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->''"I came home from these regular monthly drinks that we have in London and grabbed one of the nice hardback comics next to the bed--and in this case it was [FrankMiller's] [[ThreeHundred 300]]. I picked it up, flipped through it, really not very much paying any attention to it. And one of the speeches about 'The only free men the world has ever known,' and literally had a moment of incandescent rage and shouted at the book, ''You hunted slaves!'' And at that second the entire plot of ''Three'' downloaded, including the twist, the structure, everything."''
-->-- '''Creator/KieronGillen''' [[http://www.comicsalliance.com/2012/10/13/you-hunted-slaves-kieron-gillen-on-spartan-culture-and-his-n/#ixzz2JIz5K7PR talking about]] ''Three''.

The SpiritualSuccessor's EvilTwin[[note]]Which, despite connotations, can more often than not be LighterAndSofter than the Spiritual Ancestor[[/note]], the '''Spiritual Antithesis''' is referencing an earlier work by using similar characters and themes, but going in a completely different direction. Often set at the opposite end of SlidingScaleOfIdealismVersusCynicism. May serve as a {{Deconstruction}} (or {{Reconstruction}} if the original work was a deconstruction itself) or StealthParody of the original work.

Often seen as a TakeThat against the original work (though it may simply be meant as commentary or as a WhatIf scenario, and is occasionally even made by the same people), and closely related to {{Satire}}. May involve WholePlotReference. Sometimes is actually a sequel to the original work, in which it usually serves as an InternalDeconstruction.

Of course, nothing prevents a work from being the Spiritual Antithesis of one work and the SpiritualSuccessor of another at the same time, which may often result in said work being XMeetsY or ThisIsYourPremiseOnDrugs.

Genres that play this role to each other:
* CosmicHorrorStory and LovecraftLite
* HeroicFantasy & HighFantasy versus LowFantasy & DarkFantasy
* StandardFantasySetting and NewWeird
* CyberPunk & PostCyberPunk and a little-known PunkPunk genre actually called "Punk Punk" that has more realistic technology and characters loyally working for the sorts of corporations that CyberPunk and PostCyberPunk protagonists rebel against.
* {{Deconstruction}} and {{Reconstruction}} [[DeconReconSwitch (not mutually exclusive)]]

!Examples:

[[foldercontrol]]

[[folder: Anime and Manga ]]

* ''GurrenLagann'' was this to ''Anime/NeonGenesisEvangelion'' (bonus points for being made by [[{{Gainax}} the same people]]) and its own SpiritualPredecessor ''SpaceRunawayIdeon.''
** ''{{FLCL}}'' is another Spiritual Antithesis to Evangelion, also created by the same people - according to rumors, many people who just finished working on ''End of Evangelion'' felt down and wanted to create something crazy and optimistic to cheer themselves up.
** You may also say that ''GaoGaiGar'', first reconstruction of SuperRobot genre after ''Evangelion'' was another one of these for it - it celebrated and embraced the same tropes Evangelion criticized or outright rejected.
* ''Anime/TigerAndBunny'' might be this for ''Anime/DarkerThanBlack'' - both are takes on SuperHero genre that have superhumans glowing blue while using their powers, but former has much more idealistic take than latter, which is much more cynical and prefers NotWearingTights and [[AntiHero antiheroic]] variety. Neither works go into extremes - just like ''Anime/DarkerThanBlack'' stays on the cynical side but acknowledges existence of idealism, ''Anime/TigerAndBunny'' is very optimistic, but has few shades of cynicism on it.
* MakotoShinkai's last two works have strong contrasts with his two previous works.
** ''Anime/VoicesOfADistantStar'' and ''FiveCentimetersPerSecond'' - while the former is about love that survives despite great (as in, ''cosmic'') distance between two people, the latter says that not every love can be that strong and sometimes separated people grow apart from each other.
** ''Anime/ThePlacePromisedInOurEarlyDays'' and ''Anime/ChildrenWhoChaseLostVoices'' - the former says that love can prevail and unite people against all odds, but the latter reminds the viewer that there is one barrier that nothing can break - death.
* ''Anime/WataMote'' could be considered the opposite of ''Anime/TheWorldGodOnlyKnows''. In both shows the main characters are big geeks and supremely talented in the field of dating sims and visual novels, but whereas Tomoko is despised for this and desperately seeks love and attention (to a creepy degree), Keima isn't affected by his geekiness and couldn't care less about being popular in real life.
* YoshiyukiTomino likes to follow up his dark and depressing series with their opposites - ''{{Zambot 3}}'' was followed by ''{{Daitarn 3}}'', ''Anime/MobileSuitZetaGundam'' by ''Anime/MobileSuitGundamZZ'', and ''SpaceRunawayIdeon'' by ''CombatMechaXabungle''.

