him seek revenge on the wrong person. First off, why? It didn't suit the Malebolgia's purposes to do so, it would have been utterly pointless. Second, and the biggest issue, Chapel admitted to the murder when Spawn confronted him! You can't say that the revenge seeker was mistaken when the killer confesses to his face about the crime!
  • biznizz: Garth Ennis' The Pro. Already a horrible book, the absolute moment that made the book irredemable is when the titular character (Read: a single unwed mother who is a hooker with superpowers) blames thinly veiled expies of the Justice League for not helping make life better. As in "Why do I have to suck cocks to feed my son. You should have done something!" In that moment of stupidity (the reader is supposed to side with the stupid hooker here) that says "Personal responsibility? What's that?!", it implies that superheroes are supposed to improve civilization, even if other, more better stories show that that can lead to a slippery slope of power hungry tyranny. I put that book down, walked away and never read anything written by Garth Ennis again. It also has made me dislike Amanda Conner's work... somehow, and ain't that an achievement.
    • Murdock 129: This is a recurring problem in Garth Ennis works, not just The Pro, where he'll completely derail whatever story he's building up to create some kind of obnoxious Author Filibuster about how traditional Superheroes are bad, often marching squarely into Insane Troll Logic territory like this. There's plenty of ways to do a non-traditional superhero work, or even a deconstruction without having to resort to lazy Take That! moments. This is made worse by his penchant for making lazy strawmen versions of traditional heroes without real nuance or legitimate criticism beyond effectively shouting that 'Superheroes are bad', this especially comes up in comics like The Pro or The Boys, which act like they're revolutionary when in reality their entire gimmick of having evil and/or immoral superheroes has been a staple of mainstream comics for decades before either came out, and has been done infinitely better and with more nuance and thought by both DC and Marvel dozens of times.
  • Baeraad555: The Boys is frequently almost So Bad, It's Good in its mindnumbing laziness and hypocrisy, but the moment that stands out is when Starlight is told that her backstory is being changed to include being raped and becoming "darker and more sexual" because of it. Starlight snaps that she did in fact get extorted into sex once and it didn't make her darker or more sexual, it just sucked. A fair enough Take That! against a stupid and self-indulgent trope... eeeeeexcept Starlight's sexual exploitation did lead to her becoming an atheist because clearly the world was so dark and vile that no God who'd created it would be worth worshiping, which led to her getting over her religious hangups and starting to have mildly kinky sex with her boyfriend. So guess what, being raped made her darker and more sexual! The fact that Garth Ennis somehow managed to write all that and apparently never once spot the problem with it is the perfect example of just how little effort he put into the story and characters of this comic.
  • Largo Quagmire: I heard Kick Ass 2 was being made into a movie, and it made me happy to hear Mintz-Plasse wouldn't touch what Mark Millar did to Red Mist with a sterilized lightning rod. Red Mist was kind of off the deep end by the end of the first series anyways, but there is absolutely no reason or way to justify him murdering a host of young children, and then raping Kick-Ass' love interest and murdering her father. It was the moment where Mark Millar basically decided to piss away any chance of salvaging that good nugget of an idea he had in Kick-Ass, all for the sake of stupendously stupid shock value. Millar has absolutely no understanding of Darker and Edgier, how it works, or how it affects an audience, judging from that scene alone.
    • 2heartgirl: Oh boy, here's the worst part about the gang rape. It's not Kick-Ass' two panel reaction at the hospital or that no one mentions what happened. No, what truly pisses me off is when Kick-Ass confronted Red Mist over what he did it turns into a petty squabble and is never mentioned again. Even worse after Kick-Ass defeats Red Mist all he mentions is how Red Mist killed his dad. Not how he murdered an entire neighborhood, not how he killed god knows how many children, and especially not how he raped a teenage girl. No, just the You Killed My Father line. No. Mark Millar. No. You cannot have a scene like that happen in your book and disrespect the gravity of the consequences and tragedy of it like that. You could have simply written that they threaten to do it later so that they could make Kick-Ass watch and nothing would have changed. No one should ever write a scene like that in anything without fully understanding the subject matter. I'm done with your work if this is how you think you make a successful Darker and Edgier take on superheroes.
