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| 3 | %% This page has been alphabetized. Please add new examples in the correct order. Thanks! |
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| 7 | [[quoteright:270:[[Franchise/TheLegendOfZelda https://static.tvtropes.org/pmwiki/pub/images/wind_waker_to_twilight_princess.jpg]]]] |
| 8 | [[caption-width-right:270: From [[VideoGame/TheLegendOfZeldaTheWindWaker cute and cartoony]] to [[VideoGame/TheLegendOfZeldaTwilightPrincess grey and gritty]]. The [[VideoGame/TheLegendOfZeldaSkywardSword next game]] in the series would be somewhere in-between.]] |
| 9 | |
| 10 | Whether it's because of some significant change in the series (like being released on a new console, or in an AlternateUniverse), or just the designers wanting something different, occasionally the art style of a series may change for a sequel. Then, in some cases, the new art style may become the default art style. |
| 11 | |
| 12 | This trope is for when the previously used art style in a series is [[ArtShift switched]] in a sequel. This can invoke TheyChangedItNowItSucks, if the change of style is unwelcome by fans of the original work. Note, that if a series continues to use one style for too long, some fans might complain that ItsTheSameNowItSucks. |
| 13 | |
| 14 | A SisterTrope of ArtShift, which is a temporary change of visual style ''within'' a work and ArtEvolution, which is a gradual change but generally still within the same style. Compare ShiftedToCGI and VideoGame3DLeap, when a franchise's visuals change from 2D to 3D. |
| 15 | |
| 16 | Video game sequels and remakes being made for games on older console generations would most likely get an remaster to take advantage of the new hardware, although [[{{Retraux}} there are exceptions]]. |
| 17 | ---- |
| 18 | !!Examples: |
| 19 | |
| 20 | [[foldercontrol]] |
| 21 | |
| 22 | [[folder:Anime & Manga]] |
| 23 | * ''Manga/AttackOnTitan'': |
| 24 | ** The first season employed a ThickLineAnimation style that the second season onward dropped. |
| 25 | ** After the anime switched animation studios from Wit Studio to MAPPA. Because of the shift, the character designs for the last season looked different from the first three seasons, making it closely similar to the mangaka's art style. |
| 26 | * Staring in Season 2 onward, ''Anime/BangDream'' shifted from 2D hand drawn animation, to an AllCGICartoon. |
| 27 | * The first season of ''Anime/{{Beyblade}}'' was animated by Creator/{{Madhouse}}, while the next two and the movie were done by Nihon Animedia in a style closer to the manga. The franchise would retain this style into ''Anime/MetalFightBeyblade'', where animation was handed off to [[Creator/TatsunokoProduction Tatsunoko]] and Creator/SynergySP, along with the Creator/{{Nelvana}}-commissioned ''[=BeyWarriors=]'' series. |
| 28 | * Season 4 of the ''Manga/{{Haikyuu}}'' anime adaptation marks the debut of the new art style. While Seasons 1-3 of the anime generally retains the original character designs, they also have some stylistic differences from the manga (notably the eyes are a bit different and muscles are toned down); the Season 4 designs still resembles the previous anime style while also following the manga art more closely. |
| 29 | * ''Literature/HighSchoolDXD'': The first three seasons were animated by TNK. Due to the creative diferences during Season 3, for the fourth season, ''Hero'', production was taken over by Passione, and with it the art style changed from a sharp, shonen-like art style to an overall softer-looking style that is much more in line with the light novel's original illustrations. |
| 30 | * ''Anime/IronManRiseOfTechnovore'' was followed up by ''Anime/AvengersConfidentialBlackWidowAndPunisher'', yet many of the male characters have more lines on their faces. One of the special features even points out the Punisher, with the crew wanting a more comic-accurate version for the latter film, hence the burly design with mostly slicked-back hair compared to the thinner design with messy hair in ''Technovore''. |
| 31 | * While art style changes in the original ''Manga/JoJosBizarreAdventure'' manga were a result of [[ArtEvolution slow and gradual changes over time]], the David Productions anime adaptation, which began decades into the manga's run, goes a different route. The art style in each Part is unchanging[[note]]typically inspired by the way the characters look at the end of the original[[/note]] and the next Part begins looking dramatically different from its predecessor instead of gradually shifting into a new style. |
| 32 | * ''Anime/LizAndTheBlueBird'', a spin-off of ''Literature/SoundEuphonium'', has a very different style from the main series. Characters are given smaller eyes and more realistic body proportions in comparison to the more stylized appearance typical to other Creator/KyotoAnimation productions. The colors and shading are also significantly subdued, suiting the film's quiet and introspective tone--and making it more noticeable when the film itself {{art shift}}s into storybook sequences with vibrant watercolor artwork. |
| 33 | * ''Anime/LupinIII'': With five/six series to date [[note]]depending on how one views ''Anime/LupinIIITheWomanCalledFujikoMine''[[/note]], and dozens of TV specials, it is inevitable that this work would become an example of this trope. |
| 34 | ** ''Anime/LupinIIIPart1'' has thick lines, and a dark colour palette with high saturation. |
| 35 | ** ''Anime/LupinIIIPartII'' used thinner lines, and rounder shapes. The colour palette was much lighter this time, with lower saturation, and character designs closer to the then-current manga series. |
| 36 | ** ''Anime/LupinIIIPartIII'' was somewhere between the two in terms of saturation, using a mix of bright and medium colours. The shapes were often very curvy, [[EarlyInstallmentWeirdness especially in the first few episodes]]. The characters look even closer to the manga, before starting to get looser and cruder as the show goes on. Except for one movie, the animation style used here is never repeated. |
