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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 [Creator/FrankMiller's] ''Film/ThreeHundred''. 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 ''ComicBook/{{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.

It can best be described the concept of {{foil}}s applied to works instead of {{characters}}. 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. TheMoralSubstitute is a related trope, where the work is meant to be the antithesis of what its creators see as moral failings within another work or genre.

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 JustForFun/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)]]
* SpaceOpera and Hard ScienceFiction (again, not [[Creator/IainBanks mutually]] [[Creator/PeterFHamilton exclusive.]])
** [[SuperRobotGenre Super Robots]] and [[RealRobotGenre Real Robots]] are among the numerous examples of soft and hard science-fiction, respectively. The former defy the laws of physics and inherit their superpowers through their [[HotBlooded pilots' fighting spirit]], while the latter abide to the laws of physics and become realistic pieces of military and/or utilitarian equipment.
* SpyDrama: The two major subgenres, Stale Beer and TuxedoAndMartini, are this to each other.
* EarlyInstallmentWeirdness and LaterInstallmentWeirdness can turn a work into [[BecameTheirOwnAntithesis its own antithesis]].

----
!!Examples:

[[foldercontrol]]

[[folder:Anime/Manga]]
* ''Anime/ValvraveTheLiberator'' is can be this to ''Anime/CodeGeass''. The latter has opposing major characters who are [[SillyRabbitIdealismIsForKids too naive]] and says a wall of lies are needed to make the world gentler. The former is about a machine to "reveal the truth to the world", dealing with characters who are [[SillyRabbitCynicismIsForLosers too bitter]], and therefore create a safe haven for an oppressed people.
* You could also say that ''Anime/CodeGeass'' was also a spiritual antithesis to another {{Humongous Mecha}} series from the same director and storyboard artist, Goro Taniguchi, titled ''Anime/GunXSword''. Compared to Code Geass, Gun X Sword was a {{Super Robot}} {{Space Western}} that took place in a dirty, unsophisticated setting, and featured a main-protagonist that wielded a {{Whip Sword}} as well as his own super robot, named Dann of Thursday, to fight on the front-lines. Code Geass, on the other hand, was an {{Alternate History}} {{Real Robot}} series that took place in a much cleaner, more sophisticated setting, and unlike Gun X Sword's Van, featured a main-protagonist who was more geared toward a [[TheChessmaster strategic leadership position]] rather than a front-line combat position.
** You could most especially see this in the various allied mecha Van and Lelouch had by their side. In Van's case, his allies' {{Super Robot}}s included [[spoiler:a countermeasure against Dann of Thursday and the other Original Seven armors like it]], an homage to classic-style {{Combining Mecha}} of {{The Seventies}}, and a rabbit-like mecha designed for [[TournamentArc tournament combat]]. Lelouch vi Britannia, on the other hand, had a mass-produced army of {{Real Robot}}s for both the [[LaResistance Black Knights]] [[spoiler:and, by the end of the series, [[TheEmpire Britannia itself]]]], with {{Super Prototype}}s representing each army including the Gurren Mark-II for the former, and [[spoiler:the Lancelot for the latter]].
* While being a SpiritualSuccessor to ''Shakotan Boogie'', ''Manga/WanganMidnight'' is also this. While sharing both racing themes, ''Wangan Midnight'' focuses more on street racing while ''Shakotan Boogie'' puts more emphasis on RunningGag and [[PimpedOutCar Shakotan-styled cars]]. ''Wangan Midnight'' also took the races on the expressways while ''Shakotan Boogie'' focus the races on touge and city streets.
* ''Anime/TengenToppaGurrenLagann'' was this to ''Anime/NeonGenesisEvangelion'' (bonus points for being made by [[Creator/StudioGainax the same people]]) and its own SpiritualPredecessor ''Anime/SpaceRunawayIdeon.''
** ''Anime/{{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.
%%*** ''Tenegn Toppa Gurren Lagann's'' status as ''Neon Genesis Evangelion's'' SpiritualAntithesis is only half right. While ''Gurren Lagann's'' outward tone is different than it's predecessor, they share quite a few themes like TheAntiNihilist, HumansAreBastards mixed with HumansAreSpecial, [[GreyandBlackMorality grey]] [[GreyAndGrayMorality moralities]] [[{{Deconstruction}} the deconstruction of common mecha tropes]], ClassicalAntiHero and depression. In fact, the entire second half of the series can be seen as ''Gurren Lagann'' coming to terms with it's ''Evangelion'' roots and accepting them.
** You may also say that ''Anime/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.
*** And ''Anime/GaoGaiGar'' has its own counterpart in ''{{Betterman}}'', a horror/drama show set in the same world.
* ''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.
* Some of Creator/MakotoShinkai's works have strong contrasts with each other:
** ''Anime/VoicesOfADistantStar'' and ''Anime/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/YourName'' in turn affirms the views of ''Voices'' and ''Place'' while rejecting those of ''Centimeters'' and ''Children'' - even when the universe itself seems bent on separating people and making them forget each other, love will eventually prevail and no barrier is insurmountable - not distance, [[spoiler:not time, and not even death.]]
* ''[[Manga/NoMatterHowILookAtItItsYouGuysFaultImNotPopular 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.
** ''[=WataMote=]'' can also only be one to ''Manga/LuckyStar''. Konata is a beautiful OtakuSurrogate girl who is WrongGenreSavvy, playing life as it if were a dating sim, yet despite this is well liked, very social, and has plenty of friends. Tomoko, meanwhile, is an unattractive girl with greasy, unkept hair, who is very crude and crass. Her social awkwardness, massive ego, and being WrongGenreSavvy has led to her having only about one real friend. Very much unlike Konata, she constantly seeks attention from the opposite sex, and plays {{Otome Game}}s rather than Galge. Tomoko is a more realistic depiction of what a female otaku is like rather than idealized surrogate girls like Konata.
* Creator/YoshiyukiTomino likes to follow up his dark and depressing series with their opposites - ''Anime/{{Zambot 3}}'' was followed by ''Anime/{{Daitarn 3}}'', ''Anime/MobileSuitZetaGundam'' by ''Anime/MobileSuitGundamZZ'', and ''Anime/SpaceRunawayIdeon'' by ''Anime/CombatMechaXabungle''.
** The ''Franchise/{{Gundam}}'' franchise in general (even the LighterAndSofter entries to a degree) is an antithesis of what Creator/GeneRoddenberry's work in ''Franchise/StarTrek'' represented. If there are strange new worlds to see in the Universal Century for instance, expect them to have a lot of the same problems we deal with on Earth.
* ''Creator/SatoshiKon'' first two films ''Anime/PerfectBlue'' and ''Anime/MillenniumActress'' are wonderful examples of this trope as well as SpiritualSuccessor . Both films look into female figures in the entertainment industry and the admirers that follow them. However, where as the former aims to be {{Deconstruction}} of idol culture, as well as a dark critique on patriarchal standards and {{Fanservice}} attitude towards women, the latter is a far more lighthearted, sentimental look at the idea of admiring such a famous figure. Both films also feature Kon's penchant for {{Mind Screw}} as well as {{Postmodernism}}, granted ''Anime/PerfectBlue'' does it for a more haunting effect, where as ''Anime/MillenniumActress'' feels more introspective. Yet, ironically, the former ends on a note of EarnYourHappyEnding where as the latter ends with a BittersweetEnding.
* ''Anime/CowboyBebop'' and ''Anime/OutlawStar''; both are SpaceOpera shows about a CoolStarship crewed by a RagtagBandOfMisfits and both were made by the [[Creator/{{SUNRISE}} same production company]] around the same time. The former is [[SlidingScaleOfShinyVersusGritty gritty]], [[SlidingScaleOfIdealismVersusCynicism cynical]], minimalistic in its ScienceFiction trappings, and shows that InTheEndYouAreOnYourOwn; the latter is [[SlidingScaleOfShinyVersusGritty shiny]], [[SlidingScaleOfIdealismVersusCynicism idealistic]], favors a FantasyKitchenSink ''and'' a SciFIKitchenSink, and comes down on the side of the PowerOfFriendship. Put musically, ''Bebop'' is {{Jazz}}, ''Star'' is PowerMetal.
** Another antithesis to ''Bebop'' is ''Anime/SpaceDandy'', made by the same creator. While ''Bebop'' is a heavy, realistic look at a 90s cyberpunk future where space travel has only gone so far, ''Dandy'' is a call back to Silver age 50s idealistic sci-fi where the possibilities are endless. ''Bebop'' focuses on humans and stays mostly on Earth, ''Dandy'' has a wide variety of aliens and robots, and doesn't go anywhere near Earth. ''Bebop'' has a strong sense of continuity, ''Dandy'''s main cast dies in every other episode. ''Bebop'' is mostly grays and blues, ''Dandy'' is every color it can get it's hands on. If ''Bebop'' is Jazz, ''Dandy'' is RockAndRoll and Disco.
* The two {{Animated Adaptation}}s of ''Nekojiru'' are opposites of one another, and how they depict their source material: the earlier animated short series takes the more mundane stories and focuses on the scathing satirical elements, while [[Anime/CatSoup the OVA]] compiles the [[MindScrew bizarre, fantastic elements]] into one BigDamnMovie.
* As part of the science adventure series, ''VisualNovel/RoboticsNotes'' provides a contrast to both ''VisualNovel/SteinsGate'' and ''VisualNovel/ChaosHead''. Setting-wise, the former series takes place on a rural island as opposed the bustling urban areas of the latter two. Thematically speaking, ''Steins;Gate'' serves as somewhat a cautionary tale about time travel with the consequences it entails. In contrast, ''Robotics;Notes'' takes a more optimistic look at its central innovation(robots in their case) and the potential that can be achieved with them.
