History Main / StylisticSuck

** His followup ''The Soundtrack Collection'' is a movie theme CoverAlbum, and is more based around synthesized instrumentation, but still focuses on his inept piano or keyboard playing for comic effect. The opening track also has him singing Kenny Loggins' "Danger Zone" offkey - only for Loggins himself to stop the music and engage in a staged StudioChatter argument about its stylistic suck nature, then leave in disgust.

* Similarly, there's Music/FaithNoMore's "Everything's Ruined" video, which was inspired by video booths at county fairs, and had the band miming in front of various ChromaKey StockFootage - particularly funny moments have them "swimming" in front of an underwater backdrop, or fleeing from [[{{slurpasaur}} a giant tortoise]]. The band really didn't have much of a budget, having spent most of it on the other two videos for the album ''Angeldust'', so they deliberately went for something as silly and cheap-looking as possible.

** His followup ''The Soundtrack Collection'' is a movie theme CoverAlbum, and is more based around synthesized instrumentation, but still focuses on his inept piano or keyboard playing for comic effect. The opening track also has him singing Kenny Loggins' "Danger Zone" offkey - only for Loggins himself to stop him and engage in a staged StudioChatter argument about its stylistic suck nature, then leave in disgust.

** His followup ''The Soundtrack Collection'' is a movie theme CoverAlbum, and is more based around synthesized instrumentation, but still focuses on his inept piano or keyboard playing for comic effect. As an ActorAllusion to {{WesternAnimation/Archer}}, the first song on the album is a rendition of Kenny Loggins' "Danger Zone" featuring Loggins himself - When Benjamin starts singing, Loggins stops the music to tell him that "this sucks", and the rest of the track is a staged StudioChatter argument, wherein Benjamin tries to explain the whole "stylistic suck" concept to Loggins, who isn't having it and walks out of the session.

* Dutch web video series ''Kud'' has one episode in which one of the main characters ([[NoNameGiven The Green One]]) makes a video parodying Dutch ice skater Sven Kramer, who infamously took the wrong lane during an ice skating tournament. The video consists of a stick-figure Sven Kramer [[RapeAsComedy being sodomized]] by a [[EverythingsBetterWithDinosaurs badly drawn brontosaurus]].

* Music/TheKLF's single under the pseudonym "The [[Series/DoctorWho Timelords]]", a deliberately lazy [[UrExample proto]]-Mash Up of a Gary Glitter song with the ''Doctor Who'' theme and the Music/{{Sweet}} song "Blockbuster", featuring some ''Series/HarryEnfieldAndChums'' [[VoiceClipSong sound clips]] processed to sound like Dalek voices. The video was even worse, featuring a CoolCar [[CriticalResearchFailure as the TARDIS]] and a couple of [[TinCanRobot cardboard boxes covered in tinfoil]] as a Dalek.

* ''Comicbook/XMen Noir'' features a series of backups prose stories parodying old pulp sf stories. ("The Sentinels" by Bolivar Trask) Thomas Halloway reads them, and even uses them to interrogate Professor Xavier. Considering the style and subject this is almost certainly a reference to the ''Iron Dream'' mentioned below. (Ironically, Trask comes across as [[FairForItsDay rather egalitarian by 1930s standards]], in his story the "perfect race" is formed by ''combining'' racial characteristics, and the mutant underclass turns out to be misunderstood. This is ''also'' ironic when you consider that in the main Marvel universe, Bolivar Trask was the bigoted scientist behind the mutant-hunting Sentinel robots.)

* In the ''Essex County'' trilogy, the comic-within-a-comic drawn by a young child in the story is actually a real comic made by author Jeff Lemire when he was a child.

* ''Anime/MobileSuitGundamTheWitchFromMercury'' features an in-universe student film advertisement that Earth House made for GUND-ARM Inc. and it… well, it looks about how you'd expect for something made by a bunch of college students with no filmmaking experience whatsoever. It features [[HollywoodToneDeaf a strange, off-key]] choir song performed by the class as music, [[BadBadActing Suletta can't act to save her life]] and moves really awkwardly (clearly taking great effort to hit her marks), the footage is [[StockFootageFailure very obviously edited together from different takes]] because Suletta couldn't do her whole routine in one go despite the video only being about thirty seconds long, a goat wanders into frame repeatedly, and Suletta's Mobile Suit is [[SpecialEffectsFailure badly green-screened]] into the shot, her movements wildly out of sync with Suletta's and [[ConspicuousCGI the lighting on her totally out of line with the rest of the video]].