| 37 | ** For most of the 90s, the ''Anime/LupinIIIYearlySpecials'' would have different character designs depending on who directed. At the TurnOfTheMillennium, the style settled down into something closer to the "Red Jacket" series, with updated colour palettes and techniques, every year. |
| 38 | ** The release of ''Anime/LupinIIITheWomanCalledFujikoMine'' brought the franchise to a new style, one inspired by not only the original manga series, but gothic art, with darker colors, multiple {{Art Shift}}s, and a tendency for more lines, as well. The art style returned in the "Takeshi Koike Trilogy"-''Anime/GravestoneOfDaisukeJigen'', ''Anime/GoemonIshikawasSprayOfBlood'' and ''Anime/FujikoMinesLie'' but without the gothic influence, and a "smoother" look overall. |
| 39 | ** ''Anime/LupinIIITheItalianAdventure'' has character designs inspired by the "Green Jacket" series, but with a brighter palette, thinner lines, and a more modern aesthetic overall. This style was retained for ''Anime/LupinIIIPart5'', but with even more detail given to the character designs and more fluid animation. |
| 40 | * ''Franchise/LyricalNanoha'': |
| 41 | ** The art style in the anime adaptation of ''[[Manga/MagicalGirlLyricalNanohaVivid ViVid]]'' is somewhat different from the rest of the series, with brighter colors and a lack of shaded contours. This is due to it being the only part of the franchise not animated by Seven Arcs. |
| 42 | ** The character designs in ''[[Anime/MagicalGirlLyricalNanohaReflection Reflection]]'' and ''[[Anime/MagicalGirlLyricalNanohaDetonation Detonation]]'' are subtly different from the previous movies. The actual character models haven't changed all that much (beyond what can be justified by the characters being two years older) but the color palette is softer and the shading style is noticeably different (essentially the opposite of ''[=ViVid=]'s'' changes, above.) When there's a flashback to the events of an earlier movie, the difference is noticeable. |
| 43 | * ''Anime/Megazone23 Part II'' replaced the previous film's character designer Toshiki Hirano with Yasuomi Umetsu, who redesigned all the returning characters with more realistic appearances. |
| 44 | * The first season of the anime adaptation of ''[[Literature/MyYouthRomanticComedyIsWrongAsIExpected My Teen Romantic Comedy SNAFU]]'' was originally animated by the studio Brain's Base, whose animations were, while not bad, were mediocre at best. Come second season, the reins of adapting the rest of the light novel were given to Studio Feel, whose designs for the characters were closer to the original light novel's artwork. There was a ''huge'' improvement in the animations, too. |
| 45 | * ''Anime/PokemonTheSeries'' has had the occasional art shift between sequels. ''Anime/PokemonTheSeriesBlackAndWhite'' gave Ash noticeably larger irises than previous installments, changing his eyes from seemingly black to visibly brown. ''Anime/PokemonTheSeriesSunAndMoon'' features a much larger art shift than before, with another noticeable difference in ''Anime/PokemonJourneysTheSeries''. |
| 46 | * Season 1 of ''Manga/TheQuintessentialQuintuplets'' was animated by Tezuka Productions. For Season 2, Bibury took over production, using an art-style that's much closer to the original manga (notable especially on the colors used for Fuutarou's eyes and hair, both of which have a blue shade during Season 1, but for Season 2 he's given black hair and amber eyes). |
| 47 | * ''Anime/SailorMoonCrystal'' sees a shift from its 1992 predecessor not only due to improvements in technology allowing better animation than 1992, but as a result of deliberate effort to more [[TruerToTheText closely resemble]] the [[Manga/SailorMoon manga]]. All the characters look [[NoodlePeople taller and thinner]] than their [[Anime/SailorMoon 1990s anime]] versions. The third season shifts to a ''Anime/PrettyCure''-like art style (the lead character designer of that season, Akira Takahashi, worked on several seasons of the ''Pretty Cure'' series), while the ''Sailor Moon Eternal'' film brought back Kazuko Tadano (the character designer of the 1992 anime) for a modern interpretation of the '90s designs. |
| 48 | * While the ''Literature/ShakuganNoShana'' anime's art style itself didn't changed drastically, it's the characters' eyes, head and body proportions that changed over time. Just compare the titular character Shana's design in the first season to the third season. |
| 49 | * The ''Franchise/{{Tamagotchi}}'' franchise has several anime installments (three tie-in [=OVAs=] for UsefulNotes/McDonalds, [[WebAnimation/LetsGoTamagotchi a 12-episode webtoon]], [[Anime/TamagotchiTheMovie two]] [[Anime/TamagotchiHappiestStoryInTheUniverse movies]], and [[Anime/{{Tamagotchi}} a 271-episode TV series]]) which all use an art style that, while still simplistic like the franchise in general, gives more detail to the characters and abandons the franchise's tendency to show the characters with blue outlines. This art style remained uninterrupted until an [[Anime/EigaTamagotchiHimitsuNoOtodokeDaiSakusen anime short film]] of the series was released in 2017 to be shown before screenings of the ''Anime/KamisamaMinaraiHimitsuNoCocotama'' movie; this short film shifts the art style by combining the anime's art style with the blue outline style of the franchise in general, which basically causes everyone to look shinier. |
| 50 | * In the ''Manga/TokyoGhoul'' anime, throughout the seasons, it's not completely noticeable, but the art has indeed shifted. Especially with the main characters design. |
| 51 | [[/folder]] |
| 52 | |
| 53 | [[folder:Asian Animation]] |
| 54 | * ''Animation/PleasantGoatAndBigBigWolf'': |
| 55 | ** ''Mr.Wolffy, Mr.Right!'' has a paper art style with exaggerated expressions. |
| 56 | ** The season ''War of Invention'' has a clean, simple, and cartoony art style that reminds many of the later seasons of ''Animation/HappyHeroes''. This art style is only used for that one season. ''Mighty Little Defenders'' is the sequel to War of Invention and it goes back to the original style. |