[[/folder]]

[[folder: Comic Books ]]

* Creator/WarrenEllis [[WordOfGod in the afterword of]] ''ComicBook/BlackSummer'' contrasted it with ''ComicBook/CivilWar'', saying that MarkMillar's event shows watered down version of superheroes coming in conflict with the government, while he wanted to show in ''Black Summer'' what he thinks would really happen.
** Ellis must love this trope - when Creator/KurtBusiek and AlexRoss created ''{{Marvels}}'', a [[{{Deconstruction}} deconstructing]] but still idealistic portrayal of MarvelUniverse, Ellis wrote ''Ruins'' - a depressing AlternateUniverse where everything that could go wrong did, worse that you can imagine - that is generally seen as [[FanNickname Marvels' Evil Twin]]. When Busiek made sequel to ''Marvels'', Ellis respond with ''Ghost Boxes'' - compilation of alternate Universes where the ComicBook/{{X-Men}} failed to stop the threat from his ''Astonishing X-Men'' series, each more depressing that previous one.
* Someone described the Creator/AlanMoore version of ''{{Marvelman}}'' as "Franchise/{{Superman}} told as a {{horror}} story". Or, perhaps more accurately, the original {{Marvelman}} done as a {{horror}} story.
** And you could say his run on ''{{Supreme}}'' is the opposite to his Marvelman - in both cases Moore takes character of FlyingBrick based on Superman, who was also epithome of [[TheAgesOfSuperheroComics age]] during which he was created, with all its flaws, and molds him into complete opposite, while making him more complex and interesting than he was before. The difference lies in tone - while Moore turns Marvelman towards DarkerAndEdgier waters, while breaking apart many tradional tropes of SilverAge, Supreme under his guidance took path towards LighterAndSofter territory and paid tribute to the same tropes Marvelman tore apart.
* ''SwitchbladeHoney'' is this to ''Franchise/StarTrek'' - it shows a future where the exploration of space is handled by a bunch of insane egomaniacs, which leads to a war with a much more powerful enemy, which humanity is losing. Heroic idealists, who would become great heroes of Starfleet in ''Franchise/StarTrek'', here end up in prison for opposing the corrupted system.
* Creator/KieronGillen seems to be driven to do this:
** He is currently working on the book ''Three'', which is basically tailor made to be this for FrankMiller's ''[[ThreeHundred 300]]''. ''300'' has [[BlackAndWhiteMorality heroic Spartans fighting for freedom against irredeemable, evil Persian Empire]] and played [[HollywoodHistory with the actual history]]. ''Three'' is going to have [[WhiteAndGrayMorality less clear conflict]] with Spartans as slave-hunting antagonist from which titular three former slaves are running away, and Gillen is consulting actual history major to keep the story accurate.
** Another ongoing title by him is ''ComicBook/{{Uber}}'', which is a very grim and violent deconstruction of comics which use [[StupidJetpackHitler the idea of World War II being fought with superheroes and mad science]] as an excuse for lighthearted RuleOfCool high-jinks.
** He also intends his new book, ''Wicked And Divine'' to be this for his own ''{{Phonogram}}''.
** And of course there is his run on ''JourneyIntoMystery'' which is whimical, light-hearted series about {{Comicbook/Loki}}, god of mischief, imagination and stories, who refuses to accept that StatusQuoIsGod and desperately tries to change [[spoiler: only to ultimately fail and kill the only chance to trurly change he ever had]]. Contrast with NeilGaiman's ''TheSandman'', which is moody, semi-gothic series about Morpheus, god of dreams, imagination and stories, who refuses to accept that [[NothingIsTheSameAnymore everything changes]] and desperately tries to stay the same [[spoiler: only to ultimately fail and undergo change by being reborn in new body]].

[[/folder]]

[[folder: Fan Fiction ]]

* ''Fanfic/MyLittleUnicorn'' is this to ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' as a whole. While [=FiM=] is based around ThePowerOfFriendship, MLU is based around the power of belief.
* ''Fanfic/PartyOfNone'' is a reconstruction of ''Fanfic/{{Cupcakes}}'', in that it actively avoids using [[{{Gorn}} excessive violence]] to make a point that [[DarkFic dark fics]] don't need it to be scary.