* ''LightNovel/SwordArtOnline'' and ''LightNovel/LogHorizon'' both involve players in a video game. But while SAO is (initially) TheMostDangerousVideoGame, complete with high drama and tragedy, LH deconstructs the trapped-in-a-game scenario as TheGameComeToLife, with notable touches where TheWorldIsJustAwesome. ''Log Horizon'' pokes fun at SAO's high stakes in its beginning story line. They also have polar opposite main characters, as SAO's Kirito is a black-wearing swordsman who specializes in solo play and surpassing hurdles with his raw skill and experience, while LH's Shiroe is a support spellcaster clad in white, who leads a guild and shines most when it comes to strategy and management.
** The problems at the beginning of their respective plots are also opposite: In SAO, drama at first comes from tension; death is likely if you're not careful, and since your real body is comatose and slowly failing, you can also die if you're too careful. In Log Horizon, drama comes from the ''lack'' of tension; death is totally impossible, and fulfilling your basic needs is trivial, but you can't enjoy food and you are stuck without a goal. This lead to a lot of characters feeling listless and bored at the start until things got rolling.
* ''LightNovel/{{Overlord}}'' could be seen as another SpiritualAntithesis to ''LightNovel/SwordArtOnline''. SAO starts on the opening day of a massively-hyped VRMMORPG, but thousands of players become trapped in the game, and are told by the creator that they can only escape the game by beating the highest level of the dungeon, and if they die in the game, they die in real life. Overlord starts on the ''last'' day of a once-popular VRMMORPG that is now shutting down due to its dwindling player base, and only ''one'' player gets trapped, without any explanation, in a fantasy world that's highly reminiscent of the game but filled with intelligent, emotional, ''real'' people instead of [=NPCs=]. In SAO, the teenage main character Kirito starts out at level 1, and spends ''years'' in the game, leveling up as part of the player base's ultimate quest to escape the game. In Overlord, the adult main character Momonga has already reached the level 100 cap from years of playing by the time he gets trapped, and he pretty much gives up on escaping on day one, preferring this new fantasy world over the life he left behind, with an unfulfilling job and no close friends or family. Kirito is a hot-headed hero with a strong moral code, reluctant to even kill serial killers in self-defense. Momonga is a cold, calculating strategist with no problem slaughtering entire armies [[UtopiaJustifiesTheMeans if they get in his way]] or sacrificing innocent pawns to protect his secrets. At times, the contrasts are so uncanny that it seems like it was done intentionally: Kirito is a dual-wielding swordsman while Momonga is a spellcaster, which seem like total opposites, but when Momonga wants to travel incognito, he passes himself off as a dual-wielding swordsman, something he can do quite effectively with the SuperStrength and speed that comes from being level 100, although real warriors recognize that he's [[UnskilledButStrong just swinging his swords around like an amateur]].
* ''VisualNovel/SayaNoUta'' and ''LightNovel/HaiyoreNyarkoSan'' are the "CosmicHorrorStory vs. LovecraftLite" example listed above. They're a {{Deconstruction}} and a parody, respectively, of ''"What if [[BoyMeetsGirl a boy meets a girl]]...but the girl is something [[EldritchAbomination utterly inhuman]]? "''
* ''Anime/PuellaMagiMadokaMagica'' and ''Anime/KillLaKill'' both play with the MagicalGirlWarrior genre. The former is a {{Deconstruction}} that heavily runs on BreakTheCutie moments and has cynical and dark tones. The latter is a {{Reconstruction}} that runs heavily on BlackComedyRape and has over-the-top and ridiculous tones. Even the protagonists seem to be opposites; the former stars an idealistic and kindhearted girl who had a normal life until the events of the series, and [[spoiler:ends up becoming ''{{God}}'']], while the latter stars a hardened and moody girl who's never had an ounce of happiness until she met her TrueCompanions, and ends up [[spoiler:living the normal life she's always wanted]].
* Oddly, ''Anime/{{Macross}}'' and its American adaptation ''Anime/{{Robotech}}'' became this as their timelines progressed. In ''Macross'', the Zentraedi become more like humanity, while in ''Robotech'', thanks to repeated invasions, humanity is becoming a warrior race like the Zentraedi.
* For most of ''Anime/SpacePatrolLuluco'', Alpha Omega Nova is a superficially similar but spiritually antithetical version of Kaworu Nagisa from ''Anime/NeonGenesisEvangelion''. Both are secretly alien {{bishonen}} who use their charm to entice the main character and get closer to their objectives, but while Kaworu is an angel of free will whose love for Shinji is pure and unconditional, Nova has no free will or emotions and merely lets Luluco deceive herself into thinking he could return her love. [[spoiler: Yet, in the end, his change of heart makes him a lot more like Kaworu than he was originally.]]
* ''Manga/MyHeroAcademia'' is both this and SpiritualSuccessor for ''Manga/{{Naruto}}''. On the one hand it happily takes and uses all the tropes and tricks ''Naruto'' introduced to battle {{Shonen}} genre. But ''Naruto'' is inspired by old Japanese folklore about {{Ninja}}, ''My Hero Academia'' is inspired by {{Superhero}} comics - a quintessentially American thing. Where ''Naruto'' was about how a society or a team can work together to achieve what no individual can and how conflicts can tear this apart, ''Hero Academia'' is about members of the society polishing their skills to succeed as individuals in a profession where competition is not only unavoidable but even encouraged. Where ''Naruto'' was about breaking the cycle of violence and achieving the era of peace, ''Hero Academia'' is about living in a world where peace is the status quo also finding meaning and goals beyond it.
* Creator Itosugi Masahiro:
** ''Manga/{{Uwakoi}}'' is this for his earlier work ''Aki Sora'', where both series have protagonists who are effeminate ReallyGetsAround teenage boys and feature many blatant sex with young, pretty girls. Ironically, while the latter deals with [[BrotherSisterIncest forbidden relationship]] between main characters, it has more chance to achieve happy end than the former. It does so because the latter is played as (mostly) light hearted typical ecchi series and ''Uwakoi'' is played for drama and deconstruction of ReallyGetsAround behavior of its characters.
[[/folder]]

[[folder:ComicBooks]]
* Creator/WarrenEllis [[WordOfGod in the afterword of]] ''ComicBook/BlackSummer'' contrasted it with ''ComicBook/CivilWar'', saying that Creator/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 Creator/AlexRoss created ''ComicBook/{{Marvels}}'', a [[{{Deconstruction}} deconstructing]] but still idealistic portrayal of MarvelUniverse, Ellis wrote ''Ruins'' - a depressing AlternateUniverse where everything that could go wrong did, worse than you can imagine - that is generally seen as [[FanNickname Marvels' Evil Twin]]. When Busiek made a sequel to ''Marvels'', Ellis responded with ''Ghost Boxes'' - a compilation of alternate Universes where the ComicBook/XMen failed to stop the threat from his ''Astonishing X-Men'' series, each more depressing than the previous one.
** He once pulled it on himself as well. His original proposal for ''ComicBook/{{Planetary}}'' contrasts it with his run on ''ComicBook/{{Stormwatch}}'' - the latter was a depressing story of a secret super-team doing what they can to stop superpowered threats and the former, while still having its grim moments, is about a secret super-team discovering unknown wonders of the world. It's saying something the same proposal said the big theme in ''Planetary'' is Elijah Snow, his AuthorAvatar, rediscovering the beauty of the world.
** Ellis may have planned to turn it around, since the series was LeftHanging, but ''ComicBook/DoktorSleepless'' took a central character who was a hybrid of Elijah Snow and [[ComicBook/{{Transmetropolitan}} Spider Jerusalem]] and revealed him as a VillainProtagonist who was an OmnicidalManiac.
* Creator/AlanMoore has done this to himself.
** Someone described the Creator/AlanMoore version of ''ComicBook/{{Miracleman}}'' as "Franchise/{{Superman}} told as a {{horror}} story". Or, perhaps more accurately, the original ''Marvelman'' done as a {{horror}} story. Moore himself said that all he did in ''Miracleman'' and the thematically similar (albeit more realistic) ''ComicBook/{{Watchmen}}'' was do a serious version of Harvey Kurtzman's famous satire ''Superduperman'' for Magazine/{{MAD}}. Where Kurtzman parodied the superhero tropes for laughs, Moore played it for dramatic value.
** His run on ''ComicBook/{{Supreme}}'' is the opposite to his Marvelman -- in both cases Moore takes the character of a FlyingBrick based on Superman, who was also the epitome of the [[TheAgesOfSuperheroComics age]] during which he was created, with all its flaws, and molds him into the 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 traditional tropes of UsefulNotes/{{the Silver Age|of Comic Books}}, Supreme under his guidance took path towards LighterAndSofter territory and paid tribute to the same tropes Marvelman tore apart.
** His Lovecraft Trilogy, ''The Courtyard, ComicBook/{{Neonomicon}}'' and ''ComicBook/{{Providence}}'', is a homage but also an antithesis to Lovecraft. Moore generally brings the sexual subtext of Lovecraft's original stories out into the open, places more emphasis on the dubious racism of the original stories and largely shows a more sympathetic portrayal of the occult than Lovecraft allowed.