    • Animeking 1108: The revelation that Big Daddy's tragic backstory was all a lie, and that he was some nutcase who kidnapped his daughter. There was a reason people preferred his characterization in the movie.
  • Crazyrabbits: The Walking Dead, issue #100. The extended assault and death of Glenn at the hands of the arc's Big Bad, Negan, is mindlessly over-the-top, even for a series that has made its name on gore and the shockingly brief deaths of several main characters. The majority of the issue is devoted to a single confrontation where Rick and the rest of the survivors are captured by Negan, a villain who reads like an more sadistic version of The Governor. Negan subsequently beats Glenn's head in over the course of several pages, with Glenn calling out for Maggie and Sophia before his jaw gets smashed off. It feels more like an over-the-top snuff film than a legitimate advancement of the story, and unlike the Governor arc (where the character was built up before he started wantonly killing), Glenn's death serves as nothing more than a cheap stunt to immediately validate the Big Bad (who is prone to spouting off quotes about how he'll rape survivors like Carl).
    • Potato Potato: Speaking of Carl, issue 137 is a massive Dethroning Moment of Suck for him. Specifically, how he falls for Lydia despite only knowing her for the past few issues and agrees to have sex with her after she licks his eye wound. This one action threw away years upon years of build up in regards to his relationship with Sophia and made him come off as a completely callous asshole. Personally, this troper has always been fine with Carl not getting romantically attached to Sophia, but having him do something like this is just inexcusable as it makes it look like he doesn't care about hurting her feelings in the slightest. The fact that all of this happens right after Carl had saved Sophia's life from a couple of bullies just makes it all the more glaring. It's like Kirkman wanted to get people's hopes up for the sole purpose of dashing them right in front of their faces. I can only guess how poorly Carl/Sophia shippers will react upon seeing this.
  • Sam Max: Time for a really horrifying and a really sad moment in an already awful and horrifying Comic-Book Adaptation of Mega Man, which is the Brazilian comic, Novas Aventuras De Megaman. In this version, Roll is a homeless girl that gets kidnapped along with a few others. Oh dear, there's some Unfortunate Implications already... but that's not all! Not too long afterward, we see her mutilated body, with her brain exposed and her head cut off. Roll is my favorite character from the franchise, so for this to be witnessed (the fact that she's a robot from the beginning in most versions notwithstanding), I'm almost speechless, and not in a good way! It would have been worse if not for Dr. Light choosing to save her brain and putting it in a new body. I don't care about the precise details, because I want to forget about them, and while I'm all for a Darker and Edgier adaptation of the Classic Series characters, fine folks like Hitoshi Ariga and Ian Flynn have proven that you can do so without resorting to Gorn and such. How this got approved by Capcom, I'll never know, but I'm glad it never left Brazil.
  • Mockery: Oh, Jack of Fables. I can't say I ever loved you. Your title character danced back and forth across the Eight Deadly Words, but I lament that your DMoS happened on the last pages of your series. In the midst of a Kill 'Em All finale, even Jack dies. Then the devil comes to claim his soul. As does another, and another, and another. And while they argue, Jack's soul slips away unnoticed. This might be an ending befitting a Lovable Rogue, but given that by this point Jack had become a dragon because of his overwhelming greed, among dozens of other acts of sheer dickishness I think that it would be laughable to call him anything resembling a good person. One might even be inclined to give this a pass owing to its Continuity Nod status. I, for one, condemn it for ignoring that each devil figure had bought out Jack's previous contract. Each one—except the last—had had its share of Jack's soul paid for, and thus had no ground to stand on. Only one had a legal claim to him. But this is never brought up at all. Most infuriating of all is the author's willingness to pat himself on the back and consider it clever.