[[/folder]]

[[folder: Film ]]

* Similarly, Creator/WernerHerzog's ''Film/AguirreTheWrathOfGod'' is a cynical story starring KlausKinski, about white men heading [[RiverOfInsanity into the Amazon]] to civilize it and return rich and powerful, but end up dying pointlessly. 10 years later he made ''Film/{{Fitzcarraldo}}'' - a story starring KlausKinski, about white men heading [[RiverOfInsanity into the Amazon]] to civilize it and return rich and powerful, and actually learning respect for their own limitations and others.
* ''Film/BlackSwan'' manages to serve as ''both'' a SpiritualSequel and SpiritualAntithesis to ''TheWrestler''. Creator/DarrenAronofsky described them as "two halves of the same film": both involve artist protagonists whose careers wreak havoc in their personal life but ''The Wrestler'' revolves around the beauty found in the "lower art" of wrestling while ''Black Swan'' revolves around the horror found in the "higher art" of ballet.
* The anti-semitic Nazi propaganda film ''Jud Suss'' is a case of this to a little known British film ''Jew Suss'', which adapted a [[http://en.wikipedia.org/wiki/Jud_S%C3%BC%C3%9F_(Feuchtwanger_novel) novel of the same name]] by German-Jewish author Lion Feuchtwanger. The earlier novel/film is based upon a [[http://en.wikipedia.org/wiki/Joseph_S%C3%BC%C3%9F_Oppenheimer historical person]] and a miscarriage of justice that lead to his execution, which the Nazi film turns into karma for a GreedyJew. This also makes the Nazi film a combination of AdaptationalVillainy and HistoricalVillainUpgrade.
* ''WesternAnimation/TheNightmareBeforeChristmas'' can be considered one to ''WesternAnimation/HowTheGrinchStoleChristmas''. Both feature the VillainProtagonist dressing up as Santa Claus before realizing how wrong their actions were. But whereas the Grinch dressed up as Santa in order to steal gifts from the Whos, Jack did it because he wanted to spice up his life and add a new spin to the holiday. The Grinch's malevolent intentions end up not really harming anyone, while Jack's benevolent intentions end up causing mass mayhem.
* ''Film/PacificRim'' manages to be both a {{Homage}} ''and'' antithesis to classic {{Kaiju}} films. Here the kaiju are [[AlwaysChaoticEvil flat out evil]], not {{Tragic Monster}}s, the [[GreenAesop usual poll]][[SpaceWhaleAesop ution aesop]] is quickly glossed over, and [[HumansAreWarriors humanity is capable of saving itself without being crippled]] and without the help of good kaiju.
** Contrasts ''{{Film/Cloverfield}}'', with the monsters being visible from the beginning, [[EvilIsCool being cool villains]] instead of a horrific force of nature, and taking a tone of CoolVersusAwesome with the destruction being enjoyable instead of the 9/11-esque presentation of Clover's attack.
** Michael Mirasol of Creator/RogerEbert's [[http://www.rogerebert.com/far-flung-correspondents/a-defense-of-pacific-rim-along-with-other-reflections Far Flung Correspondents]] characterizes the film as the antithesis of Creator/MichaelBay's ''{{Film/Transformers}}'', with the absence of vulgar humor and greater respect for the mechas, portraying them as elegant rather than merely awesome.
* Creator/StevenSpielberg produced ''Film/{{Poltergeist}}'' at the same time as he was making ''Film/ETTheExtraTerrestrial'' to contrast each other. He described ET as the Suburban Dream… While poltergeist was the Suburban Nightmare.