* ''[[{{ComicBook/Legacy}} Star Wars Legacy]]'' is this to ''[[VideoGame/KnightsOfTheOldRepublicIITheSithLords Knights Of The Old Republic II]]''. Whereas KOTRII is an unrelenting and ruthless deconstruction that simply tears apart and criticizes the ''Star Wars'' universe, ''Legacy'' deconstructs the setting only to than examine the positive aspects of it (as opposed to bringing strong focus on the negative) and [[{{Reconstruction}} puts it back together]].
* ''ComicBook/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:
** ''ComicBook/{{Three}}'' was consciously tailor-made to be this for Creator/FrankMiller's ''Film/ThreeHundred''. ''300'' has [[BlackAndWhiteMorality heroic Spartans fighting for freedom against the irredeemable, evil Persian Empire]] and played [[HollywoodHistory with the actual history]]. ''Three'' has [[GreyAndGrayMorality less clear conflict]] with Spartans as the slave-hunting antagonists from which the titular three slaves are running away, and Gillen recruited an academic Classical history consultant to keep the setting and story accurate. Of note is that Gillen initially intended to make just as much an over the top, black and white take as Miller with the Spartans as the bad guys, but then found the real facts far more interesting to portray than either.
** 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. What happens when you give superpowers to a [[ThoseWackyNazis gang of genocidal imperialists]]? Bloodshed and destruction escalating to almost pantomine levels is what. It also throws the idea of something like HeroicSpirit being a real match against PowerLevels out the window. It doesn't matter how brave you are, if you can't throw around tanks like your opponent, you ''will'' be splattered over a mile-wide area.
** He also intends ''ComicBook/TheWickedAndTheDivine'', to be this for his own series, ''Comicbook/{{Phonogram}}''. As he explains, ''Phonogram'' is about how the art inspires, changes and destroys the consumers, while ''The Wicked And The Divine'' is about what choices creators of the art make and how it changes and destroys them.
** And of course there is his run on ''ComicBook/JourneyIntoMystery'' which is a whimsical, light-hearted series about 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 truly change he ever had]]. Contrast with Creator/NeilGaiman's ''ComicBook/TheSandman'', which is a 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 a new body]].
* ''ComicBook/TheOrder'' was a LighterAndSofter SpiritualAntithesis to two earlier works at once. Like the Milligan/Allred version of ''ComicBook/XForce'', it featured superheroes who were also C-list celebrities, but unlike ''X-Force'' the characters were genuinely altruistic and idealistic instead of being self-serving and cynical. Also, it followed ''ComicBook/StrikeforceMorituri'' in featuring "normals" who were given artificial superpowers on a strictly time-limited basis, but unlike ''Strikeforce: Morituri'' the results weren't lethal when the time ran out.
* Gene Luen Yang's ''ComicBook/TheShadowHero'' is a Spiritual Antithesis to his previous work, ''ComicBook/BoxersAndSaints''. ''The Shadow Hero'' is about a young man who gets possessed by an ancient Chinese national spirit and becomes a superhero, whereas ''Boxers'' was about a young man who gets possessed by an ancient Chinese national spirit and ends up getting utterly morally corrupted and becoming a mass murdering terrorist.
* Grant Morrison's ''ComicBook/NewXMen'' is a deconstruction of the ''X-Men'' franchise that deliberately moved the franchise into general sci-fi, involving the X-Men dealing with small-scale, mutant based crimes and conflicts. Joss Whedon's ''ComicBook/AstonishingXMen'', which came shortly after Morrison's, is a reconstruction that returns the characters to their superhero roots, involving the X-Men battling supervillains and working to prevent a cosmic threat from devastating Earth.
* Similarly, Rob Liefeld's ''ComicBook/HeroesReborn'' was a DarkerAndEdgier revamp of the Avengers that epitomized the Dark Age of Comics. It was immediately followed by Kurt Busiek's epic run on the Avengers, which was a LighterAndSofter reconstruction of superheroes that helped bring an end to the Dark Age.
* ComicBook/AnimalMan has ComicBook/{{Deadpool}}. Both were obscure characters that got [[MyRealDaddy daddies]] that retooled them to very powerful street heroes trying to be recognized by bigger teams and BreakingTheFourthWall, but other than that they take completely different directions. Animal Man is a NiceGuy family man and animal rights activist with very few close friends in the superhero community, while Deadpool is a lonely JerkWithAHeartOfGold mercenary with many VitriolicBestBuds in the superhero community. Animal Man is a vegetarian, while Deadpool is practically a carnivore. Animal Man barely uses his very minimal HealingFactor, while Deadpool gets by with his extremely rapid healing factor. Animal Man is a product of UsefulNotes/TheSilverAgeOfComicBooks whose most famous run went on to harshly criticize UsefulNotes/TheDarkAgeOfComicBooks, While Deadpool is a product of The Dark Age that went on to lightly criticize the worst aspects of UsefulNotes/TheModernAgeOfComicBooks. Animal Man played breaking the fourth wall very seriously and would always forget when he did because he can't truly see it, while Deadpool plays breaking the fourth wall for comedy and always has that ability. After Grant Morrison's run, Animal Man went on to more horror, sci-fi and mysticism based stories, while Deadpool still stayed in comedy-based mercenary stories. Animal Man isn't in many big stories while Deadpool has WolverinePublicity.
* Deliberately done with the two bearers of the ComicBook/CaptainBritain title, who made completely different choices when given the choice between the Amulet of Right and the Sword of Might. Brian Braddock is a man who chose the amulet as he felt he was a scholar not a warrior, while Kelsey Leigh is a woman who chose the sword because she believed that she needed to be a warrior to defend her friends and family.
* Grant Morrison's ''ComicBook/TheMultiversity'' and Jonathan Hickman's ''ComicBook/NewAvengers''. Both involve heroes from numerous alternate realities facing a major threat to all of their worlds. The latter is a DarkerAndEdgier deconstruction that sees the heroes of the various worlds coming into conflict over who will live and making morally dodgy choices for the greater good. The former is a LighterAndSofter reconstruction in which the heroes unite together to battle the threat and do so without sacrificing the values, morals, and hope that superheroes represent.
** Creator/MarkWaid's ''ComicBook/AllNewAllDifferentAvengers'' in turn is this for ''ComicBook/JonathanHickmansAvengers'' and ''ComicBook/NewAvengers'' - the latter two featured an epic, dark plot of the bigger, more powerful than ever team of Avengers and recreated Illuminati trying to stop the destruction fo TheMultiverse, making hard, morally ambiguous choices along the way and finally fighting over their decisions. Waid follows that with a much LighterAndSofter series where the Avengers are broke, forced to go back to basics, taking a young generation of heroes as their students and going back to simply punching villains in the face.
** Similarly Al Ewing's ''New Avengers'' series is this to Hickman's. Hickman had the cast of Marvel's iconic characters tangled in a dark storyline which was downplaying the fantastic aspects of the events and trying to ground them more into hard science-fiction narrative. Ewing has a cast of C-Listers in straight-up heroic adventures and his book is not afraid of embracing how silly superhero stories can be.
* The 2015 ''ComicBook/ContestOfChampions'' is this to ''ComicBook/AvengersArena''. They are both based on the "''Literature/BattleRoyale'' with superheroes" premise, AnyoneCanDie rule, and both cash on what is popular at the time (Arena on the popularity of ''Hunger Games'' movies and Contest on the success of the video game of the same name). However, when Arena was DarkerAndEdgier, treated its characters as CListFodder (the writer was outright surprised anyone cared about them at all when he received complaints about this) and gleefully kills fan-favorites for shock value and to push one of rhw OriginalGeneration characters, largely seen as a bunch of [[CreatorsPet Creator's Pets]], Contest is CrazyAwesome with only one new character, bringing up obscure characters to cherish them, had actually resurrected several dead ones, and most of those killed were ExpendableAlternateUniverse versions of popular characters. Both series set up as the BigBad a quirky classic villain who manages to pull it off with the help of new [[TheDragon dragons]]. Only in Arena that's Arcade, who openly abandons his quirky shticks to go on trying too hard to prove he is a real threat and his dragon is a new character, who provides him with powerful tech and disappears from the story, while in Contest it's Collector and Grandmaster, who are so powerful their quirks are the only advantage against them and need to prove nothing and their respective dragons are established characters (Maestro and [[spoiler: Punisher 2099]]), whom they use to rein kidnapped heroes in [[spoiler: and who form an alliance to turn against them]]. Arena follows theBattle Royale formula to the letter, whenever it makes sense or not and openly ignores continuity, past characterization and any questions why nobody is looking for kidnapped heroes (in fact they had to bring a different writer to answer that one), while Contest comes in with a strong explanation of how the whole thing can be set up without anyone finding out ([[spoiler: which actually fails as people do find out, something that never happened in Arena]]) and never goes further than basic premise in similarities with Battle Royale, instead establishing its own rules [[spoiler: and ditching the premise entirely after the first 6 issues]].
* ''ComicBook/SupermanReborn'' to ''ComicBook/OneMoreDay''. Both mark the end of an era for their upstanding hero, but in vastly different ways. One More Day is a story about losing a marriage, a child, and is relatively simple in its execution of dealing with a supernatural being to accomplish this. Superman Reborn is about [[spoiler:keeping a marriage and a child]], and is pretty convoluted in its explanations with still a few questions left over after defeating [[spoiler: a supernatural being]] to accomplish this.