    • yunatwilight: Not to mention ... didn't John Constantine do the exact same thing years earlier, except that when John did it there was an actual point and it really was clever?
  • NTroper: The Donald Duck Italian comic story "Paperino e il rigore decisivo", which roughly translates itself to "Donald and the decisive penalty", AKA The Boys of Bummer taken to the most ridiculous extreme possible. To elaborate, a soccer team sponsored by Scrooge is facing a team sponsored by Rockerduck. Winner earns the respective sponsors the rights to business during the next World Cup in Germany and the transmission rights. Donald is playing for Scrooge's team and has to shoot a penalty as everyone else is injured in one way or another, no matter how ridiculous the injury is (headache and calluses, for one). Donald has to shoot, despite telling he's a terrible shooter. The Drill Sergeant Nasty coach tells Donald to stop wussing out and score, and that if they lose, it's Donald's fault. Then, Donald trips and loses the penalty, and what follows is one of the most disgusting Kick the Dog moments Duckburg could offer. Everyone in the team starts blaming Donald and insulting him, telling he should have let someone else shoot, despite everyone cowardly backing out earlier in the game, not letting Donald ride the Team Bus back home, Scrooge calling Donald ingrate and telling him he'll work to repay all the money he'd have earned in Germany, taxists refusing to let Donald in, passerbys saying they want Donald's head. Then, when Donald tries seeking Daisy for comfort, Daisy cusses him out for having the nerve to visit her after his defeat ruined her party and then ditches him for Gladstone again, and for extra measure, Gladstone tells Donald "You're here too? Why don't you go home?". And finally, when Donald makes it home, the Beagle Boys empty Donald's house as compensation for them losing a bet they made on his team. Not even the reveal it was just Donald's daydream and the following daydream of how nice things would go for him if he scores, ending with Donald not being afraid of anything and just going for the shoot is enough to make up for this utterly ridiculous first act.
    • Melancholy Utopia: I'm glad I'm not the only one who hates this abomination. When I was little, I always skipped this part in the book it featured in. It's beyond comprehension how everyone can shun somebody for making an honest mistake like that. The fact that it was his daydream says a lot about the poor duck's confidence, too. That aside, I find it unbelievable how everyone blames Donald for losing their bets on him. Whomever you bet on is not his fault and shouldn't be a scapegoat for you throwing your money carelessly away. Especially Scrooge, since he's, y'know, the richest guy in the world. And Donald gets zero sympathy from anyone, not even his nephews. It's so needlessly cruel to my favorite Disney character. I can't stress this enough.
    • Big Jimbo: Removing my former entry for something worse: "Paperino e i Gamberi in Salmì". It seems OK, but the ending is not funny at all. It ends with Scrooge's brother Gedeon giving Huey, Dewey and Louie a parody of the "Pulitzer" prize. Then, he gives it to Donald because they're too young, and the final panel shows the three running Donald out of town town and saying "You're not our uncle... you're a medal snatcher!" (that's right, three kids who are commonly portrayed as intelligent, caring children have no problem with disowning their own uncle over a medal of all things) when he didn't steal it from them, which is absolutely unexpected for the three. And that's how it ends. We're not shown what they wanted to do to him, or if Donald got back at them. Now Donald Duck can be a jerk sometimes (all the characters can) but that one went beyond mean, especially since he gets completely treated like this by the end for something he's one hundred percent innocent of. Even though I still won't hate them due to still being noble (Ducktales comes to mind), it still pisses me off a lot. Yes, they're kids and yes, that's what kids often do but we're talking about three characters who are often portrayed as intelligent and caring running a relative who, whilst frequently a jerk, takes care of them, cooks for them, makes sure they're clothed and happy, and on the whole uses a lot more money on them than he does on himself, out of town. However, Donald mocks his nephews, so he's unlikeable too. All in all, the ending alone makes this comic competition with "Little Yellow Book" in the Darkness-Induced Audience Apathy department.