** By the same token, ''Film/ETTheExtraTerrestrial'' can be considered a spiritual antithesis to Spielberg's earlier film ''Film/CloseEncountersOfTheThirdKind.'' They're both science fiction films about suburban everymen encountering aliens and tangling with government agents, but ''Close Encounters'' is a thriller about a suburban man embracing his inner child as he tries to understand the boundless mysteries of space, while ''E.T.'' is a light-hearted ComingOfAgeStory about a suburban boy bonding with an all-too-human alien--who spends most of the movie trying to understand the mysteries of ''Earth''.
*** As a few critics have noted, it's also very thematically fitting that, while Roy Neary of ''Close Encounters'' essentially abandons his wife and children in the end [[spoiler: [[AndTheAdventureContinues to explore the cosmos with his new alien friends]]]], ''E.T.'''s Elliott is the child of divorced parents with a DisappearedDad--and the movie ends with him reluctantly letting E.T. go back to his home planet while he stays behind with his family on Earth.
* [[Film/StarshipTroopers The film adaptation]] of ''Literature/StarshipTroopers'' is this to ''its own source material''. Paul Verhoeven made the film as a deliberate TakeThat to Heinlein's novel and what he saw as a militaristic, borderline-fascist message, turning it on its head into a satire of militarism and propaganda.
* Verhoeven did this to himself once, too. One of the first films he directed back in the 70s was a Dutch Epic War Film called ''Soldaat van Oranje'' (by now ''the'' quintessential Dutch epic film). It involved the Dutch resistance bravely playing cat and mouse with the unscrupulous Nazi occupiers to achieve freedom. Then, after having spent decades in Hollywood, Verhoeven returned in 2006 to direct his last film - ''Film/{{Zwartboek}}''. The premise and plot are uncannily similar, except that the idealism levels are exactly ''nil''. [[UpToEleven The Nazis are even more brutal]], [[HeWhoFightsMonsters the Resistance are deeply corrupt and bigoted themselves]], everyone turns on each other, 'KillEmAll' is in full effect, and even the ''end of the war'' doesn't hamper the conflict. It's a very bitter foil to ''Soldaat's'' freedom-fighting heroism.
* ''[[Film/TheThing1982 The Thing]]'' can also come across as the antithesis to ''E.T''. Both films came out around the same time, but deal with first contact with aliens in ''very'' different ways: E.T. lands in the American heartland and befriends the protagonist, with the main goal being to help him return home, while the Thing turns up in the Antartic wastes, destroys everything it encounters, and must be kept from escaping at all costs.
* ''Film/TheThirdMan'' for ''{{Casablanca}}''. Seriously, watch them back to back. It's amazing. And depressing.
* The 2005 documentary ''WithoutMyDaughter'' was a direct answer to the notorious 1991 drama ''Film/NotWithoutMyDaughter''. In the documentary, Dr. Mahmoody argues that his ex-wife exploited anti-Iranian sentiment to make money and screw him out of custody of their daughter.