* ''ComicBook/TheUnbelievableGwenpool'' is a very direct antithesis to ''ComicBook/TheUnbeatableSquirrelGirl''. Both are comedic Marvel titles about a young female superhero, with a writer who rose to success with humorous webcomics and "cartoony" artwork. However, ''Gwenpool'' is a very dark comedy with an (initially) incompetent, overconfident, and self-serving protagonist who kills people at the drop of the hat, while ''Squirrel Girl'' is an optimistic neo-Silver Age work with a [[TheCape totally moral]] protagonist who always wins and never kills her enemies. They're even physical opposites, with Doreen being a chubby and proudly curvy girl whose costumes cover her from head to foot, while Gwen is ([[DependingOnTheArtist usually]]) drawn as a skinny, undeveloped teen who wears a costume that, with a different art style, could be very revealing and sexual.
[[/folder]]

[[folder:FanFiction]]
* '' Story/AesirCrossWars'' definitely plays as this to ''VideoGame/KidIcarusUprising''. For starters, ACW uses Norse Mythology, while KIU uses Greek Mythology.
** Azrael and Pit. TheProtagonist with a sharp tongue. Also an angel. Azrael is a MellowFellow, while Pit is a {{Keet}}. Azrael is WeakButSkilled, relying on high speed and intelligence, while Pit is UnskilledButStrong, generally not caring for strategy and overpowering his opponents. Azrael can fly on his own and Pit can't. Azrael is the King of Snark, while Pit is SarcasmBlind. I Azrael is an IronWoobie from the start of the book (but this is only revealed 4 parts in.), while Pit becomes an IronWoobie during the events of his game.
** Azazel and Dark Pit. ShadowArchetype and AntiHero. Azazel is HotBlooded, while Dark Pit is TheStoic. Azazel starts out on the side of good, while Dark Pit had to perform a HeelFaceTurn. Azazel had a mostly original design, Dark Pit is a PaletteSwap of Pit. Azazel is a SmallNameBigEgo, while Dark Pit, despite also having a big ego, acts much more competent. It's worth noting that next to Azazel, [[EmbarrassingNickname Pittoo]] looks like he's self deprecating.
* Freya and Palutena. Kind, trollish helper goddess to the hero. Palutena is the HighQueen, Freya is relatively low ranking. Palutena looks like an adult, Freya looks thirteen, and biologically is. Palutena is mature and calm, Freya is a childish GenkiGirl.
* Freya is also an antithesis to Viridi, the hot tempered, OlderThanTheyLook goddess with implied feelings for TheHero. Freya is kind and supportive of the protagonist, while Viridi is a violent {{Tsundere}}.Freya is one of the least snarky characters in the story, Viridi is one of the most.
* ''Fanfic/MyLittleUnicorn'' is this to ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' as a whole. While [=FiM=] is a fantasy story based around ThePowerOfFriendship, MLU is a sci-fi story 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]] can be scary without it.
* ''Fanfic/MyImmortal'' and ''FanFic/ThirtyHs''. Both ''Franchise/HarryPotter'' badfics that use heavy metal, anarchy, bleeding wounds, AnatomicallyImpossibleSex, a presumably-high-off-his-ass Dumbledore, and random Satanic murder as plot points, but one was [[PoesLaw ostensibly]] written by an EmoTeen girl, and the other was [[TrollFic supposedly]] written by a metalhead teen boy.
* ''Fanfic/CaveStoryVersusIMMeen'' is basically this to ''Fanfic/DoukutsuDays'', satirizing ''many'' television tropes and fanfiction cliches, especially during Part 1. However, it has a surprisingly deep and rather interesting plot for a crack fic, which is exactly what sets it apart from the rest of the bunch.
[[/folder]]

[[folder:Films -- Animated]]
* ''WesternAnimation/TheNightmareBeforeChristmas'' can be considered one to ''WesternAnimation/HowTheGrinchStoleChristmas''. Both feature the VillainProtagonist dressing up as SantaClaus 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. TheGrinch's malevolent intentions end up not really harming anyone, while [[TheAntiGrinch Jack]]'s benevolent intentions end up causing mass mayhem.
* Both Creator/{{Pixar}} and the Franchise/DisneyAnimatedCanon have contrasting takes on the {{Superhero}} {{genre}}: ''WesternAnimation/TheIncredibles'' and ''Disney/BigHero6'': ''The Incredibles'' stars a Caucasian, {{Badass|Family}} NuclearFamily (and a BlackBestFriend) with innate superpowers facing a tech-based villain, his gun-wielding mooks and his robot. Their setting is retro fifties-flavored suburbia, and while they don't deliberately kill the villains, if they die while attacking the heroes no one's upset. ''Big Hero 6'', on the other hand, features a FiveTokenBand of friends united by an orphan as {{science hero}}es with their powers derived from technology and individual expertise -— with a robot among their ranks -— while the villain is definitely a solo act equipped with a swarm of {{Nanomachines}}. Their setting is neon, skyscrapers and advanced cybernetics, IfYouKillHimYouWillBeJustLikeHim is in play, and high technology is central to all elements of the plot.
[[/folder]]

[[folder:Films -- Live-Action]]
* Creator/WernerHerzog's ''Film/AguirreTheWrathOfGod'' is a cynical story starring Creator/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 Klaus Kinski, 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 ''Film/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. They were originally going to be the one movie -- with a wrestler falling in love with a ballerina. Aronofsky realised that might be a bit much and split them into two.
* ''Film/Godzilla2014'' and ''Film/ShinGodzilla''. Both are reboots of the iconic kaiju franchise in question, but they portray the titular creature in vastly different ways. The 2014 version of Godzilla is a NonMaliciousMonster, going out of his way to not directly harm anyone who doesn't provoke him, and he ultimately saves the day by defeating other monsters who aren't as peaceful. The Shin version of Godzilla, on the other hand, is just as malevolent and wrathful as [[Film/Godzilla1954 the original King of Monsters]] and has no other kaiju to deal with, making him the sole antagonist of the film.
* ''Film/HailCaesar'' to ''Film/{{Trumbo}}''. Both films are period pieces about 1950's Hollywood, revolving around dramatized versions of {{Historical Domain Character}}s (Eddie Mannix and Dalton Trumbo, respectively) who end up dealing with the RedScare as it hits Hollywood. But while ''Trumbo'' is a serious drama about a screenwriter [[UsefulNotes/TheHollywoodBlacklist wrongly persecuted for his Communist leanings]], ''Hail, Caesar!'' is a wacky BlackComedy where [[spoiler: the bad guys turn out to be ''actual'' Communist screenwriters]]. Amusingly both films are also nostalgic throwbacks to post-war cinema, featuring multiple sequences taking place on movie sets while in-universe [[ShowWithinAShow Films Within a Film]] play out. ''Hail, Caesar!'' also features many NoCelebritiesWereHarmed versions of the historical figures who actually appear in ''Trumbo'', but it portrays them completely differently: ''Trumbo'' has Hedda Hopper as [[HistoricalVillainUpgrade the main villain]], while ''Hail, Caesar!'' has her FictionalCounterpart(s) [[SingleMindedTwins Thora and Thessaly Thatcher]] as a comedic nuisance; ''Trumbo'' features Creator/JohnWayne as a villainous bully, while ''Hail, Caesar!'' has the fictional cowboy actor Hobie Doyle (a loose parody of Creator/RoyRogers) as a good-hearted [[TheDitz ditz]]; ''Trumbo'' has Creator/KirkDouglas as a heroic idealist, while ''Hail, Caesar!'' has his FictionalCounterpart Baird Whitlock as a bumbling prima donna.
* Film/ItsAWonderfulLife is this to Literature/TheMysteriousStranger. Both feature an "angel" that serves as a guardian to a protagonist. However, the former champions the message that every life matters and that even removing just one person from existence would have drastic consequences, while the latter basically says that nothing matters and that the universe itself is probably just a pointless figment of the narrator's imagination.
* 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.
* ''Literature/LetTheRightOneIn'' and TheFilmOfTheBook of ''Literature/{{Twilight}}.'' The latter is fairly well known for its LighterAndSofter take on [[OurVampiresAreDifferent vampire mythos]] and there's never any doubt that Edward wouldn't truly physically hurt Bella. The former is a full-on {{Deconstruction}} of the FriendlyNeighborhoodVampire while Eli is a ''merciless'' predator, regardless of how nice she is to Oskar.
* ''Franchise/MarvelCinematicUniverse'':
** The Film/DCExtendedUniverse vs. the MCU:
*** The MCU is a centralized production studio where every film is ready for development and they bring in a director to work out the vision of the studio. This has resulted in fairly consistent quality control, tone and a running story spanning between all the films. On the other hand some have criticized the system for diminishing the control the director has on the individual film, putting too much focus on the larger picture at the expense of what the movie could be as a standalone. The DCEU set itself up as placing the ''Film/JusticeLeague'' movies at the center of the franchise and allowing the individual directors of other films large amounts of freedom so long as they provide the foundation for the ''Justice League'' CrisisCrossover. In fact, rather than starting with a bunch of origin stories and progressing to the crossover like the MCU did, ''Justice League'' will provide introductions to a lot of heroes who will eventually get their solo film.
*** ''Film/BatmanVSupermanDawnOfJustice'' and ''Film/CaptainAmericaCivilWar''. At face value, they have similar premises: A [[HumbleHero working-class hero]] going up against a [[CrimefightingWithCash wealthy hero]] over ideological differences. However, look at their subtitles: whereas ''Dawn of Justice'' is about former enemies who help ''found'' the SharedUniverse's SuperTeam, ''CivilWar'' is about former allies who ''break-up'' the SuperTeam.
*** ''Film/JusticeLeague2017'' and ''Film/TheAvengers2012''. Several of the core members of the Justice League can be considered {{foil}}s or {{Shadow Archetype}}s to similar members of the Avengers, taking the same basic character archetypes and turning them on their heads.