| 57 | ** Its spin-off ''Animation/PleasantGoatFunClass'' goes for a simple and cute art style aimed at preschoolers. |
| 58 | [[/folder]] |
| 59 | |
| 60 | [[folder:Comic Books]] |
| 61 | * When guest creators are invited to make {{Homage}}s for comic book series, be it as shorter stories for compilations (e.g. ''ComicBook/{{Asterix}}'', ''ComicBook/{{Werner}}'') or full issues (e.g. ''ComicBook/LuckyLuke'', ''ComicBook/SpirouAndFantasio''), they're allowed to draw in their own styles as long as the characters stay recognizable. This way, it's also recognizable who drew the story in the first place. |
| 62 | [[/folder]] |
| 63 | |
| 64 | [[folder:Eastern Animation]] |
| 65 | * The single 2018 episode of ''Animation/TheRabbitWithTheCheckeredEars'' was animated digitally, with vibrant colors and [[LineBoil wobbly outlines]], as opposed to the original 70s series' minimalistic traditional animation and washed-out pastel colors. |
| 66 | [[/folder]] |
| 67 | |
| 68 | [[folder:Films -- Animation]] |
| 69 | * The first three ''Toys/{{Bionicle}}'' movies by Creative Capers gave drastic redesigns to the characters to make them more alive and expressive. The distant sequel ''The Legend Reborn'' by Tinseltown Toons mostly stayed close to how the Toys/{{LEGO}} figures looked, but with rugged texturing. The Matoran characters seen briefly at the start have Creative Capers-style glowing round eyes, while the new characters have rectangular pupils. |
| 70 | * The art style of ''WesternAnimation/GoWestALuckyLukeAdventure'' by Creator/{{Xilam}} was a radical departure from that seen in the much older ''WesternAnimation/LuckyLukeBalladOfTheDaltons'' (which itself evolved from ''WesternAnimation/LuckyLukeDaisyTown''), which stuck closer to the art style of the [[ComicBook/LuckyLuke comics]]. |
| 71 | * ''WesternAnimation/PussInBoots2011'' has a realistic CGI animation akin to the previous installments of the ''Franchise/{{Shrek}}'' franchise. Its sequel, ''WesternAnimation/PussInBootsTheLastWish'', has a more stylized artstyle that combines CGI with hand-drawn details, more exaggerated expressions and designs, a deliberate drop in frames per second during action scenes to highlight the impact of the movements, and especially a painterly visual in which textures use paint-brush strokes, thus making the film resemble the paintings of a fairy tale storybook. |
| 72 | * ''WesternAnimation/SupermanBatmanPublicEnemies'' tried to emulate the art syle of Ed [=McGuinness=], who drew the comic version of ''PE''. Its sequel, ''WesternAnimation/SupermanBatmanApocalypse'', has an art style trying to emulate the late Michael Turner, who drew "The Supergirl from Krypton". |
| 73 | [[/folder]] |
| 74 | |
| 75 | [[folder:Films -- Live-Action]] |
| 76 | * ''Franchise/DCExtendedUniverse'': |
| 77 | ** Creator/ZackSnyder used way more vibrant colors in ''Film/BatmanVSupermanDawnOfJustice'' compared to ''Film/ManOfSteel'', and slow-motion whereas there was none in the first film. |
| 78 | ** For ''Film/ZackSnydersJusticeLeague'', he used an ashy ColorWash, making golden and silvery tones pop out, and released the film in 4:3 AspectRatio instead of 16:9. There's also a DeliberatelyMonochrome version. |
| 79 | * ''Film/TheMatrixResurrections'' has a different aesthetic from the original trilogy, due to both director [[Creator/TheWachowskis Lana Wachowski]] deciding to prioritize natural lighting when the others relied on artificial one, and the fight coreography changing from hyper-stylized to gritty and realistic. |
| 80 | [[/folder]] |
| 81 | |
| 82 | [[folder:Franchises]] |
| 83 | * No ''Franchise/{{Transformers}}'' series has so far managed to keep an consistent art style between sequels. |
| 84 | ** The original ''WesternAnimation/TheTransformers'' was made in a time before computer graphics with very colorful and blocky character designs, but its sequel, ''WesternAnimation/BeastWars'', was [[AllCGICartoon all CG]] with a muted color palette. A trend which carried over to its own sequel ''WesternAnimation/BeastMachines'', which also had much sleeker character designs than its predecessors. |
| 85 | ** The ''Anime/UnicronTrilogy'' had a similar thing going on with ''Anime/TransformersArmada'' being entirely in 2D, while ''Anime/TransformersEnergon'' made use of cel-shaded CG for the Transformers themselves ([[ArtShift occasionally switching to 2D or ditching the cel-shading for a few memorable scenes]]) and 2D for everything else. ''Anime/TransformersCybertron'' did the same but ditched the cel-shading entirely. |
| 86 | ** Franchise/TransformersAlignedUniverse. |
| 87 | *** First was the ''VideoGame/TransformersWarForCybertron'' and ''VideoGame/TransformersFallOfCybertron'' games. Which made us of the after mentioned G1 aesthetic, but in a CG environment and with much more detailed/bulky designs. Something which was thrown out the window entirely once ''WesternAnimation/TransformersPrime'' came along in favor of much sleeker models inspired equally by the [[Film/TransformersFilmSeries live-action movies]] and ''WesternAnimation/TransformersAnimated''. |
| 88 | *** This was again ditched for ''WesternAnimation/TransformersRobotsInDisguise2015'', which applied cel-shading to the CG, greatly lowered the frame rate of the animation and got rid of ''Prime'''s RealIsBrown art style. The backgrounds were also now hand drawn and the character designs again got more G1 inspired. |
| 89 | *** ''WesternAnimation/TransformersRescueBots'' art style on the other hand is very simple and like ''Energon'', the show will sometimes shift between CG and hand-drawn. |
| 90 | *** ''VideoGame/TransformersRiseOfTheDarkSpark'' brought back the ''War for Cybertron'' aesthetic but the character designs were now much more inspired by the ones from the movies. |
| 91 | [[/folder]] |
| 92 | |
| 93 | [[folder:Video Games]] |
| 94 | * ''VideoGame/BayonettaOriginsCerezaAndTheLostDemon'' is a storybook-styled prequel, with a painterly art style to contrast with the more realistic main games. |