[[/folder]]

[[folder: Literature ]]

* Creator/RichardKMorgan intends ''Literature/ALandFitForHeroes'' to be this to ''Literature/TheLordOfTheRings.''
* Vox Day wrote his novel ''A Throne of Bones'' (The start of his ''Arts of Dark and Light'' series) as a [[http://www.speculativefaith.com/2013/01/18/on-the-throne-of-bones-a-q-and-a-with-vox-day/ "literary rebuke"]] to popular fantasy series ''Literature/ASongOfIceAndFire''.
* ''TheBlackCompany'' by Creator/GlenCook is this for HighFantasy genre - if one assumes that typical works of HighFantasy are propaganda of the winners, then this is closer to how those events really looked like.
* ''Literature/LordOfTheFlies'' is this towards the children's book ''Coral Island''. ''Coral Island'' has young boys living on an island after their ship's catastrophe and working together to fight "the savages". Golding, having an issue with racist undertones and savagery being presented as an outside threat and not something that lies in human nature, wrote a book in which young boys end up abandoning their civilized ways and trying to kill each other. Oddly enough, another writer, Creator/RobertAHeinlein, took issue with that portrayal and wrote ''Literature/TunnelInTheSky'', which served as an opposite to ''Literature/LordOfTheFlies'': Boys end up on an alien world and work together for their survival. Some try to go the same way as characters from Golding's book, but end up quickly killed. Mira Lobe's ''Insu-Pu'' is another spiritual opposite to ''Literature/LordOfTheFlies''.
* Creator/JohnLeCarre's ''George Smiley'' [[SpyFiction spy novels]] (of which ''Literature/TheSpyWhoCameInFromTheCold'' is the most famous) are known for being the complete antithesis of Creator/IanFleming's ''Literature/JamesBond'' novels, which were still being written when Le Carré began his career. Le Carré intentionally avoided glamorizing espionage with his portrayal of the Cold War, and his novels frequently examined the perils of government bureaucracy and [[GreyAndGreyMorality the moral ambiguity]] of the fight against communism. Unlike Bond, Smiley rarely acted as a field agent or physically confronted his foes, instead relying on his intellect to unravel mysteries and beat Britain's enemies.
** Also notable, in that Fleming and Le Carré had very [[WriteWhatYouKnow remarkably similar careers in MI6 prior to becoming writers]], but chose to draw on their experiences in completely different ways.
* Chinua Achebe found ''Literature/HeartOfDarkness'' to be one of the most racist things he'd ever read, and wrote ''Literature/ThingsFallApart'' to show that native Africans were not, as previously believed, total savages.
* ''Literature/HisDarkMaterials'' is this to ''Literature/TheChroniclesOfNarnia''. Pullman isn't trying to hide his hate for Lewis' series, so it was probably intentional.
* Steven Erikson has stated that the impetus to [[AscendedFanfic fictionalize]] he and his friends' home brewed TabletopRPG campaign as ''MalazanBookOfTheFallen'' came from having a very visceral reaction to opening the first TabletopGame/ForgottenRealms boxed set, in essence saying "This is not what {{fantasy}} is supposed to be."
* ''The Emperor of Nihon-Ja'', 10th book of ''RangersApprentice'' series, is an antithesis to Film/TheLastSamurai. Like in the film, we have an emperor of (Expy) Japan pushing for reforms, creating a modern army, and being opposed by Rebel Samuraj, while a foreign advisor is stuck in the middle. But here the Emperor is portrayed as fully in the right, the rebels as completely evil, and the new peasant army is a very formidable force - precisely because they are used to work together. And the foreign advisor, rather than switching sides, stays with the Emperor and aids him.
** The entire series is an antithesis to RobinHood. The rangers' weapons and tactics are very similar to that of Robin's Merry Men, but they fight for the government, and often against insurgents.
* Creator/JohnSladek's satirical ''Roderick'' series features a robot who views a corrupt world through innocent eyes. Sladek then turned the idea on its head in the novel ''Tik-Tok'': the world is just as corrupt, so its robot AntiHero decides to exploit it by being even more corrupt.
* ''Literature/StarshipTroopers'' gets this treatment a lot, especially in the 1970s and 80s, with works like Haldeman's ''Literature/TheForeverWar'' and Steakley's ''Literature/{{Armor}}'' being the two most blatant. Even Drake's ''Literature/HammersSlammers'' could probably be listed.
** And ''Literature/EndersGame'' by Creator/OrsonScottCard.
** The film adaptation of ''Starship Troopers'' also did this. See "Film" above.
* Creator/FriedrichNietzsche wrote ''Thus Spoke Zarathustra: A Book for All and None'' as an opposite philosophical story to [[Literature/TheBible the New Testament]].
* ''When the Windman Comes'' is an antithesis to ''Literature/BridgeToTerabithia''. In both cases a boy from a down-to-Earth family meets a girl with [[MrImagination very wild and colourful imagination]], who draws the boy into her world. Yet in BTT imagination is a liberating force, opening new horizons for the boy, and the girl is helping the boy to develop it , whereas in WWC, imagination is a '''destructive''' force, making the girl's life increasingly difficult and miserable (and even unnecessary dangerous), and it falls to the boy to help her [spoiler: and her mother] to "get real".



[[/folder]]

[[folder: Live Action TV ]]