  • Austin DR: I for one love Chick Tracts but not for the reasons that you're most likely thinking. I love reading them because they're so unbelievably bad. They get their facts wrong, they have a Narm charm, and they're very hard to take seriously. However, the one Chick Tract that I absolutely loath is simply titled "Lisa." "Lisa" is about a married couple that were falling behind in hard times. The father of the titular character, Henry, couldn't find a job anywhere, and he was also an alcoholic. What Henry does next is simply unforgivable. He molests his daughter, who looks about five years old by the way, and then he pimps her out and lets his neighbor have his way with her. Pretty much he's making his daughter into a prostitute so that he could get the money from her customers. Later on, Lisa develops herpes complex, and the doctor tells Henry about it. He says that she told him what her father had done to her, and instead of calling the police to arrest him, he instead tells him that Jesus could forgive him for essentially molesting his daughter if he repents. Henry does so, and his family is back in order. So, let me get this straight. We have a father who raped his own daughter, and shared her with the neighbors getting away with said raping and prostitution by just telling God that he was sorry for it without having to face the consequences. I'm sorry, that's not how real-life works! Sure, you can feel remorse for committing a crime in life, but you still have to pay up for it even if you're remorseful for it. And what are we supposed to learn from this tract? Is it "Hey kids, it's okay for your parents to molest you, as long as they apologize for said sexual abuse." There's also the fact that Lisa still has that STD at the end of the tract, and if she ever marries anyone, she'll just transmit that to her partner, and she may even pass it to her children. Jack Chick, if you want to teach a religious lesson to your audience, please leave pedophilia and sexual abuse out of it! Christ!
  • Samadhir: Due to the rather polarizing nature of Garth Ennis' magnum opus Preacher, most readers seem to have at least one moment or issue in it that they consider the dethroning one. For me, its the spin-off story Tall in the Saddle, about Custer and Tulip's early days as carjackers, and their attempt to stop a ring of horse thieves from kidnapping young horses and selling their meat to restaurants in Europe. The story isn't interesting, tells us nothing new or meaningful about the characters, and towards the end simply feels like an excuse for Ennis to indulge in his taste for shock value, with 2 consecutive pages devoted to images of horses being graphically slaughtered and cut up, a guy's eyeball popping out of his head after a kick to the jaw and someone's head bursting apart when being kicked by a horse. It ends with Custer taking the leader of the ring, a ridiculously over-the-top stereotypical Frenchman named Napoleon Vichy, out into the desert and hanging him from a tree, where we get a loving close-up of him pissing and shitting himself after having asphyxiated.
  • The Chain ManMortadelo y Filemón’s Crossover special “¡Bajo el bramido del trueno!" is basically this for pretty much the entire fandom. Aside from the usual current issues like the jokes being forced, predictable, and repetitive beyond the Running Gag status, there's the whole "crossover" part, with El Capitán Trueno if the title didn't make it obvious, for two reasons: The first is the Nonstandard Character Design of the Trueno characters caused because, instead of being drawn in Ibañez's own style, they were randomly copy-pasted from Trueno albums. The results are not pretty and often look bizarre, with characters that are dancing being passed as pursuiters and others "wonders" like that. Furthermore, there are instances where Ibañez does keep the original images aside but he draws the hands or the face, which looks somewhere between Off-Model and terrifying, depending of the image. The second reason is that, for all this is "passed" as a homage to Trueno for its 50 anniversary, it's not much of an homage as an Humiliation Conga for Trueno himself, as he gets repeatedly hit, transmutated, and put in various ridiculous situations, the worst part perhaps being Mortadelo himself NTRing him by hooking with his girlfriend Sigurd for no reason. All in all, the whole thing goes from merely boring to outright painful to read.