* Chapter 59 of ''Fanfic/YouGotHaruhiRolled'' imagines what the ''LightNovel/HaruhiSuzumiya'' series would be like had it been dubbed by Creator/FourKidsEntertainment. It's the most saccharine thing ever.

* The first (in airing order) episode of ''LightNovel/HaruhiSuzumiya'', "The Adventures of Mikuru Asahina", is a ''gloriously'' bad student film made by the main characters, with a plotline that makes no sense, random scene changes, flat characters, appalling acting, shoddy directing (the conversation where both characters are facing right springs to mind), ''really'' badly animated special effects (with one exception - that happens to nearly take out the cameraman) and an opening song which sounds like it's being sung at gunpoint. And [[DeadpanSnarker Kyon commenting]] on all this. An early fansub added to this by applying subtitles and karaoke that were reminiscent of those you'd find on old fansubs, complete with [[UsefulNotes/{{Fonts}} Comic Sans]] and a static karaoke with notes.

** Thundercracker is an aspiring writer and we’re often given snippets of his work. They’re almost invariably terrible, with ''incredibly'' stilted dialogue, rampant PurpleProse, and [[ViewersAreMorons heavy-handed exposition]].

** The above-mentioned Thundercracker is later commissioned to make a {{Biopic}} about Starscream’s life. By this point Thundercracker’s writing has improved... kind of. The dialogue is ''slightly'' less stilted and [[ShownTheirWork he actually does research to make the film accurate]], but that’s about it. The rest of production is [[TroubledProduction a nightmare]]; the film goes through numerous rewrites, is [[WTHCastingAgency horribly miscast]], the lead actor walks out mid-filming, [[SpecialEffectFailure the special effects are cheap]], stock footage of an actual riot is used to avoid spending money on recreating it, and Thundercracker’s [[BiasSteamroller personal biases frequently shine through in the writing]].

* ''Fanfic/TheBoltChronicles'': Applies in-universe to the porn fanfic referenced in “The Cameo,” described as “featuring some of the most overripe prose since Creator/EdwardBulwerLytton’s heyday.” The few oblique references made to the writing fully support this. Also frequently implied in-universe with regards to Bolt’s former TV show, and treated as a RunningGag; an example from “The Imaginary Letters:”

* Music historians are still debating whether [[Music/WolfgangAmadeusMozart Mozart's]] ''[[http://en.wikipedia.org/wiki/A_Musical_Joke A Musical Joke]]'', a divertimento for two horns, two violins, viola, and double bass, is an example of this or an excuse for Mozart to experiment. A popular version of the former theory holds that Mozart was parodying musicians in local ensembles who wrote pieces to show off their own (modest) skill but knew only ''what'' the great composers did and not ''why'' they did it. As in so many examples of this trope, Mozart ultimately put more energy and effort into writing badly than the composers he was spoofing put into writing "well".[[note]] Advocates of the theory that Mozart was experimenting note that such ideas as phrases of irregular length, whole tone scales, and polytonality, though regarded as outrages in the late 18th century, became much more mainstream in the early 20th century.[[/note]]

** The second movement minuet includes jarring parallel fifths, a mistuned passage for horns suggesting they have the wrong crooks,[[note]] Before horns had three (or more) keys to change the pitch, they could only access the notes in the harmonic series, which include most of a diatonic major scale; they used adjustable lengths of tubing known as "crooks" to change the key to which the horn was tuned.[[/note]] a disproportionately long trio that climaxes with the melody running out of accompaniment, and a loud and awkward final gesture better suited to a march.
** The slow third movement tries to showcase the first violin, only to bypass introducing the main theme in favour of going straight into mindless decorative filigree, so that by the time the violin gets a solo cadenza, it has run out of ideas and just saws away to pad things out, ultimately climbing so high up its register that it goes horribly out of tune (and re-centres itself with an incongruous single pizzicato low G).
** The finale follows the first movement's lead in trying and failing to fit its banal musical ideas into a sonata allegro structure. Contrapuntal passages never get off the ground, the horns have to sustain notes for a ridiculously long time while the strings repeat the same fragment ''ad nauseam'', and the final measures are a polytonal mess as the four string musicians play in different keys to each other and to the horns.