* ''Series/BlakesSeven'' was meant to be ''Franchise/StarTrek'' turned on its head: the symbol of the fascist Terran Federation was even the symbol of the Federation Starfleet turned 90 degrees to the right.
** ''Series/{{Farscape}}'' is another anti-''Star Trek'' space opera - like ''Series/BlakesSeven'', it featured a group of scruffy fugitives as the main characters, alternately fighting or fleeing the clean, well-dressed military.
** Also, with ''Series/BattlestarGalacticaReimagined'', Ronald D. Moore was pretty much able to do everything he had ever wanted to do on ''Franchise/StarTrek'' but wasn't allowed.
* Joss Whedon created ''Series/BuffyTheVampireSlayer'' because he wanted a blonde female character who, instead of becoming a helpless victim like in most horror films, is a competent heroine who beats the crap out of monsters.
* DuckDynasty is arguably this to HereComesHoneyBooboo. Both shows deal with Southern people who would often be stereotyped as "white trash." However, where Honey Booboo is shown as exactly the stereotype, the cast of Duck Dynasty are shown as extremely successful despite their culture.
* ''Series/{{Firefly}}'''s setting is deliberately a change of pace from the standard SpaceWestern or WagonTrainToTheStars where the main characters are backed by TheFederation or some major organization.
* ''MalcolmInTheMiddle'' and ''TheMiddle'' are both about a low middle class family struggling with everyday life. While Malcolm is rather mean spirited to downright cynical in its protrayal of family life TheMiddle has the same amount of bad stuff happening to them but manage to always end episodes on a lighter note than its predecessor.
* ''MarriedWithChildren'' was this for ''TheCosbyShow'', contrasting the loving, upper middle-class, black Huxtables with the [[DysfunctionalFamily dysfunctional]], lower-class, white Bundys.
* ''Series/{{Misfits}}'' is a Spiritual Antithesis for ''Series/{{Heroes}}'', with its working-class, local, setting; deliberate avoidance of world-threatening storylines; mockery of high-flown philosophy or grand gestures; and open contempt for any idea that people with powers have a moral responsibility to become superheroes.
* ''Series/TheOfficeUK'' and ''Series/TheOfficeUS''. The former is far more bitter, showing characters that have abandoned their dreams in meaningless dead end jobs, the latter shows a WorldHalfFull where the best things in your life are often right in front of you.
* The ''Series/QuantumLeap'' episode "[[WhoShotJFK Lee Harvey Oswald]]" (demonstrating that Oswald could have and most likely did act alone) was made in response to the Creator/OliverStone film ''Film/{{JFK}}''.
* In a few interviews, Creator/StevenMoffat has said that he considers ''Series/{{Sherlock}}'' to be this to his tenure on ''Series/DoctorWho'', with his take on Literature/SherlockHolmes essentially a dark {{Foil}} of The Doctor. ''Doctor Who'' is about an immortal alien time traveler's relationships with his beloved friends who keep him "down to Earth", whereas ''Sherlock'' is about a human detective who shuns emotions and friendly relationships. Where The Doctor is an omnipotent being who's afraid of losing touch with his "human" side, Sherlock Holmes is an ordinary human who wants to prove to the world that he's something better than human.
** Tonally, they're also complete inversions of one another: ''Doctor Who'' is a whimsical, light-hearted science-fiction series that's known for its dark undertones, and ''Sherlock'' is a gritty crime saga that's known for its whimsical undertones.
* ''Series/TheThickOfIt'' can perhaps best be described as "''Series/TheWestWing'''s [[EvilTwin evil]] [[EvilBrit British twin]]". Both shows have essentially the same premise, as they're both political [[{{Dramedy}} Dramedies]] detailing the day-to-day struggles of the frequently overlooked staffers in the ranks of government, but they're as far apart from one another on the SlidingScaleOfIdealismVersusCynicism as it's possible to be. ''The West Wing'' is a famously optimistic portrayal of American politics focusing on smart, idealistic young staffers trying to reconcile their principles with political realities; ''The Thick of It'' is a cynical portrayal of British politics focusing on morally bankrupt people who will do absolutely anything to get ahead. ''The West Wing'' gives us an idealized American President in Josiah "Jed" Bartlet, a fearless intellectual who stands by his ideals at any cost; ''The Thick of It'' [[TheGhost never even shows us the British Prime Minister]], but makes it clear that he's an unreliable SlaveToPR with no real power in the grand scheme of government.
** Interestingly, ''The West Wing'' almost used the same technique in its portrayal of the President: he originally [[TheGhost wasn't supposed to be shown at all]], then Creator/AaronSorkin decided that he should be a recurring character (with about three to four appearances per season), ''then'' he was made the show's protagonist after Creator/MartinSheen unexpectedly stole the show in the pilot episode. If the writers of ''The West Wing'' had gone ahead with their original plan, the two shows would be even more similar.

[[/folder]]

[[folder: Tabletop Games ]]

* ''TabletopGame/{{Paranoia}}'' is this for the more common type of game in which the [=PCs=] are generally expected to work together toward common goals.
* ''TabletopGame/{{Warhammer 40000}}'' is this for the idealistic SpaceOpera genre as a whole, especially ''Franchise/StarTrek'', following the principle that HumansAreSpecial and showing them living peacefully with other races and defeating various space evils. In contrast, The Imperium of Man is utterly racist, and its position at the galactic power table was paid for with the blood of millions of humans.

[[/folder]]

[[folder: Video Games ]]