*** [[Film/ManOfSteel Superman]] and Film/{{Thor}} are both superpowered {{Human Alien}}s in red capes who see Earth as their adopted home, and end up clashing with rogue members of their species. But while Thor is a jovial ProudWarriorRaceGuy with a family back on his home planet, Superman is a quiet [[TheStoic stoic]] who never got a chance to know his real family, and has to deal with [[AllOfTheOtherReindeer feeling like an outcast among the people of Earth]]. Similarly, Thor does battle with Loki, his weaselly and irreverent adopted brother who becomes a TragicVillain, and is ultimately loyal only to himself; Superman battles General Zod, a hyper-disciplined soldier and an unrepentant fascist who sees himself as [[IDidWhatIHadToDo serving the best interests of the Kryptonian people]].
*** [[Film/WonderWoman2017 Wonder Woman]] and [[Film/CaptainAmericaTheFirstAvenger Captain America]] are both veteran soldiers dressed in patriotic colors who are [[OlderThanTheyLook much older than they appear]], and were fighting America's wars long before they joined their respective super-teams. But while Captain America was the scrawny son of poor immigrants who volunteered to become the ultimate soldier to save his country, Wonder Woman is the daughter of the Queen of the Amazons [[spoiler:and Zeus]] who inherited her destiny as a warrior who goes to fight against the concept of war itself, and [[TheSlowPath she's forced to spend a whole century waiting for the founding of the Justice League]], while Captain America [[HumanPopsicle is awakened after sleeping for seven decades]]. Also: Steve Rogers fights in UsefulNotes/WorldWarII, a conflict that is usually remembered as history's last truly glorious battle between Good and Evil; Diana fights in UsefulNotes/WorldWarI, a conflict that is usually remembered as a tragic and pointless waste of human life which (of course) [[HereWeGoAgain just paved the way for another war]].
*** Film/IronMan and Batman are both wealthy industrialists and corporate [=CEOs=] who live in secluded mansions and fight crime with technology, despite lacking superpowers. But while Iron Man was a reckless ManChild playboy who abused his power and wealth until a brush with death convinced him to become a superhero to atone for his past misdeeds, Batman was inspired to become a superhero after witnessing the deaths of his parents as a child, and [[MarriedToTheJob he has seemingly never had much of a life outside crime-fighting]].
*** ''Film/SuicideSquad'' to ''Film/GuardiansOfTheGalaxy''. Both are films where the main characters are criminals who are brought together to defeat a greater evil while the primary heroes of the respective universes (the Justice League and the Avengers) aren't involved. Although the Guardians weren't as corrupt, and willingly opposed Ronan, the Squad were criminals who were promised freedom if they helped defeat the Enchantress. For their lead females, Gamora couldn't agree to Thanos destroying worlds, but Harley was still loyal to The Joker. Also, the Guardians get their criminal records expunged, while the Squad do not get their promised freedom, though Deadshot does get to spend time with his daughter.
** ''Film/GuardiansOfTheGalaxy'' to ''Film/{{The Avengers|2012}}''. On a superficial level, they're almost exactly the same story: a mismatched group of heroes must overcome personal differences to come together for an epic team-up in order to stop a mad alien conqueror who wants to use a mysterious {{Macguffin}} to TakeOverTheWorld. But while the Avengers are a team of individually respected heroes who have already proven themselves through previous solo adventures, the Guardians are a team of full-on {{Unlikely Hero}}es who are initially OnlyInItForTheMoney (or for personal revenge), and are regarded as trash by most authority figures before they ultimately save the day.
** ''Film/DoctorStrange2016'' to ''Film/{{Thor}}''. Both are {{Magic}}-themed characters who, [[BreakTheHaughty after a blow to their pride]], travel to other dimensions and find a true calling as superheroes defending Earth from mythical/mystical threats. However, the difference is the path they take. Thor - a Norse PhysicalGod - starts off as being steeped into Myth/NorseMythology and [[HonorBeforeReason lives to uphold]] his ProudWarriorRace culture, which leads him to be banished to Earth. As a result, he learns to appreciate the mundanity of human culture. Doctor Strange, however, is a ordinary mortal man who starts off as [[ArbitrarySkepticism discounting the existence of magic]] before traveling to the Ancient One's monastery and other dimensions to learn that magic does indeed exist in the MCU. In addition, the magic of Film/{{Thor}} is portrayed as SufficientlyAdvancedTechnology that follow ClarkesThirdLaw, while the magic of Film/DoctorStrange2016 [[DoingInTheScientist cannot be explained]] by Earth science.
** ''Film/ThorRagnarok'' to ''Film/CaptainAmericaCivilWar''. At the barest level, the two films do have a vaguely similar premise: ComicBook/CaptainAmerica and ComicBook/TheMightyThor are faced with a situation that [[ICantDoThisByMyself they cannot handle on their own]], [[{{Crossover}} so they form alliances with heroes outside their solo franchises]] in a manner similar to ''Film/{{The Avengers|2012}}'' [[Film/AvengersAgeOfUltron films]]. However, that is the only similarity the two films have. ''Captain America: Civil War'' is a [[DarkerAndEdgier gritty]], Earth-based political thriller that [[DestructiveHero emphasizes the collateral damage of superhero battles]] and [[DysfunctionJunction how traumatized the heroes themselves are]], and depicts ComicBook/CaptainAmerica and ComicBook/IronMan fighting [[spoiler:due to the machinations of Helmut Zemo, a non-powered, non-costumed villain]] [[BreakingTheFellowship effectively ending the Avengers as we know them]]. ''Thor: Ragnarok'', by contrast, is a giddy SpaceOpera and BuddyPicture that embraces the cosmic aesthetic of Creator/JackKirby, and involves Thor ''assembling'' a team [[PuttingTheBandBackTogether of fellow former Avengers and warriors of Asgard]] such as the ComicBook/IncredibleHulk, Valkyrie, ComicBook/DoctorStrange, ([[EnemyMine and his former enemy Loki]]) against ComicBook/{{Hela}}, a superpowered, scenery-chewing [[KnightOfCerebus Goddess of Death]]. Also, while both movies ''do'' serve as {{Midquel}}s between ''Film/AvengersAgeOfUltron'' and ''Film/AvengersInfinityWar'', ''Civil War'' was largely set up by the events of ''Age of Ultron'', while ''Ragnarok'' plays an important role ''in'' setting up ''Infinity War''.
* ''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 pollution]] [[SpaceWhaleAesop 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}}'' (directed by Creator/TobeHooper) at the same time as he was making ''Film/ETTheExtraTerrestrial'' to contrast each other. He described ''ET'' as the Suburban Dream... and ''Poltergeist'' as 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.
** Spielberg later said ''Film/WarOfTheWorlds'' served as an antithesis both ''E.T.'' and ''Close Encounters'', having an everyman discovering evil aliens instead of benevolent ones.
* Despite being an official {{prequel}} to the ''Franchise/{{Alien}}'' franchise, ''Film/{{Prometheus}}'' is actually a SpiritualAntithesis of ''Film/{{Aliens}}'' in many ways. While ''Aliens'' is told from the perspective of a platoon of working-class soldiers, and it largely uses the Xenomorphs as a metaphor for the insecurities of childbirth and parenthood (subtly highlighted by Ripley's relationship with Newt), ''Prometheus'' is told from the perspective of a group of well-paid academics, and it largely uses the Engineers as a metaphor for overbearing parents (subtly highlighted by [[spoiler: Meredith Vickers' relationship with her father, Peter Weyland]]).
* [[Film/StarshipTroopers The film adaptation]] of ''Literature/StarshipTroopers'' is this to ''its own source material''. Paul Verhoeven was already working on a script that deconstructed the "WarIsGlorious" trope, and after he read Heinlein's novel he kicked everything into high gear. The resulting rewrite is one giant, deliberate TakeThat to the novel and what Verhoeven saw as a militaristic, borderline-fascist message, turning the novel on its head into a satire of militarism and propaganda.
* Creator/PaulVerhoeven did this to himself once, too. One of the first films he directed back in the 70s was a Dutch Epic War Film called ''Film/SoldaatVanOranje'' (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/TheThinRedLine'' and ''Film/SavingPrivateRyan'' have been seen as this ever since they came out, largely because they were DuelingMovies. Both films are big-budget UsefulNotes/WorldWarII epics that explore the WarIsHell theme in great depth, but they take completely different approaches to their subject matter, and ultimately come to very different conclusions about the nature of war. ''Saving Private Ryan'' tells a linear, character-driven story about sacrifice that ultimately comes to the conclusion that soldiers can redeem themselves for the atrocities of war through noble acts. By contrast, ''The Thin Red Line'' is a much more philosophical, open-ended story that seriously examines the idea that war is an inherently unnatural act, and seems to suggest that humans often fight wars without truly understanding why. The different settings also help (one is in the European Western Front, the other in the Pacific War).
* ''Film/{{The Thing|1982}}'' can also come across as the antithesis to ''Film/ETTheExtraTerrestrial''. 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 ''Film/{{Casablanca}}''. Seriously, watch them back to back. It's amazing. And depressing.
* The 2005 documentary ''Film/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.
* ''Film/TheOrder'' is the spiritual antithesis to ''Film/AKnightsTale''. It reunites the writer/director and three stars of the latter for a film that couldn't be more different in tone and content - bleak and humorless, with a DownerEnding thrown in for good measure. Whereas ''Film/AKnightsTale'' escaped the potential ire of many critics by presenting itself as nothing more than escapist fluff, ''Film/TheOrder'' was roundly panned for taking itself deadly seriously in addition to simply being dull and poorly written.