| 95 | * The original ''[[VideoGame/BioShock1 BioShock]]'' and [[VideoGame/BioShock2 its first sequel]] are set during [[TheSixties the 60s]] in the DieselPunk influenced underwater city of Rapture. Their aesthetic is grimy, worn and dominated by foggy green and brown hues. ''VideoGame/BioShockInfinite'' changes setting to Columbia, a SteamPunk city in the clouds set during the [=1910s=], inspired by [=1890s=] American neoclassical aesthetics. When compared to the originals, this setting is notably more pristine and has a vastly different colour palette of blues, oranges and pinks. This contrast is most obvious during [[spoiler:the brief return to Rapture near the end of the game]]. |
| 96 | * ''VideoGame/BitTrip''. Compared to the Atariesque {{Retraux}} of the first six games, the ''Runner'' spinoff series starting from ''[=Runner2=]'' makes quite the cartoony VideoGame3DLeap. |
| 97 | * Out of all Creator/BlizzardEntertainment's strategy games, only the [[http://www.warcraft-4.net/wp-content/uploads/2008/01/warcraft_screen1.jpg first]] [[http://image.dosgamesarchive.com/screenshots/warcraft2-6.gif two]] ''VideoGame/WarCraft'' games look like each other, with ''VideoGame/{{Warcraft}} III'' [[http://www.freakygaming.com/gallery/strategy_games/warcraft_3:_the_frozen_throne/new_units.jpg having made the jump to 3D]]. Interestingly, ''VideoGame/StarCraft'' [[http://www.codeofhonor.com/blog/wp-content/uploads/2012/09/Starcraft-orcs-in-space.png originally looked]] a lot more like ''Warcraft II''. This changed after the dev team saw a much better made game using IsometricProjection, giving it [[http://static.giantbomb.com/uploads/original/0/1468/184087-starcraft.png this look]] (and twelve years later, ''[[http://starofthelost.files.wordpress.com/2008/11/starcraft2screenshot2.jpg Starcraft II]]''). |
| 98 | * ''Franchise/{{Castlevania}}'' has shifted styles a number of times: |
| 99 | ** The early games don't really have a well-defined style due to the limitations of the NES's graphics, but things got more varied in the 16-bit era. ''VideoGame/SuperCastlevaniaIV'' for the Platform/{{Super Nintendo|EntertainmentSystem}} established a very dark, grungy, and realistic look in both gameplay and its brief cutscenes. The following game, ''VideoGame/CastlevaniaRondoOfBlood,'' tossed this aside in favor of a bold, bright, anime-inspired look, which is especially prominent in the cutscenes. ''VideoGame/CastlevaniaBloodlines'' retained the bright colors but dropped the anime style. |
| 100 | ** ''[[VideoGame/CastlevaniaSymphonyOfTheNight Symphony of the Night]]'' took the series in a completely new direction visually thanks to art and character design by Ayami Kojima, who brought an elegant, moody, and gothic aesthetic with lots of intricate detail and distinctly {{Bishonen}} male characters. Kojima would return to provide the art and designs for most of the subsequent titles, but with intermittent exceptions that cause the series's overall style to seemingly turn on a dime. |
| 101 | ** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the Platform/GameBoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''. |
| 102 | ** ''Aria'''s sequel for the Platform/NintendoDS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka. |
| 103 | ** ''VideoGame/CastlevaniaJudgment'' looks utterly unlike any other game in the series, with wild and bizarre character designs by Takeshi Obata of ''Manga/DeathNote'' fame. |
| 104 | * ''VideoGame/DanceCentral'': |
| 105 | ** The sequel ''Spotlight'' has a subtler but notable shift that made character models look more rubbery. |
| 106 | ** With ''Dance Central VR'', Harmonix brought the art style back to the 2D of the original ''Dance Central'' opening. |
| 107 | * The ''Franchise/DragonAge'' series had a major art overhaul between ''VideoGame/DragonAgeOrigins'' -- which was pretty standard fare MedievalFantasy style -- to ''VideoGame/DragonAgeII'' -- whose visuals are highly stylized, particularly in regards to the depiction of elves and the [[ProudWarriorRace Qunari]]. The series backpedaled on the stylization a bit with ''VideoGame/DragonAgeInquisition'', which tries to find the middle ground between the first two games' styles -- this overhaul was also partly a consequence of moving to a different MediaNotes/GameEngine. |
| 108 | * The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it and the MiniMecha and other vehicles being more futuristic/fantastical in appearance. The third and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot. |
| 109 | * For a while, the ''Franchise/FinalFantasy'' franchise stuck with the chibi sprites in an anime style. By ''VideoGame/FinalFantasyVI'', the chibi sprites were still used, but they were drawn in a grittier and grungier look. ''VideoGame/FinalFantasyVII'' was the first title to make the leap to 3D and it shifted the art style more towards anime styled. ''VideoGame/FinalFantasyVIII'' toned down the anime style while giving characters on the field map better proportions. ''VideoGame/FinalFantasyIX'' changed the art style again where characters had all kinds of proportions from normal to exaggerated and the style was a mix of anime and western cartoons. ''VideoGame/FinalFantasyX'' and later games in the franchise went back to the realistic/anime style. |
| 110 | * Once ''Franchise/FireEmblem'' went portable with ''VideoGame/FireEmblemTheBindingBlade'', the art style was significantly changed from the console-based predecessors. Character illustrations began to be done digitally and the designs slowly drifts away from the 90s fantasy flair of the [[VideoGame/FireEmblemGenealogyOfTheHolyWar Jugdral]] [[VideoGame/FireEmblemThracia776 games]]. The in-game color palette is far brighter compared to the previous titles on the Super Famicom, a necessity due to the original model of the Game Boy Advance not being backlit. |
| 111 | * [[VideoGame/HaloCombatEvolved The]] [[VideoGame/Halo2 first]] [[VideoGame/Halo3 three]] ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The fourth mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''VideoGame/Halo4'' and ''VideoGame/{{Halo 5|Guardians}}'', made by [[Creator/ThreeFourThreeIndustries a different development studio]], also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach. |