* [[VideoGame/AsurasWrath Asura]] may seem like an {{Expy}} of [[VideoGame/GodOfWar Kratos]] at first glance, given that both fight other gods and have issues with anger, but it becomes apparent that Asura actually contrasts heavily with Kratos, especially as he values the lives of innocents unlike Kratos' lack of regard for them.
* The BigBad of ''VideoGame/BioShock2'', Sofia Lamb, is this to the [[VidoeGame/BioShock original game's]] Andrew Ryan. Lamb is a radical collectivist/egalitarian, Ryan a radical libertarian/Objectivist. [[NotSoDifferent They are both]] equally willing to jettison their ideals when they become inconvenient.
* ''VideoGame/ChronoTrigger'': the heroes save the world by changing time...except that, in ''VideoGame/ChronoCross'', we find that they inadvertently caused horrible, horrible things to happen by doing so.
* ''VideoGame/DragonAgeOrigins'': the BigBad is a classically evil EldritchAbomination, and the idea that [[Film/StarTrekIITheWrathOfKhan the needs of the many outweigh the needs of the few]] is a recurring theme. ''VideoGame/DragonAgeII'': there's no clear BigBad, just a lot of misguided people (some people have ended up believing that your ''PlayerCharacter'' was the big bad) and the game shows what terrible things happen when the rights of a minority are trampled for the common good.
* ''GearsOfWar'' and ''VideoGame/CallOfDuty'' are different ways of taking the shooter genre (''Gears'' being about [[TakeCover taking cover]] and ''COD'' making ''both'' sides weak to bullets), seemingly as a counterpart to the radical influence of ''Franchise/{{Halo}}''.
* ''VideoGame/IWannaBeTheGuy'' is a PlatformHell game with '''loads''' of FakeDifficulty. It's about a kid who's a CosmicPlaything trying to find The Guy and kill him, [[KlingonPromotion so he can become the next Guy]]. The world ''will not let him''. ''VideoGame/BattleKidFortressOfPeril'' is similar, but takes out the FakeDifficulty. It's about a {{Determinator}} with a ScrewDestiny philosophy going up against impossible odds for the good of the world. The world won't let ''him'' accomplish ''his'' goal either, but it ''will'' let him try. Both are equally NintendoHard, but in complete opposite ways. Fights dirty and hits you where it hurts, the other fights honorably and gives you a fair chance.
* ''KnightsOfTheOldRepublic II'' serves as this to the original ''KOTOR'' while also being its sequel. The original was a classic "[[BlackAndWhiteMorality good vs. evil]]" story about a larger than life Jedi hero and set to tell a tale in the vein of the original movies. The sequel, on the other hand, was a {{deconstruction}} of the Star Wars universe with the main focus being about an exiled and effectively nameless Jedi in the darkest hour of the galaxy (which had become a CrapsackWorld), all while tearing apart the black-and-white concept of the galaxy as well as the entire concept of The Force itself.
** To put simply, ''KOTOR 2'' is, [[SpiritualSuccessor in spirit]], more like ''PlanescapeTorment'' than it is the game it's a sequel to.
* MegaMan to MegaManZero. The former is a quirky series about a boy android who shoots up cartoony, googly-eyed robots and copies their powers with obvious CartoonPhysics. His creator, Dr. Light, and his nemesis, Dr. Wily, are also pretty comical in their own ways. Each game ends with the eponymous character saving the day once again. Mega Man Zero is much more anime-like, is about a teenage-looking android fighting a war alongside a group of freedom fighters, and has very little to speak of in the way of humor. Victories always come at a cost.
* The Iranian students who made ''Rescue Nuke Scientist'' (in which the player controls Iranian soldiers rescuing captured nuclear engineers from Israel) said it was meant as a response to ''Assault On Iran'' (in which the player controls American soldiers attacking an Iranian nuclear weapons facility). The makers of ''Assault On Iran'' responded to ''that'' with ''Payback In Iraq'', which even includes characters and events from ''Rescue''. And said they hoped the makers of ''Rescue Nuke Scientist'' would respond again.
* ''VideoGame/{{Slender}}'' and ''VideoGame/SCPContainmentBreach'' are indie SurvivalHorror games that are based on {{Creepypasta}}. The gimmicks of the game are the complete opposite however. In ''VideoGame/{{Slender}}'', the gimmick is look away or die. In ''VideoGame/SCPContainmentBreach'', the gimmick is keep looking or die.
* The demo to ''VideoGame/TheStanleyParable'' is ultimately this for the game itself. The demo is a highly linear experience that frustrates the Narrator and causes him to desire a game about choices, while the game itself is entirely about the choices you make.
* ''VideoGame/SuperMario3DLand'' to ''VideoGame/SuperMario64''. The latter introduces 3D gameplay to the ''Franchise/SuperMarioBros'' series, yet radically changes some of the gameplay conventions. The former, however, not only uses 3D gameplay as its basis, but makes the conventions more true to the 2D games.
* VisualNovel/UminekoNoNakuKoroNi can easily be seen as this towards VisualNovel/HigurashiNoNakuKoroNi. While both series share similar themes and structure (Psychological horror mystery with a GroundhogDayLoop function) Umineko is much more cynical and deconstructs several of the tropes in Higurashi.
* ''VideoGame/ValkyriaChronicles I'': war elevates brave men and women into heights of glory! ''VideoGame/ValkyriaChroniclesIII'': war crushes idealism and destroys the dignity of humankind!