  • Animeking 1108: The final issue to Y: The Last Man was a good finale, but there was one annoyance that kept it from being perfect. When Yorick went to visit Dr. Mann and Rose, he learns that Dr. Mann died off-page. What? We got to see 355 and Ampersand's deaths, and they were massive Tear Jerker moments. Why? Because they were helping Yorick on his journey since practically the beginning. It's really insulting that Dr. Mann's death scene wasn't even shown because she was one of the main characters too.
  • Sam Max: Let it be known that I saw the Guardians of the Galaxy film, and loved it so much, I actually decided to read the comics. They're not bad so far, but there's one scene that convinced me that they probably wouldn't match up to the film. In the 2008 series, as it turns out, most of the team was brought together via Brainwashing for the Greater Good by Mantis. It already didn't sit well with me. The team had every right to break up afterward, but I felt the team breaking up should have at least been saved for a few more issues. I never read many other Marvel Comics, so I suppose it would make more sense if I did, and the scene wasn't bad enough to keep me from being interested in reading more, but there's a reason I prefer the movie's version.
  • Why Not Now: Seriously? No one's even bothered to mention the brief Wizard comic issue from 2002 that actually depicts Goku beating Superman? Not that this troper is against the idea of Superman losing to Goku, he probably would, but that he didn't even have to go Super Saiyan or use some of his best techniques solely for the purpose of handing Superman his ass on a silver platter is just the ultimate crowning moment of Epic Fail and an insult worthy of the Death Battle Goku vs. Superman DMOS to the respective fans for both the DC and Dragon Ball Z franchises.
  • hydrix: Suske en Wiske album #318 De Suikerslaven. I do like Peter Van Gucht and Luc Morjeau their run on the series. The album before this one (Het Bizarre Blok) is one of the best in the series and the one after it (Suske De Rat) is pretty good, but this particular album is one of the worst in the series. Ignoring the fact that it is trying to teach an aesop which is overused beyond belief, nothing about it is family friendly whatsoever. It concerns Suske, who is not addicted to candy at all, and Wiske, who is the very opposite, eating a lollipop from an anthropomorphic candy automate and turning into candy themselves. They are then flying on a zeppelin to a world of candy where they are forced to work in a candy factory for the rest of their lives in slavery under the rule of a king. To enforce the idea that they are forced to work there they show what will happen if you will not obey by picking up one kid that turned into candy, putting him in a hot bowl and dissolving him to death. Then later on they talk to a guy and he says that once the country was fantastic until a sugar spider came in, invaded the land and demanded so much candy that the inhabitants were forced to work day and night to pay the toll. The king had to rely on a wizard that told them how to produce more candy and one of the idea was to turn real world children into that race so that there would be a bigger production. Then later on the king turns against his own wizard to help the children after it was revealed that the wizard sold candy to the Christmas man after which the wizard reveals that he was the reason for the whole problem the whole time. The king then fights against him, wins and after the enslaved ones were turned back into real children by a tooth fairy and brought back in their homes they live happy ever after.
    I have a few problems with this. First, why in hell would you want to show a child getting killed in a comic book primarily aimed at children? Secondly, how in the fucking world am I supposed to relate to a king that not only accepts that children get enslaved, but even killed to preserve that form of slavery? Lastly, was it really necessary to bring out the corruption of the wizard in order for the king to rebel against him when, you know, the wizard who put children into slavery?! That being said though, it is not irredeemably awful, since it at least cracked up a few decent jokes and is definitely better than the actual worst of the series.
  • tsstevens One for the Buffy the Vampire Slayer series in the Anywhere But Here storyline. We get a flashback to where Kennedy is upset with how Willow is acting and realizes what's eating her girlfriend is not her, but Tara's murder. In the motion comics this line is added.
    You known when I said I was open to a threesome I had something more fun in mind.
    • Fucksake Kennedy, this shit is why everyone hates you.