* Music historians are still debating whether [[Music/WolfgangAmadeusMozart Mozart's]] ''[[http://en.wikipedia.org/wiki/A_Musical_Joke A Musical Joke]]'', a divertimento for two horns and a string quartet, is an example of this or an excuse for Mozart to experiment. A popular version of the former theory holds that Mozart was parodying musicians in local ensembles who wrote pieces to show off their own (modest) skill but knew only ''what'' the great composers did and not ''why'' they did it. As in so many examples of this trope, Mozart ultimately put more energy and effort into writing badly than the composers he was spoofing put into writing "well".[[note]] Advocates of the theory that Mozart was experimenting note that such ideas as phrases of irregular length, whole tone scales, and polytonality, though regarded as outrages in the late 18th century, became much more mainstream in the early 20th century.[[/note]]

* Music historians are still debating whether [[Music/WolfgangAmadeusMozart Mozart's]] ''[[http://en.wikipedia.org/wiki/A_Musical_Joke A Musical Joke]]'' is an example of this or an excuse for Mozart to experiment. If it's the former, that would explain a first movement with a theme that never seems to go anywhere, a second movement where the horns play mistuned notes as though they've got the wrong crooks,[[note]] Before horns had three (or more) keys to change the pitch, they could only access the notes in the harmonic series, which include most of a diatonic major scale; they used adjustable lengths of tubing known as "crooks" to change the key to which the horn was tuned.[[/note]] a third movement with a violin cadenza that gets more out of tune the higher it goes up the instrument's register, and a finale that runs out of ideas early on but keeps going regardless, and has the four string players play in completely different keys to both the two horns and each other in the final two measures.

** Most of ONE's work is like this, as both the original comics for One-Punch Man and ''Manga/MobPsycho100'' are drawn in a deliberately sloppy and amateurish style, allowing them to not only fit a much more comedic tone, but to make it much more impressive when the action and [[ArtShift ONE's art]] get more serious.

* A frequent sight gag in the anime of ''Manga/MobPsycho100'' is characters expressing dumbfounded shock by reverting to half-assed sketches of themselves. Similarly, the second season's eyecatches are [[https://twitter.com/NathanGelman/status/1131036574295179266 animated to resemble amateurish black-and white pencil drawings pulled out of a sketchbook.]]

* Music/DavidBowie wanted a 'garage band' feel to 'Boys Keep Swinging' but felt his band were playing too proficiently....so he got them to swap instruments. ''Diamond Dogs'' is so full of reverb, judders and crackling that, even remastered, it still sounds like an old phonograph.

* The beginning of the first installment of TUBEPOOP: Storymode is styled after late-2000’s [[WebAnimation/YouTubePoop YouTube Poops]].

** On the rare occasions that comics are portrayed, it will be in a very crude and deformed style that makes it clear the reader is looking at a comic-within-a-comic. [[https://www.youtube.com/watch?v=vh_ZK_Rb25s The anime even used this style for the ending credits of the Oingo Boingo episode]].

** On the rare occasions that comics are portrayed, it will be in a very crude and deformed style that makes it clear the reader is looking at a comic-within-a-comic.

* ''Machinima/RedVsBlue'':

* Many, many ''VideoGame/GarrysMod'' {{Machinima}}. Characters are capable of fairly realistic animation and facial movement (and in ''Machinima/TheGModIdiotBox'''s case, well-done stop-motion animation,) but why bother when [[RagdollPhysics wild ragdoll flailing]] and deranged, physically impossible expressions are so much funnier?

* Creator/HJonBenjamin recorded and released a comedy jazz album titled ''Well, I Should Have (Learned to Play the Piano)'', with the joke being that he's performing on the piano despite ''having no experience with the instrument'' and very little affinity for jazz music. He's accompanied by a talented and professional backing band, so the experience of hearing an otherwise well-composed, well-performed jazz number getting intruded on by clumsiest piano solos you've ever heard is nothing short of jarring and hilarious.

* The "heta-uma" movement in manga art makes use of this trope. According to Wiki/TheOtherWiki, [[https://en.wikipedia.org/wiki/Heta-uma the style's hallmark]] is "a work which looks poorly drawn, but with an aesthetically conscious quality, opposed to the polished look of mainstream manga."