* ''Film/RioBravo'' was this to ''Film/HighNoon''. Director Creator/HowardHawks and star Creator/JohnWayne loathed ''High Noon''[='=]s message and politics (its writer, the [[UsefulNotes/TheHollywoodBlacklist blacklisted]] Carl Foreman, having written it as a critique of [[RedScare McCarthyism]]), with Wayne calling it "the most un-American thing I've ever seen in my whole life" and Hawks referring to its protagonist as a man who "run[s] around town like a chicken with his head cut off asking everyone to help, and finally his Quaker wife had to save him." As such, they sought to make a Western with a story similar to ''High Noon'' (a town is about to be attacked by a gang of outlaws and the sheriff must gather allies to stop them), but instead of having the sheriff protagonist be somebody who barely defeats the bad guys and grows disillusioned with his job due to the townsfolk's cowardice, he is instead a morally upright man who believes in doing what's right, is surrounded by people who do the same, and is ultimately successful through his own effort and righteousness.
* ''Film/PumpUpTheVolume'' is the SpiritualAntithesis to ''Film/{{Heathers}}''. In many ways, the later film is the sort of earnest, teen-issue-centred angsty melodrama the earlier film both deconstructed and parodied.
* Creator/{{Madonna}}'s film ''W.E.'' is one to ''Film/TheKingsSpeech.'' The latter is a loving tribute to George VI and his wife, and vilifies Edward VIII and Wallis Simpson; the former does exactly the opposite.
* ''Film/{{Labyrinth}}'' for ''Film/TheWizardOfOz''. Both films are modern [[TheMusical musical]] {{fairy tale}}s about innocent, virginal teenage girls being whisked away to magical lands [[OrWasItADream that may or may not be imaginary]], and both feature the protagonist going on [[TheQuest a quest]] with a trio of non-human companions in order to get home, while being dogged by an malevolent magic-using BigBad. However, one is a classic Hollywood musical about an [[IncorruptiblePurePureness incorruptibly pure]] farm girl who initially wants a better life, but learns to love her home and family along the way; the other is a RockAndRoll musical about a flawed, selfish, antiheroic suburban girl who undergoes her quest to save an innocent child from a gruesome fate [[TheAtoner that she herself condemned him to]]--and it ends with the strong implication that [[spoiler: her magical companions followed her home]]. Interestingly, Music/DavidBowie's Jareth the Goblin King is practically a mirror image of Creator/MargaretHamilton's Wicked Witch of the West: one is a hot-tempered, emotionally volatile, grotesquely ugly sorceress who revels in her CardCarryingVillain status, while the other is a cool-headed, handsome, charismatic sorcerer who [[BlueAndOrangeMorality seems to consider himself a genuinely decent person]].
* A character example rather than a story one, but it still fits the trope; ''Film/MyNameIsEmily'' has Emily Egan as the SpiritualAntithesis of ''Film/HarryPotter'''s Luna Lovegood. Both girls have {{Missing Mom}}s who died in accidents when they were children. Both have a CloudCuckooLander writer for a father and both are bullied at school for their oddness. Luna is ThePollyanna about her situation, has a close-knit relationship with her father and her quirky attitude causes CharacterDevelopment for others - not to mention that she is portrayed as lovably odd. Emily meanwhile is bitter and depressed, is estranged from her father, is nearly DrivenToSuicide over her situation and undergoes CharacterDevelopment herself through friendships - and her oddness is used to show how detached she is from reality. The kicker? ''Both'' are played by Creator/EvannaLynch.
* ''Film/RogueOne'' is this to the larger ''Franchise/StarWars'' universe. Many of the Star Wars movies (''especially'' the Original Trilogy) portray the universe with truly black-and-white morality; the rebellion and the Jedi are unequivocally good, and the Empire and the Sith are equally evil. While the prequels attempted to flip this on its head (the Jedi, for example, were Lawful Neutral monks fighting ''for'' a large, corrupt republic, and the Separatists - those fighting for freedom against an oppressive government - were portrayed as evil), ''Rogue One'' took this a step further. The rebellion, which had previously been portrayed as united and pure, was now divided by infighting and filled with a sense of hopelessness. The characters, too, were deconstructions of the OT's cast: many of the rebels had committed murder and worse for the cause of rebellion - as demonstrated in the first minute that Han Solo {{Expy}} Cassian is on the screen - and, unlike Luke, Jyn wanted nothing to do with the rebellion and simply kept her head down and did her best to ignore the oppressive actions of the Empire.
* ''Film/{{Deadpool}}'' and ''Film/{{Logan}}''. Both are graphically violent R-rated spin-offs from the existing ''Film/XMen'' cinematic universe. However, ''Deadpool'' is a BloodyHilarious, cheerfully amoral black comedy with a fourth-wall-breaking FirstPersonSmartass, while ''Logan'' is an elegiac modern western that is mostly about two beloved characters from the earlier films getting old and dying.
* [[WebVideo/TheNostalgiaChick Lindsay Ellis]], in [[https://www.youtube.com/watch?v=Radg-Kn0jLs a video]] on the "thirty-year cycle" of nostalgia, gave two examples of this trope.
** The first was ''Film/TheyLive'' and ''Film/{{Ghostbusters 1984}}'', specifically in terms of their political leanings. Both are sci-fi action films with a comedic/satirical undercurrent, but while ''Ghostbusters'' is a very pro-capitalist and pro-business film, with the heroes being men who use their technology to go into private enterprise and have to contend with an ObstructiveBureaucrat trying to shut them down (with disastrous results), ''They Live'' is a vicious satire of consumer capitalism, presented as an instrument for an alien ruling class to TakeOverTheWorld.
** The second was ''Film/{{It 2017}}'' and the TV show ''Series/StrangerThings''. Both are horror stories set in TheEighties and featuring casts composed predominantly of children that draw heavily on the audience's nostalgia for that time period and its pop culture, particularly the works of Creator/StephenKing (''It'' is an adaptation of [[Literature/{{It}} one of his novels]]) and kids' adventure films like ''Film/TheGoonies'', ''Film/ETTheExtraTerrestrial'', and ''Film/TheMonsterSquad''. However, while ''Stranger Things'' leans fully into nostalgia, with many of the more [[ValuesDissonance unpalatable elements]] of the time either [[PoliticallyCorrectHistory removed from the picture]] or [[PoliticallyIncorrectVillain given to the bad guys]], ''It'' is more {{deconstruction}}ist in its approach (albeit [[IndecisiveDeconstruction not fully so]]), combining the classic pop iconography of the '80s with the bullying, bigotry, and fear of crime that also permeated the culture.
[[/folder]]

[[folder:Literature]]
* Creator/RichardKMorgan intends ''Literature/ALandFitForHeroes'' to be this to ''Literature/TheLordOfTheRings.''
* Creator/VoxDay 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''.
* ''Literature/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 British 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.
* ''Literature/HarryPotter'' and ''Literature/EndersGame''. They're two of the defining young adult sci-fi/fantasy series of the Millennial generation, and they have nearly identical premises--but they ultimately bring their premises to vastly different conclusions, and they lie on completely opposite ends of the SlidingScaleOfIdealismVersusCynicism. In both, a bullied ChildProdigy with an unhappy home life receives an offer to leave home and enroll in a special school hidden from the rest of the world, where he learns that he is destined to [[MessianicArchetype come to the world's rescue]] in the latest chapter of an decades-old struggle against a malevolent evil (a DarkLord in one, an AlienInvasion in the other), leading to a years-long TraumaCongaLine while he prepares for an inevitable FinalBattle while bonding with a loyal group of TrueCompanions; there's also an ongoing series of highly contested school games ("football on flying broomsticks" in one, zero-gravity laser tag in the other) that everyone takes ''really'' [[SeriousBusiness seriously]], and the story repeatedly points out how much it can suck to be the ChosenOne.\\
\\
The difference? One ends with an upbeat EarnYourHappyEnding where evil is vanquished through ThePowerOfFriendship and the TrueCompanions remain inseparable for life, with the protagonist revered as a hero. The other has far more of a BittersweetEnding, where we learn that [[spoiler: the whole conflict was based on a cultural misunderstanding]], the protagonist is remembered as [[spoiler: a monster who destroyed an entire alien race]], and he ultimately [[spoiler: leaves his friends and family behind to wander the universe in search of a way to atone for his crimes]]. Politically, one is also far more idealistic, ending with the heroes forming a LaResistance against their corrupt government, and ultimately reforming it through unabashed determination. The other ends with the heroes unwittingly causing the ''rise'' of a corrupt government, with one of the most unsympathetic characters attempting to become a benevolent dictator.
* Chinua Achebe found ''Literature/HeartOfDarkness'' to be racist and historically dubious. He was tired that it was used as a reference point by many readers and academics when discussing Africa. One of the reasons he cited for writing ''Literature/ThingsFallApart'' was to show that native Africans from traditional societies were intelligent and highly complex individuals and to show that Africa is not a dark place meant for European decadence but a place where people lived lives just like anywhere else.
* ''Literature/HisDarkMaterials'' is explicitly intended as an atheist answer to the Christian allegory of ''Literature/TheChroniclesOfNarnia''.
* Steven Erikson has stated that the impetus to [[AscendedFanfic fictionalize]] he and his friends' home brewed TabletopRPG campaign as ''Literature/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 ''Literature/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.
* 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".