  • My Little Pony: Friendship is Magic (IDW):
    • KoopaKid17: The My Little Pony comics are somewhat faithful to the cartoons, even if both tend to ruin heartwarming endings with Mood Whiplash. "Don't You Forget About Us" (Issue 38 to 39) has the worst of such moments, focusing on Snips and Snails who become lost in the woods with the Cutie Mark Crusaders, Diamond Tiara and Silver Spoon. The two colts save Sweetie Belle from being mauled by a bear and they help pull Apple Bloom and Diamond Tiara to safety when they're about to fall off a cliff. Later on, they bemoan their roles as the dunces of Ponyville and confess that they have feelings, too. I'm not afraid to admit that Snips and Snails deserve more respect in the fandom and the comic did a great job addressing it. But what happens in the end after the foals are rescued? Snails tells the Cutie Mark Crusaders that he and Snips won't hang out with them and the Crusaders think they deserve their cutie marks just for surviving with the two colts. Character development down the drain. If they can make Diamond Tiara be friends with the Cutie Mark Crusaders, why not Snips and Snails? The colts proved to the fillies that they were Not So Different but Status Quo Is God stepped in, and the ending felt like a punch in the gut. What a waste.
    • Godzillawolf: In "Chaos Theory" (#48-50), the fact that the worfing of the Elements is done in such a way as to render the Arc's entire moral a Broken Aesop. The story talks so much about how Accord's absolute order is just as bad as Discord's absolute chaos was, and how harmony isn't absolute order, but rather a mix of chaos and order. In fact, it's this very poin' that makes Accord willingly transform back into Discord. And yet the justification for the Elements not working on Accord is he's "absolute order", implying that absolute order is harmony as far as the Elements are concerned.
  • Big Jimbo: I tend to dislike Mickey Mouse comics when they make Minnie a Jerkass, specifically the one where Mickey wants to play chess, but gets constantly interrupted. Well, in one part of the comic, Mickey calls Minnie on the phone. And Minnie yells at him calling her and insults him. Yes, you heard me right. Sweet, innocent Minnie Mouse is yelling at him. And all that just because Mickey had gone to a bear's cave and Minnie thought the bear's growls were his. And obviously, she doesn't believe him and shouts "FIND A BETTER EXCUSE NEXT TIME!" at the top of her lungs and hangs up on him, ending the conversation right then and there. Why did so many comics have to make Minnie so much of a bitch? Did Minnie really have to be derailed this badly? To make matters worse, she doesn't receive punishment for this, giving me a nagging feeling that we're supposed to agree with this act (Mickey even gives a surprised answer to the call instead of being more angry). I've never looked at this part since I first read that story.
  • Jared Tropes: There is Yank the Dog's Chain and there there’s... Bongo Comics. While I liked The Simpsons in my younger years, my love for it has slowly faded away over the past decade due to its Flanderization of characters that uses to be good, and the multiple They Wasted a Perfectly Good Plot moments. My least favourite Simpsons comic story was the final issue of Bart Simpson, Son of Homer’s Odyssey. For one thing, everything in and behind it was fucking horrible, but if there’s one thing that broke my Bongo Comics life, it’s the final chapter of the story, “Chapter VII: Everything must go!” This was the moment that killed the entire company for me due to the most insulting thing ever seen in a comic book: the destruction of Springfield. It was all Robot Millhouse’s fault that the town was destroyed, but what made me stop reading them was the moment when Frink visited the Simpsons and telled them that until the city is built up again, they may continue to use his reality glasses. And it’s no joke: the main character of the story, Bart took them off by purpose, and seeing that Springfield is totally destroyed, Frink reminds him that he should wear them so they can pretend that nothing happened with the help of his program The Multiple Augmented Tactile Targeted Gigabyte Repository of Engineered Normalty Interfacing Nascent Genomes (M.A.T.T.G.R.O.E.N.I.N.G.), and it completely made me angry. Wearing it all the time during the apocalypse is the worst time ever done in a comic book, and it made me quit a comic book series that has overstayed its welcome. I’m still going back to Read Comic Online to read a few old Simpsons books, but for now on? I’m switching over to the TV show. Bye bye, you lucky yellow dickheads.