[[/folder]]

[[folder: Web Video: ]]

* WebVideo/TheAngryVideoGameNerd [[Administrivia/ComplainingAboutShowsYouDontLike Complains About Games He Doesn't Like]], most of which probably deserve it. WebVideo/TheHappyVideoGameNerd [[GushingAboutShowsYouLike Gushes About Games He DOES Like]], ''all'' of which ''definitely'' deserve it.

[[/folder]]

[[folder: Western Animation: ]]

* Many people are inclined to believe that''WesternAnimation/AdventureTime'' is this to the first 3 seasons of SpongebobSquarepants. It shares a writing team and a few similarities in characters to the original seasons of SpongeBob, but goes in a different direction and focuses on character development and is much deeper than that of SpongeBob, especially in later seasons.
* ''ComicBook/ForTheManWhoHasEverything'' and [[Recap/BatmanTheAnimatedSeriesE30PerchanceToDream "Perchance to Dream"]] are both stories about a hero who is placed into a LotusEaterMachine and given a dream about IJustWantToBeNormal. Superman, as TheCape, dreams this as a HappilyEverAfter fantasy. Batman, as TheCowl, dreams this as a PsychologicalHorror fantasy.
* ''WesternAnimation/TheLegendOfKorra'' features [[TheLadette Avatar Korra]], the exact opposite in temprament to her predecessor, [[WesternAnimation/AvatarTheLastAirbender Avatar Aang]]. Where Aang was pacifistic, Korra is pugnacious. Where Aang had some issues firebending, Korra is most likely to reflexively use it when angry (despite water being her native element). Where Aang was born an Air Nomad, one of the most spiritual of the four nations, Korra just can't get it early on, and still has spiritual issues even after figuring out the [[EnlightenmentSuperpowers Avatar State]]. They're still both Avatars, though, and still are almost instinctively driven to do right by the world.
** In the original series, this was stated to be a recurring event between Avatar lifetimes. For example, the strict Yangchen was replaced by the more relaxed Kuruk. Kuruk himself was then followed by a more proactive Avatar.
* SonicSatam and the comics to other cartoons and most of the games. In most continuities, Sonic is just in for a thrill, and Dr. Robotnik/Eggman is pretty incompetent. In SatAM, Robotnik is extremely menacing, has already conquered most of the world, and Sonic is one of the few people who stand between him and total world domination.
* ''WesternAnimation/TheSpectacularSpiderMan'' seems to have one in the form of the Spider-Man cartoon that followed, ''WesternAnimation/UltimateSpiderMan''. The former focused solely on Spider-Man himself as the hero, using only supporting characters and villains exclusively from books starring him, used only internal monologue when depicting Peter's thoughts and had a great emphasis on character development, plot development and how Peter's life and friends are affected by his secret identity. The latter features as many superheroes from the Marvel universe whenever possible, features Spider-Man supporting characters and villains sporadically, feature Spider-Man breaking the fourth wall in the middle of a scene to convey thoughts, character and plot development was divided and it focuses far more on Peter and his team of heroes rather than his friends and life.
* ''WesternAnimation/TeenTitans'' and ''WesternAnimation/YoungJustice'' have this kind of odd symbiotic relationship. The generally serious (though not without its moments of lightness) ''ComicBook/TeenTitans'' book was adapted into a zany LighterAndSofter cartoon (though not without its moments of darkness). The generally zany (though not without its moments of darkness) ''ComicBook/YoungJustice'' book was adapted into a serious DarkerAndEdgier (though not without its moments of lightness) cartoon.

[[/folder]]

[[folder: Real Life: ]]

* Part of the reason that the Afro is considered a culturally significant hairstyle is that it was conceived as an antithesis of [[http://en.wikipedia.org/wiki/Conk the conk]], which had previously been the most popular hairstyle among Blacks from the 1920's to the 1950's. Where the conk involved artificially straightening naturally "kinky" hair with corrosive chemicals (implicitly in an effort to adopt a more "White" hairstyle), the Afro grew directly out of the Black Pride movement in the 1960's, and it involved emphasizing the natural curl and volume of one's hair. Even the Afro's name alludes to this: it's an abbreviation of "Afro-American", the label that many people involved in the Black Pride movement adopted for themselves, wanting to express pride in their African roots.
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