* According to WordOfGod, the ''Literature/RedRoom'' series began as this to Charles Stross ''Literature/TheLaundryFiles''. More specifically, ''The Jennifer Morgue.'' After an entire book about glamorous superspies fighting monsters being made fun of, Creator/CTPhipps wrote a book about glamorous superspies fighting monsters and played it dead straight. The hero even has a preference for redheads and a nerdy pair of lesbian tech support compared to Bob Howard's wife and nerdy gay men tech support. The author has also stated himself to be a Laundry Files fan, though.
* Creator/{{Robert E Howard}}'s two {{Barbarian Hero}}es, Literature/{{Kull}} and [[Literature/ConanTheBarbarian Conan]] are this too each other. Both are {{Blood Knight}}s who face a number of [[ReptilesAreAbhorrent serpentine adversaries]], and become kings by their own hands in nations not their own. Kull is older, introspective, melancholic, and completely [[{{Asexual}} uninterested in the pleasures of the flesh]]. Conan, while hardly TheBrute, has no time for philosophy, is joyous, and knows the company of [[ReallyGetsAround many young women]] in his stories. Becomes EarlyInstallmentWeirdness, as Conan started off as a line-for-line {{Expy}} of Kull.
* ''Literature/ASongOfIceAndFire'' by Creator/GeorgeRRMartin was partially a response to ''Literature/TheLordOfTheRings'' and its imitators. WordOfGod said he was always more interested in how Aragorn would [[WonTheWarLostThePeace win the peace]] after the War of the Ring (which is barely skimmed over in the epilogue) than how he won the war. He also wanted to know if fantasy could work if it had a more socially accurate examination of feudalism based on actual medieval history. Martin also said that it was also a response to HistoricalFiction noting that he was tired of the ForegoneConclusion nature of the genre, and wanted to use fantasy as a genre to explore history via various events and historical figures having their SerialNumbersFiledOff.
* Creator/StephenRDonaldson is most famous for writing ''Literature/ChroniclesOfThomasCovenant'', a HighFantasy story about a man from Earth who is forcibly transported into another world and spends most of his time [[AllJustADream refusing to believe that anything he sees is real.]] An indication that he might be right is that the story is described mainly in cerebral terms, with things and people often coming across more as the personification of ideas than as real things. Donaldson later wrote ''Literature/MordantsNeed'', a LowFantasy story about a woman from Earth who accepts an invitation to go to another world, where she is told (and almost convinced) that she and her own world has no reality of its own but is purely the creation of Mordant's magic. The story is told in very naturalistic, sensual terms, with much emphasis on physical sensation and practical constraints, and characters are generally messy, flawed and very human.
* Lavie Tidhar's novel ''The Violent Century'' is a Spiritual Antithesis to ''ComicBook/{{Uber}}'', whether consciously or not. Both are very dark horror-tinged AlternateHistory stories that deconstruct neo-[[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] "World War II would have been really cool with superpowered people" comics. However, ''Über'' has Nazi Germany developing supersoldiers in 1945 and coming BackFromTheBrink, launching a whole new escalation of horror, while in ''The Violent Century'' all the great powers already have superpeople at the start of the war due to a MassSuperEmpoweringEvent, and the horror for the reader comes in how little history is actually changed, demonstrating how powerless even superheroes and villains are compared to the real-world horrors.
* ''{{Literature/Matilda}}'' for ''{{Literature/Carrie}}''. Both stories feature school girls as their protagonists who come from abusive homes and eventually develop telekinetic powers that they eventually use to punish people. Carrie White is a loner who gets bullied relentlessly and eventually breaks after being tormented too much - using her powers to get revenge on all her classmates, and eventually her entire town. Matilda Wormwood meanwhile is an IronWoobie who tries to make the best of her situation, similarly to how Carrie does at first. But in this case, Matilda uses her powers to punish her tormentors in ways that get rid of them forever and prevent them from hurting other people (non-fatally of course, since this is a children's book). Both stories feature a CoolTeacher who stands up for the girl. Carrie's Miss Desjardin [[spoiler: makes things worse for her - as punishing the bullies pisses off the AlphaBitch so much she organises a prank that ends up starting Carrie's rampage]]. Matilda's Miss Honey [[spoiler: eventually adopts Matilda to free her from her rotten parents, and they live happily ever after]].
* Frances Hodgson Burnett wrote two books that became these to each other, featuring contrasting protagonists and situations; ''Literature/TheSecretGarden''[='=]s Mary Lennox and ''Literature/ALittlePrincess''[='=]s Sara Crewe. Both girls end up orphaned and have to move from India to England. Both spend their story angsting over a missing parent -- Mary for her mother and Sara for her father. Sara grew up with a father who doted on her and is kind and gracious to everyone, with a quality that compels all to attend to her. Mary grew up with nothing but neglect and indifference from her parents, and ends up as a dysfunctional sour girl who no one likes. Sara's optimism is put to the test as she struggles without someone to care for her, while Mary's cynicism is tested by learning to let others care for her. Both stories invert the depictions and contrast of India and England. Sara's India was a magical place, and she uses her own imagination and belief in 'the magic' to cope with her dreary life in England. Mary's India was uncomfortably hot and lonely, and in her story she discovers magic and beauty in England.
* ''LightNovel/TheUnexploredSummonBloodSign'' is this to [[LightNovel/ACertainMagicalIndex several]] [[LightNovel/TheZashikiWarashiOfIntellectualVillage other]] [[LightNovel/TheWeaknessOfBeatriceTheLevelCapHolySwordswoman series]] by Creator/KazumaKamachi. The protagonist Kyousuke tries to save others regardless of the personal cost, like [[LightNovel/ACertainMagicalIndex Touma]], [[LightNovel/TheZashikiWarashiOfIntellectualVillage Shinobu]], [[LightNovel/TheWeaknessOfBeatriceTheLevelCapHolySwordswoman Beatrice]] and [[Literature/MyVampireOlderSisterAndZombieLittleSister Satori]]. However, Kyousuke is a OneManArmy capable of beating most opponents with only his own skills, whereas most of Kamachi's protagonists need to rely on others. Similarly, while the other protagonists generally grew up in normal and loving families, Kyousuke's family only appeared normal - his father saw him as no more than a tool and carefully controlled his life to teach him his unusual skills. The main antagonists are also different. Most of Kamachi's other antagonists are [[WellIntentionedExtremist Well-Intentioned Extremists]] with impersonal goals (like saving the world) who spend most of their time scheming from behind the scenes. [[spoiler:The White Queen]] is active right from the beginning and has the entirely personal goal of [[spoiler:making Kyousuke love her again]].
[[/folder]]


[[folder:Live-Action TV ]]
* ''Franchise/StarTrek'':
** ''Series/StarTrekDeepSpaceNine'' is this to its immediate predecessors, ''Series/StarTrekTheOriginalSeries'' and ''Series/StarTrekTheNextGeneration.'' Where TOS and TNG are about traveling in a starship, visiting [[PlanetOfTheWeek strange new worlds]], and demonstrating the moral superiority of a bunch of utopian future-humans, [=DS9=] stays mostly put on the titular space station and deals with internal politics and far more complex moral dilemmas that place it farther toward the cynical side of the sliding scale.
*** The [=DS9=] episode "[[SequelEpisode Crossover]]" is specifically a TakeThat to the optimistic ending of the TOS episode "Mirror, Mirror." In the latter, the crew of the Enterprise is able to convince [[EvilTwin evil!Spock]] to pull a HeelFaceTurn with an inspirational speech or two, and the implication is that he will manage to reform the entire Terran [[TheEmpire Empire]] (his universe's evil counterpart to TheFederation). The former turns this optimistic outcome on its head when it turns out that the "reformed" (read: weakened) Empire is easily conquered and enslaved and humans in that universe have been suffering ever since.
* ''Series/BatesMotel'' is a [[SpiritualSuccessor Spiritual]] {{Prequel}} to [[Creator/AlfredHitchcock Alfred Hitchcock's]] ''{{Film/Psycho}}''. However, the original film was so groundbreaking and iconic because of its unprecedented {{Halfway Plot Switch}}es that viewers would never see coming. ''Bates Motel'', on the other hand, is a {{Tragedy}} because, due to PopCulturalOsmosis, [[DramaticIrony viewers know]] [[ForegoneConclusion exactly what's going to happen]].
* ''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/BattlestarGalactica2003'', Ronald D. Moore was pretty much able to do everything he had ever wanted to do on ''Series/StarTrekVoyager'', but wasn't allowed. The Cylons are a truly dangerous menace who largely stay in the shadows, while the Borg showed up so frequently ([[ExecutiveMeddling at the studio's insistence]]) that [[VillainDecay they ceased to be threatening]]; the tensions between the opposing groups on the ''Galactica'' are explored in full, while ''Voyager'' specifically caught flak for [[TheyWastedAPerfectlyGoodPlot sweeping the tensions between Starfleet and the Maquis under the rug]] after the first few episodes; ''Galactica'' fully exploited its overarching plot to create a tightly-structured MythArc, while ''Voyager'' was obliged to stick with a more conventional episodic structure that robbed it of much of its drama.