  • Izzy Uneasy: X Dragoon,fifteen episode. Lance, the weakest dragon, finally awakens his power and gets promoted. He's so happy, he kisses his master's cheek... and gets punched for it. "Want me to demote you again?" What the hell was that? It wasn't funny in any way, it just portrays Master Fei as a cranky Jerkass.
  • CJ Croen 1393: League of Extraordinary Gentlemen isn't even a comic I'm that interested in, but I became aware of the fact that its author, Alan Moore, really doesn't like the Harry Potter franchise and likes to mock it mercilessly. As a fan, I find that understandable, we've done our share of that ourselves, especially with JK Rowling's antics in recent years. But then you find out the way he mocks it. His version of Harry Potter (left unnamed, along with his fellow cast members and school for copyright issues) commits the magical equivalent of a school shooting. And no, it's not a "Does This Remind You of Anything?" type deal, the way it's discussed makes it blatantly obvious that this is what it is. But believe it or not, as tasteless as this is, it isn't the dethroner for me. The dethroner is the brief but still horrifying shot of a character very clearly meant to be Professor McGonagall being tortured in a...disturbingly sexualized manner (complete with one of her breasts being exposed). What the absolute heck, Alan Moore!? A Bloodbath Villain Origin for a villainous version of Harry Potter is one thing (and given the series' many Fandom Specific Plots, honestly nothing new), but are you really so desperate to shock that you're willing to imply that Harry sexually assaulted his elderly teacher!?
    • Emperor Oshron: it unfortunately doesn't get much better after that. The comic as a whole is fine (though there's too much sex and nudity for my liking, personally) except for a few moments, the above-mentioned bastardization of the Harry Potter franchise included. The subsequent volume, The Tempest, is also pretty good with a few bad points. What I'll qualify as a Dethroning Moment for the comic is how it ends. About halfway through Tempest, it turns out that Prospero, who founded the very first established League back in the Elizabethan era has been The Man Behind the Man the whole time and sets out unleashing all sorts of fantastical monsters to destroy humanity. When the ostensible heroes of the story realize this, do they try to fight back against in a desperate if possibly in vain attempt to prevent human extinction? Do they try to reason with the now-revealed villain? Do they try to get as many people off of Earth as possible? No. None of the above. They don't even try. And clearly Moore wasn't even trying, either. The "heroes" evacuate Earth and leave billions of innocent people to die for the sake of Moore's "moral" that modern pop culture sucks, bringing allies with them which include such dumbass criminals as the Beagle Boys, for some reason—clearly, these are the kind of people who should survive the apocalypse, rather than even a fraction of ordinary humanity. It's established in an epilogue that Earth subsequently becomes a huge target of virtually every nasty force and power in the universe, including the Daleks and the Romulans. Good. I hope those alien invaders kill Prospero and every single one of his followers in the most excruciatingly painful way possible. Alan, you're a good writer. I've liked virtually everything of yours that I've read, and—though you might not appreciate that as much—all the film adaptations, too, even the infamously bad League of Extraordinary Gentlemen movie. But the finale to this comic, and apparently to your entire career in the comics industry, may have been the absolute worst possible direction you could've taken. Maybe not enough to ruin the entire comic, but damn near close. There's also a couple of other rather clear "I don't care anymore" moments where part of this apocalypse has the orangutan from Murders in the Rue Morgue appear with a bunch of other Poe-inspired monsters—obviously, they forgot that the orangutan was already in the story and that it was Mr. Hyde, so its inclusion here makes no goddamn sense—and the entire world seems to have arbitrarily forgotten about all the stuff from our real-world fiction for the sake of the asinine moral that was shoehorned in practically at the last minute. This is the kind of thing that makes me want to try my own hand at this kind of Massive Multiplayer Crossover of public domain fiction with as much else as I could possibly get away with, originally just because I love the concept but now practically as a Fix Fic almost entirely because of this awful ending.


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