You don't need to look at a ton of samples to already guesstimate to a certain degree what will come out of these tests. We already know, for example, that the 50 RF is unarguably incredibly sharp for an f1.2 lens, or that it will be quite significantly affected by cat's eyes. Some aspects of how a lens is biased or designed in terms of blur can be guessed from a few samples.
Solid reviews in general don't give a particularly comprehensive review of blur behaviour. They're still extremely useful and the 50mm RF should look like a brillant lens in most of them. Deservedly so. I'm sure it's taken a lot of hard work for Canon engineers.
The 35mm II is limited in its expression of distance within the blur because of how perfect a lens it is. Its blur characteristic between rear and front blur is as neutral as it gets, as Lenstip's focussing scale shots show.
This is the 35mm II :
View attachment 181148
Here I've allowed myself to switch the 35mm II for the 55 Otus (a lens with similar blur characteristics as the 35mm II) as the way the focusing scale is shot makes it more comparable to another standard lens, specifically designed to under-correct some aberrations :
View attachment 181149
As you can see the "LensAlign" word blurs in the exact same way whether it's in front or behind the focal plane with the Otus (or the 35mm II). On the contrary on the lens with poor spherical aberration correction, it blurs in a strong double edged fashion in front, but in a very smooth, readable way behind.
And here's the big deal : with the Otus (and the 35mm II), as soon as you're past a certain number, you can no longer read the word, and there's practically no difference in the look of the "LensAlign" word : it's as if the LensAlign word is repeated in the exact same fashion afterwards, with lots of well defined edges which start to intertwine with each others to the point that the word becomes undistinguishable and that everything becomes flat.
A practical illustration of the problem :
View attachment 181150
https://www.imaging-resource.com/PRODS/canon-5ds-r/Y1C6A7739-35LMarkII.HTM
In that shot the two blurred men are at a distance from each others. What I'd like to see from my ideal lens is the traduction of that fact into how the blur behaves. Yet what do we see ? The blurred edges of the objects are similar regardless of the distance (see for example how the neck strap of the guy behind is just as sharply defined as the one from the guy in front). Maybe my brain is stupid, but to me this is difficult to process : I know that these guys are at a distance from each others (the size of their respective heads should be enough to know it, unless something quite bad was unraveling to their physical integrity), and yet they look like they're painted on a 2D canvas.
On the other hand, on the lens with strong spherical aberration, the "LensAlign" word remains readable far into the blurred area behind, and there's a strong difference in how that word looks between the numbers 5 and 10, for example. I think that this is a more elegant way to fade into the blur, but, much more importantly : it preserves distance information better since you can still see what the object is !
The same thing may apply at longer focusing distances, or even when closed down (depending on lens design).
The EF 50mm f1.2 behaves to some degree like the under-corrected lens, at least around f2-F4 in the centre. It's got a lot of other aberrations that make its overall bokeh performance questionable, particularly wide open and off-centre, though.
Another illustration of the difference between these two lenses, from a pdf from Zeiss :
View attachment 181151
https://lenspire.zeiss.com/photo/app/uploads/2018/04/Article-Bokeh-2010-EN.pdf
That said, I've left the photos in color, because credit where credit is due, the 35mm L II controls longitudinal chromatic aberrations exceedingly well. Hat's off to Canon's engineers for that. It's also much, much sharper than the poorly corrected lens, which some may call "hazy".
IMO in 2018 a more balanced lens would try to straddle the fine line between these two extremes.