| 112 | * ''VideoGame/{{Jumper}} Three'' features stylized {{retraux}} graphics in contrast to UsefulNotes/{{MS Paint}}ish graphics of previous installments or 16-bit style of ''Jumper Redux''. |
| 113 | * ''Franchise/{{Kirby}}'': |
| 114 | ** This trope occurred between ''VideoGame/KirbySuperStar'' and ''VideoGame/KirbysDreamLand3'', where the art style changes from one that resembles more or less an updated version of the older games' art style for the former to a crayon-like look for the latter. |
| 115 | ** Then came ''VideoGame/Kirby64TheCrystalShards'', where [[VideoGame3DLeap the game's now in full 3D]][[note]] although [[TwoAndAHalfD it's still a side scroller]][[/note]]. Then came the remake of ''VideoGame/KirbysAdventure'', where the art style is, yet again, changed, not only [[ArtEvolution giving Kirby his modern design]] outside of both his 3D portrayals and his portrayal in [[Anime/KirbyRightBackAtYa the anime]], but also giving the game a modernized art style that involves, amongst other things, smoother animations and bigger minibosses. |
| 116 | ** This then was averted with ''VideoGame/KirbyAndTheAmazingMirror'', which used the same art style as with the ''VideoGame/KirbysAdventure'' remake. |
| 117 | ** Then came ''VideoGame/KirbyCanvasCurse'', which went with a paint-like art style [[JustifiedTrope due to the fact that a paint sorcerer being is trying to turn Dream Land into a world of paint]]. The next game in the series, ''VideoGame/KirbySqueakSquad'', then reverted back to the art style of the Platform/GameBoyAdvance games. |
| 118 | ** After that, the remake of ''VideoGame/KirbySuperStar'' (''Kirby Super Star Ultra'') came, which changed to an art style that can be described as a combination of both the art style of the GBA games and that of the original ''Super Star''. |
| 119 | ** Then [[note]]not counting two spin-offs that came after the ''Kirby Super Star'' remake[[/note]] came ''VideoGame/KirbysReturnToDreamLand'', which had a ''different'' 3D art style than that of ''VideoGame/Kirby64TheCrystalShards'' [[note]]although [[TwoAndAHalfD it still plays like a sidescroller]][[/note]]. |
| 120 | ** Averted in ''[[CompilationRerelease Kirby's Dream Collection]]'''s challenge stages and [[VideoGame/KirbyTripleDeluxe the subsequent]] [[VideoGame/KirbyPlanetRobobot traditional platformers]] which use the same 3D style and models as ''Kirby's Return to Dream Land''. |
| 121 | ** ''VideoGame/KirbyAndTheRainbowCurse'', being a sequel to ''Canvas Curse'', also features a art shift that's different from standard ''Kirby'' games. Unlike the paint-like art style of ''Canvas Curse'', however, ''Rainbow Curse'' features graphics that emulate [[StopMotion claymation]]. |
| 122 | ** ''VideoGame/KirbyStarAllies'' uses the same 3D models as the other modern games albeit photo-realistic. |
| 123 | * ''VideoGame/TheLegendOfSpyro'': ''A New Beginning'' and ''The Eternal Night'' use a fairly simple, cartoony look similar to that of the classic games. ''Dawn of the Dragon'' uses a much more detailed, realistic one, with notably less stylized proportions and more complex rendering and shading. |
| 124 | * ''Franchise/TheLegendOfZelda'' series frequently changes its art styles in-between sequels. Usually switching from realistic anime style to a chibi anime style and back again depending on what sort of mood and the age [[LegacyCharacter Link]] is in the game. |
| 125 | ** From ''[[VideoGame/TheLegendOfZeldaOcarinaOfTime Ocarina of Time]]'' and ''[[VideoGame/TheLegendOfZeldaMajorasMask Majora's Mask]]'' and their realistically proportioned (for a N64-era game), angular anime-style graphics, to the CelShaded design of ''[[VideoGame/TheLegendOfZeldaTheWindWaker The Wind Waker]]''. |
| 126 | ** ''[[VideoGame/TheLegendOfZeldaTwilightPrincess Twilight Princess]]'' used a grungier version of the ''[[VideoGame/TheLegendOfZeldaOcarinaOfTime Ocarina of Time]]'' style. |
| 127 | ** ''[[VideoGame/TheLegendOfZeldaSkywardSword Skyward Sword]]'' has a semi-Impressionistic look that's basically a cross between the ''Wind Waker'' and ''Twilight Princess'' art styles, featuring the cel-shading and bright colors of the former with the realistic proportions of the latter. |
| 128 | ** ''[[VideoGame/TheLegendOfZeldaALinkBetweenWorlds A Link Between Worlds]]'' has an art style that resembles ''[[VideoGame/TheLegendOfZeldaALinkToThePast A Link to the Past]]'' updated to 3D, while in ''[[VideoGame/TheLegendOfZeldaTriForceHeroes Tri Force Heroes]]'', Link himself looks more like the ''Wind Waker'' incarnation. |
| 129 | ** ''[[VideoGame/TheLegendOfZeldaBreathOfTheWild Breath of the Wild]]'' has cel-shading and bright colors mixed with realistically-proportioned characters much like ''Skyward Sword'' but with a more gouache-inspired and weathered-looking aesthetic. |
| 130 | * ''Franchise/SuperMarioBros'': |
| 131 | ** ''VideoGame/SuperMarioWorld2YoshisIsland'' uses a crayon-inspired art style for the levels, characters, mooks and effects, diverting from the standard sprite-based colors and designs of ''VideoGame/SuperMarioWorld''. Also an InvokedTrope, because Creator/{{Nintendo}} originally planned the game to use an art style inspired by that of ''VideoGame/DonkeyKongCountry'' until [[Creator/ShigeruMiyamoto Miyamoto]] opposed the idea and presented the aforementioned style instead, which the company actually liked. |
| 132 | ** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions. |
| 133 | ** ''VideoGame/MarioAndLuigi'': The switch between ''VideoGame/MarioAndLuigiSuperstarSaga'' and ''VideoGame/MarioAndLuigiPartnersInTime'' saw a minor increase in sprite size to take advantage of the NDS's bigger screens. Other than that, it's mostly the same art style. While ''VideoGame/MarioAndLuigiBowsersInsideStory'' averts this by having the same art style compared to ''Partners in Time'', ''VideoGame/MarioAndLuigiDreamTeam'' does not, being the sub series' VideoGame3DLeap with TwoAndAHalfD elements. [[note]]To be specific, it mixes 3D environments with sprites drawn in a certain art style as to not clash with the scenery. That, and it plays very much similarly to the past games.[[/note]] |
| 134 | ** ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added Battle Courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring. |
| 135 | ** ''VideoGame/WarioWareGold'': In stark contrast to the previous ''VideoGame/WarioWare'' games, which more or less shared a similar artstyle to each other, ''Gold'' has a considerably more cartoonish artstyle that closely resembles a show on Creator/CartoonNetwork or Creator/{{Nickelodeon}}. This would become the standard artstyle for the series going forward. |
| 136 | * ''Franchise/MegaMan'': The ''VideoGame/MegaManZero'' and ''VideoGame/MegaManZX'' series feature a radically different art style from the rest of the ''Mega Man'' franchise. You'd be forgiven for thinking thick armor and pupils fell out of fashion in favour of latex and chunky bracelets between the ''[[VideoGame/MegaManX X]]'' series and the ''[[VideoGame/MegaManLegends Legends]]'' series, if ''VideoGame/MegaManZero3'' didn't imply the art shift were retroactive via [[spoiler:Zero's old body (used by the BigBad) being his current one in a different colour, and not his ''Mega Man X'' appearance]]. [[note]]Official word is that Zero's depiction compared to that of his ''X'' design (and all other aesthetic changes between series by proxy) is merely a stylistic choice and not meant to be a canonical redesign. Originally, series character designer Toru Nakayama ''had'' drawn the ''X'' series Zero in his own art style, but Creator/{{Capcom}} was unsatisfied with the results and gave him free rein to [[DependingOnTheArtist reinterpret Zero as he saw fit]].[[/note]] |
| 137 | * ''VideoGame/MetalGearAcid'' had a graphical style closely in keeping with that of [[VideoGame/MetalGearSolid its parent franchise]], whereas ''VideoGame/MetalGearAcid2'' had stylized, cel-shaded graphics. |
| 138 | * ''VideoGame/MightyGunvolt'': While the first installment used cartoony SD visuals, ''Burst'' shifts into a PuniPlush art style. |
| 139 | * ''VideoGame/{{Nidhogg}}'' has the look of a Atari-era game with blocky pixels and a fairly limited color palette, with the player characters having no defining details beyond their colors. Its sequel, by contrast, is ''[[AmazingTechnicolorWorld extremely]]'' [[AmazingTechnicolorWorld colorful]] with grotesque-looking details added to everything. |
| 140 | * The original ''VideoGame/{{Octodad}}'' goes for a semi-realistic artstyle (or as much as a student project is able). ''Dadliest Catch'' retains similar proportions for the characters but is a lot more cartoony in its textures to fit the general wackiness of game. |
| 141 | * ''[=OlliOlli=]'' has pixel art graphics, while its sequel, ''[=OlliOlli2=]: Welcome to Olliwood'', uses a silkier, rounded look, like a modern Flash game. The third game, ''VideoGame/OlliOlliWorld'', goes full stylised cartoon with CelShading. |
| 142 | * ''VideoGame/Persona5'' received this in a slightly different way. While the direct sequel to the vanilla game, ''VideoGame/Persona5Strikers'' kept the game's art-style, the sequel to ''Royal'', ''VideoGame/Persona5Tactica'' spun the game into an art-style that wouldn't be out of place in the ''[[VideoGame/PersonaQShadowOfTheLabyrinth Persona Q]]'' series. |
| 143 | * ''VideoGame/PocketMirror'' has an anime/visual novel art style somewhat inspired by ''Manga/RozenMaiden'' and ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime. |
| 144 | * ''VideoGame/PopNMusic'' is primarily a cartoony series, but briefly stitched to a pastel anime style from the games ''Lapistoria'' through ''[=UsaNeko=]''. From ''Peace'' forward, the toon style was reinstated with the coloring of the art-shifted games. |
| 145 | * Starting with ''VideoGame/PuyoPuyoFever'', the art style of ''VideoGame/PuyoPuyo'' drastically changed, replacing the '90s fantasy anime style carried over from ''VideoGame/MadouMonogatari'' with a more modern, graffiti-influenced style. Initially, this was just to mark the SoftReboot coinciding with the series moving from Creator/{{Compile}} to Creator/SonicTeam, but as more characters from the classic games have returned, it's stuck as a permanent shift. |
| 146 | * A minor one between ''VideoGame/RaymanOrigins'' and ''VideoGame/RaymanLegends'' -- in the former, the characters had a more cartoony style with flat colors and clearly visible outlines, but in the latter the characters have an art style reminiscent of a oil painting. |
| 147 | * ''VideoGame/ResidentEvil7Biohazard'' marks the point at which the ''Franchise/ResidentEvil'' series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the [=2000s=] and early [=2010s=], to more realistic character designs based directly on scans of real actors/models[[note]]characters in ''VideoGame/ResidentEvil4'' [[VideoGame/ResidentEvil5 to]] ''[[VideoGame/ResidentEvil6 6]]'' were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new RE Engine, which had this as one of its key features. This carried on to other games in the engine, including [[VideoGameRemake remakes of older titles]] such as ''VideoGame/{{Resident Evil 2|Remake}}'', ''[[VideoGame/ResidentEvil3Remake 3]]'', and ''[[VideoGame/ResidentEvil4Remake 4]]''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance). |
| 148 | * ''VideoGame/{{Robopon}}'' went from [[http://i.imgur.com/UBUGk9N.png this]] to [[http://i.imgur.com/TVhuBJK.png this]] in the transition from GBC to GBA. |
| 149 | * ''VideoGame/{{Shantae}}'': As opposed to the pixel art spritework in previous games, ''VideoGame/ShantaeHalfGenieHero''[='s=] sprites are done in a more cartoony style similar to ''VideoGame/{{Skullgirls}}''. More to the point, character designs are more simplified and cartoonish compared to the previous three games, particularly in the faces. ''VideoGame/ShantaeAndTheSevenSirens'' uses the same vector sprites as ''Half-Genie Hero'', but reverts to the more realistically proportioned character artwork of ''Shantae and the Pirate's Curse''. |
| 150 | * ''VideoGame/TheSims4'' forgoes ''VideoGame/TheSims3'''s semi-realistic art style in favor of something more stylized. For example, hairstyles in ''3'' have visible hair strands, whereas they instead resemble molded clay in ''4''. |
| 151 | * ''Franchise/SonicTheHedgehog'': |
| 152 | ** The franchise made a permanent shift from the original WesternAnimation/MickeyMouse[=/=]WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the Platform/SegaGenesis[=/=]Platform/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti art-inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style. |
| 153 | ** The series has gone through several art shifts across its life: Both ''[[VideoGame/SonicAdventure Sonic]]'' ''[[VideoGame/SonicAdventure2 Adventure]]'' games used a more realistic world than the Genesis/Mega Drive games, the style of which ''VideoGame/SonicHeroes'' returned to, only for ''VideoGame/ShadowTheHedgehog'' to go back to the ''Adventure''-style setting while making it DarkerAndEdgier. ''VideoGame/SonicTheHedgehog2006'' went for a photorealistic drection with a redesigned cast (most notably Eggman), which ''VideoGame/SonicUnleashed'' scrapped for a more Creator/{{Pixar}}-esque look. This remained until ''VideoGame/SonicLostWorld'' tried to go for a Genesis-styled approach to the setting yet again. |
| 154 | * ''VideoGame/TeamFortress1'' has a realistic art style (or at least [[TechnologyMarchesOn as realistic as technology would allow for at the time]]) due to sharing an engine with ''VideoGame/QuakeI'' and ''VideoGame/HalfLife1'', and opts for a modern military aesthetic. ''VideoGame/TeamFortress2'' forgoes this style in favour of a cartoonish style reminiscent of [[TheSixties 60s]] pop-art and Pixar-esque character design. This shift in art style accompanies a deliberate [[DenserAndWackier tone shift]] from seriousness to an utter lack of it. |
| 155 | * In ''VideoGame/ThetaVsPi7'' this trope was very evident. The earlier games were built on graphics calculators and as a consequence were black and white (well, really more grey and grey) and low resolution. Character designs as a result tended to be much simpler. King Pi lampshades the change by claiming to have commissioned a painting of their last battle (actually a screenshot from the earlier game) and adding they’ve both “aged well”. |
| 156 | * ''Franchise/TouhouProject'''s cardinal instalments have designs done in Zun's typical janky art style. The official spinoff and interquel games, on the other hand, have specific looks to them depending on the group involved. |
| 157 | ** Twilight Frontier's fighting game interquels are drawn in a typical cel-shaded style. |
| 158 | ** ''Fairy Wars'' is drawn in the style of the ''Touhou Sangatsusei'' manga series. |
| 159 | ** This isn't counting the various tie-in books and manga, most of which don't share artists with the games. |
| 160 | [[/folder]] |
| 161 | |
| 162 | [[folder:Visual Novels]] |
| 163 | * ''VisualNovel/KajiriKamuiKagura'' took on quite a different style from the predecessor ''VisualNovel/DiesIrae'' that, despite having the same artist, adopted a heavily traditional Japanese style featuring heavy use of thick calligraphy style brushstrokes and with the text being read from top to bottom, right to left. This in contrast with the prior novel which used a more stand anime and VN style with standard ways of reading. |
| 164 | * The first two titles in the ''VisualNovel/ZeroEscape'' series, ''VisualNovel/NineHoursNinePersonsNineDoors'' and ''VisualNovel/VirtuesLastReward'', feature character designs courtesy of Kinu Nishimura, best known for her various contributions to many of Creator/{{Capcom}}'s fighting games during TheNineties and [[TurnOfTheMillennium early-to-mid 2000s]]. For the third and final installment, ''VisualNovel/ZeroTimeDilemma'', Rui Tomono took over design duties from Nishimura. Tomono's art is darker and muted color-wise compared to the bright, vibrant drawings of Nishimura, with the ''ZTD'' cast sporting more grounded and realistic appearances as opposed to the stylized designs found in ''999'' and ''VLR'', though this also led to a few of the returning characters [[YouDontLookLikeYou looking nearly unrecognizable]] at a first glance. Fans speculate that the change in artists was done to match ''ZTD''[='s=] [[DarkerAndEdgier bleaker tone]] as well as appeal to [[GermansLoveDavidHasselhoff the series' significantly larger following in the West]]. |
| 165 | [[/folder]] |
| 166 | |
| 167 | [[folder:Webcomics]] |
| 168 | * ''Webcomic/MrBoop'': Book 4 is drawn in a much more detailed style [[spoiler: to represent taking place in [[ShowWithinTheShow the real world.]]]] |
| 169 | * ''Webcomic/{{Nefarious}}'' is an odd case as it goes ''back'' to using Josh Hano's art for the comics. Gashi-Gashi's character designs were implemented late in [[VideoGame/{{Nefarious}} the game's]] development; they were all drawn by Hano beforehand. |
| 170 | [[/folder]] |
| 171 | |
| 172 | [[folder:Western Animation]] |
| 173 | * ''WesternAnimation/TheAmazingWorldOfGumball'' redesigned the majority of its characters for the second seasons, which also came with changing primary animation studio. There's still some ArtEvolution after that point, but not nearly as much or as sudden. |
| 174 | * ''WesternAnimation/AmericanDragonJakeLong'': The second season sees a number of character redesigns. The overall style is much more sketchy and the designs of several reoccurring characters have them thinner with more cartoony embellishments. To the point many of them would be unrecognizable if they hadn't been mentioned by name on screen. Sliver the Mermaid goes from being able to pass a brunette human from the waist up to being completely green. The Oracle Twins go from being identical besides their clothing style and level of perkiness to having different faces and hair colors. Even the title character's dragon form changes from a Western style dragon his friends could easily ride on, to an Eastern style dragon that was skinnier and more mobile in the air. |
| 175 | |
| 176 | * ''WesternAnimation/TheNewBatmanAdventures'' saw a number of changes in art style from ''WesternAnimation/BatmanTheAnimatedSeries'' in order for the art to more closely fit with the art style of ''WesternAnimation/SupermanTheAnimatedSeries'' to allow for crossovers (and the eventual ''WesternAnimation/JusticeLeague'' show). The color scheme was inked darker, but the former film noir influenced style was completely done away with. The lines became much more streamlined and everyone had a character redesign. |
| 177 | * The ''Franchise/Ben10'' franchise has changed its appearance from showrunner to showrunner: |
| 178 | ** ''[[WesternAnimation/Ben10AlienForce Alien Force]]'' and ''[[WesternAnimation/Ben10UltimateAlien Ultimate Alien]]'' are closest in art style to the [[WesternAnimation/Ben10 original series]], with the biggest difference coming in a more muted color palette. |
| 179 | ** ''[[WesternAnimation/Ben10Omniverse Omniverse]]'' is the most {{Animesque}} iteration in the franchise, with simpler and streamlined character designs, more vibrant colors, and regular use of {{Wild Take}}s. This series also gives an in-universe justification for every style change, with [[ItMakesSenseInContext Ben's lawyer pointing out Azmuth's various character design and voice changes throughout each series]] and attributing them to regular meddling of the show's RealityWarping alien species, Celestialsapiens. |
| 180 | ** ''WesternAnimation/Ben102016'' has the simplest designs, geared far more towards comedy than action/adventure as per the new tone. |
| 181 | * The 2006 revival of ''WesternAnimation/BikerMiceFromMars'' gave redesigns for everyone, mainly by making the Martian mice look slightly less cartoonish. |
| 182 | * ''WesternAnimation/DuckTales1987'' to ''WesternAnimation/DuckTales2017''; the former was animated in the typical Disney style whereas the latter went for a more stylized look directly inspired by the original ''[=DuckTales=]'' comics. |
| 183 | * ''WesternAnimation/FiremanSam'' has had three different artstyles in its run: |
| 184 | ** Series 1 through 4, running from 1987 to 1994, had a simple toymation style with minimal facial expressions and jerky walk cycles, not unlike its cousin series ''WesternAnimation/PostmanPat''. |
| 185 | ** Series 5, a revival airing through the early to mid 2000s, changes the style to be more similar to other British stop-motion shows of the era and makes more use of computer generated effects, such as the fire and smoke, as well as giving the characters smoother movement, lip sync, a wider range of facial expressions, and in some instances, new appearances. For example, Penny's hairstyle goes from a PrimAndProperBun to BoyishShortHair, and Norman and the twins get new outfits reflectice of the new time period. |
| 186 | ** Series 6, which started in 2008 and is still airing today, is an AllCGICartoon. The characters have more realistic faces, and while most of them retain their appearances from Series 5, others, mainly Dilys Price and Mandy Flood, get complete makeovers. The movements start out a bit wonky, but as the series progresses, they become smoother. |
| 187 | * ''[[WesternAnimation/InspectorGadget Gadget and the Gadgetinis]]'' is drawn in the somewhat {{Animesque}} [=DiC=] "house style" from the early 2000s. |
| 188 | * The second season of ''WesternAnimation/JonnyQuestTheRealAdventures'', as part of its ReTool to make it closer to the original shows, heavily changed the art style to make it brighter and less grittier as well as made all the characters look a little younger in appearance. |
| 189 | * If you look up the Miraculous PV on youtube, then the original 3D trailer, then watch an episode of ''WesternAnimation/MiraculousLadybug'', you'll see a serious art shift. The show went from animesque 2D animation to still-animesque-but-realistic CGI to to animesque 3D animation. There's also art-shifts within the show -- there are, in fact, four studios working on the show, and each one has their own style. |
| 190 | * ''Franchise/MyLittlePonyGeneration4'' uses two-dimensional, stylized Flash animation. ''Franchise/MyLittlePonyGeneration5'', a DistantSequel, instead uses more detailed 3D models with more realistic anatomies. |
| 191 | * The Creator/{{Xilam}} animation style of ''WesternAnimation/TheNewAdventuresOfLuckyLuke'' is markedly different from the 1983/1991 ''WesternAnimation/{{Lucky Luke|1983}}'' series that stuck closer to the [[ComicBook/LuckyLuke comic books]] in both [[TruerToTheText story]] and art style. |
| 192 | * Compared to ''WesternAnimation/StarWarsTheCloneWars'', the art style of ''WesternAnimation/StarWarsRebels'' is more "cartoony" and "Disney-fied" with smoother, rounder edges. Also, the detailed paintbrush-style color palette of ''The Clone Wars'' is replaced with a more simplistic vibrant palette. The differences are probably best shown on the respective models of [[https://web.archive.org/web/20201108180646if_/https://pbs.twimg.com/media/B9dDZFMCcAAYZed.jpg Wilhuff Tarkin]]. Although really, this can apply to any of the characters in ''The Clone Wars'' that managed to guest star in ''Rebels'', even accounting for the TimeSkip in-between installments. |
| 193 | * While ''WesternAnimation/{{Tangled}}'' and its short film sequel ''WesternAnimation/TangledEverAfter'' are 3D animated, the {{interquel}} ''WesternAnimation/TangledTheSeries'' uses 2D hand-drawn animation. The same goes for ''WesternAnimation/BigHero6TheSeries'' compared to ''WesternAnimation/BigHero6''. |
| 194 | * Creator/DreamWorksAnimation TV series ''[[WesternAnimation/TurboFast Turbo FAST]]'', ''WesternAnimation/TheMrPeabodyAndShermanShow'', ''WesternAnimation/DawnOfTheCroods'', ''WesternAnimation/HomeAdventuresWithTipAndOh'', ''WesternAnimation/TrollsTheBeatGoesOn'', and ''WesternAnimation/SpiritRidingFree'', based on their respective films, also connected with this trope -- the former five from CGI to 2D, the latter one inverted. |
| 195 | [[/folder]] |
| 196 |
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