* ''Series/BreakingBad'' and ''Series/TheWire'' are both epic crime dramas about the American drug trade that have been called two of the greatest television series of all time by several critics, and both are well-known for examining UsefulNotes/TheAmericanDream at length--but their respective approaches to their subject matter are as different as Night and Day. ''Breaking Bad'' is a classical "rise and fall" story set mainly in the suburban American Southwest, and centered around the white, middle-class, college-educated scientist Walter White; despite its deconstructive take on crime dramas, it's known for its highly stylized elements, and it takes quite a few cues from genre fiction (like [[NewOldWest Westerns]] and gangster films) in its portrayal of Walter's journey [[ProtagonistJourneyToVillain from a mild-mannered schoolteacher to a tyrannical drug lord]]. By contrast, ''The Wire'' is a sprawling story about the intertwining fates of the many, many denizens of the inner-city East Coast--most of whom are lower-class African-Americans--that has [[LoadsAndLoadsOfCharacters so many characters]] that it doesn't really have a protagonist at all, and rigidly adheres to unadorned realism. One show uses the drug trade as a backdrop for one man's personal quest to claim his slice of the American Dream, while the other uses social commentary to examine how the the drug trade wreaks havoc on the lives of people just trying to escape the cycle of poverty. Put into literary terms: ''Breaking Bad'' is a [[Creator/WilliamShakespeare Shakespearean]] crime drama, while ''The Wire'' is a [[Creator/CharlesDickens Dickensian]] crime drama.
* David Shore's ''The Good Doctor'' is one to his previous show ''HouseMD''; both deal with genius doctors with severe socialization problems. Dr. Shaun Murphy is a surgeon, young, idealistic, CannotTellALie, and has a legitimate neurological condition in Autism. Dr. Greg House is a diagnostician, middle-aged, bitterly cynical, a ConsummateLiar, and is a social exile by choice, as he believes he doesn't deserve love or friendship.
* ''Series/TheShield'' can also be seen as a Shakespearean foil to ''Series/TheWire''. They're both character-driven cop shows focusing on close-knit task forces within city police departments, but ''The Shield'' has the arc of a tragedy, with the Strike Team falling apart due to the chain of consequences that come about when team leader Vic Mackey murders a fellow cop who sought to turn evidence against him and the Strike Team. ''The Wire'', meanwhile, uses the Barksdale (later Stanfield) task force as a springboard for exploration of the city of Baltimore and the underclass in the city and the corruption of various institutions that exploit their power to persecute the power and crush those who seek to reform the system. ''The Wire'' presents many criminals in a sympathetic light, delving into the reasons why the poor use drugs; by contrast, ''The Shield'' presents many police officers in an unsympathetic light, delving into the reasons why police officers go bad. Also, ''The Wire'' largely stays grounded in reality, whereas ''The Shield'' tends to go big, with a variety of villains and criminal conspiracies.
* ''Series/{{Weeds}}'' and ''Series/BreakingBad'' also contrast each other in interesting ways. Both are about suburban parents who get in over their heads when they try to support their families by dealing drugs, but ''Weeds'' plays the premise for BlackComedy (with Nancy Botwin selling mostly harmless marijuana), while ''Breaking Bad'' plays it depressingly straight (with Walter White selling seriously dangerous methamphetamines). Nancy and Walt both try to hide their darker sides from their families, but Nancy's family are generally willing to put up with her criminal behavior, though still willing to call her out on it when it endangers others; by contrast, Walt's family recoil in horror when they discover his secret, with his wife Skyler eventually ending up as a prisoner in her own home when she realizes the full extent of her husband's monstrous deeds.
* While ''Series/ArrestedDevelopment'' and ''Series/ItsAlwaysSunnyinPhiladelphia'' both focus on a morally corrupt group of people with a major case of FreudianExcuse who are not allowed to grow as characters, ''Series/ArrestedDevelopment'' focuses on what happens when a group of wealthy, upper-class jerks' luck finally starts running out and their privileged net collapses on them, ''Series/ItsAlwaysSunnyinPhiladelphia'' features the day-to-day lives of lower-class owners of a destitute Philadelphia bar who consistently fail at any attempt to better themselves or their situation.
** Two of the leads are twins, a blonde female, and a brown-haired male. The male twin in ''Series/ArrestedDevelopment'' is arguably the worst of the bunch, while ''Series/ArrestedDevelopment'''s is the best.
* 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.
* ''Series/DuckDynasty'' is this to ''Series/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 ''because'' of 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.
* ''Series/MalcolmInTheMiddle'' and ''Series/TheMiddle'' are both about a low middle class family struggling with everyday life. While Malcolm is rather mean spirited to downright cynical in its portrayal of family life ''Series/TheMiddle'' has the same amount of bad stuff happening to them but manage to always end episodes on a lighter note than its predecessor.
* ''Series/MarriedWithChildren'' was this for ''Series/TheCosbyShow'', contrasting the loving, upper middle-class, black Huxtables with the [[DysfunctionalFamily dysfunctional]], lower-class, white Bundys. In fact, [=MWC's=] working title was ''Not The Cosbys''.
* ''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. Especially given that all of the protagonists are young criminals serving on community service.
* ''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 what's best in your life can be found in the things (and people) you most take for granted.
** The US version has another spiritual antithesis in the form of ''Series/ParksAndRecreation''. While the general tone is similar, the setting is deliberately made into the polar opposite of ''The Office''. ''The Office'' is set in a dead end private sector job where the protagonists constantly struggle with one another while ''Parks'' is set in a first-step public sector job where the protagonists constantly struggle with the general populace.
* Where ''Series/ParksAndRecreation'' above may be considered a spiritual antithesis to The Office, it can also be seen as one to ''Series/{{Community}}''. Both are sitcoms that pay incredible attention to detail and canon, and both (like The Office) are centered around the friendship group of a motley crew of lovable misfits. However, while Community is focused on how nobody at Greendale is ever going to make anything of their life, and the friendship group is in a way their only refuge from their crappy lives (the cynical end of the spectrum); the ''Parks'' gang climb career ladders throughout the series, often relying on each other to help them up said ladders (the ideal end of the spectrum).
* ''Series/{{Veep}}'' is basically the photo-negative of ''Series/ParksAndRecreation''. The shows share the basic premise of being comedies about female leads surrounded by misfits trying to cope with the behind-the-scenes antics of government, but that's where the similarities end. The latter focused of the actions of a determined, idealistic public servant whose co-workers quickly became inseparable TrueCompanions, tackling every obstacle with [[TakeAThirdOption Third Options]] or someone (usually Leslie) falling on their sword ForHappiness. Conversely, the former centered around a group of unrepentant narcissists, ranging from amoral sycophants to total [[TheSociopath sociopaths]], who can and will say or do just about anything to keep their jobs one more day. While ''Parks and Rec'' poked fun at the bureaucracies of politics, it always showed the heroes achieving ''some'' amount of success through hard work, creative thinking, and a little bit of luck. ''Veep''[='=]s comedy was far more mean-spirited, with its "heroes" taking two steps back for every foot forward, with the little accomplishments usually coming from someone being thrown under the bus. Incidentally, Selina Meyer had black hair, whereas Leslie Knope is a blonde.
* 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}}''. Show creator Creator/DonaldPBellisario actually ''knew'' Oswald when they were both in the Marines, when he found him to be a disaffected communist oddball, even writing in a scene that really happened of them interacting.
* 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 (as Moffat phrased it, "The Doctor is an angel who wants to be human, and Sherlock is a human who wants to be a god.")
** 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.
* The classic ''Series/StarTrekTheOriginalSeries'' episode [[Recap/StarTrekS1E2CharlieX "Charlie X"]] can be seen as an antithesis of Creator/RobertAHeinlein's novel ''Literature/StrangerInAStrangeLand'', which was published just five years before that episode aired. The plots of both works are essentially the same: an orphaned young man with [[AGodAmI nigh-omnipotent]] {{psychic powers}} is forced to adjust to human society after living his entire life among aliens, and finds himself entranced by [[WhatIsThisThingYouCallLove the mysteries of human women]]. But while Heinlein's Valentine Michael Smith is a blissfully innocent figure who tries to use his powers [[MessianicArchetype to rid the human race of everything holding it back]], ''Star Trek'''s Charlie Evans is a chillingly amoral figure whose alien upbringing leaves him incapable of using his powers responsibly. While Mike ends up successfully founding his own religion and social movement, Charlie [[DownerEnding is forcibly banished from human society for life]].
* ''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.
* ''The West Wing'', incidentally, can itself be seen as the antithesis of ''Series/HouseOfCardsUK'', with President Jed Bartlet trending far more towards idealism versus Francis Urquhart's Machiavellian scheming. And in turn, ''House of Cards''[='=] [[Series/HouseOfCardsUS American remake]] is the antithesis of ''The West Wing'', with [[WebVideo/TheNostalgiaChick Lindsay Ellis]] [[http://lindsayetumbls.tumblr.com/post/63007201658/ways-i-like-house-of-cards-more-than-the-west-wing describing it]] as running Creator/AaronSorkin's idealism through a shredder.
* Patrick Jane in ''Series/TheMentalist'' is the polar opposite of Adrian Series/{{Monk}}. Both are consultants to the police, with completely different personalities. Monk is a socially awkward recluse with SuperOCD, while Patrick is a confident, arrogant, and highly observant man who can easily read people's habits and behaviors.
** The same could be said for ''Series/Psych'' which preceded the Mentalist (with even a USA ad showing Shawn and Monk debating over numbers.) Psych also tends to have a good deal of humor and doesn't take itself too seriously compared to Monk and Mentalist.
* Sean O'Neal of the Website/AVClub [[http://www.avclub.com/article/1996-fox-news-and-daily-show-made-politics-spectat-240530 discussed this]] with regards to the Creator/FoxNewsChannel and ''Series/TheDailyShow'', a pair of TV news 'alternatives' that were both launched in 1996. Fox News saw itself as a corrective to perceived bias in the American news media, its audience was dominated by the baby boomers, and its commentary ran on righteous indignation and moral outrage. ''Daily Show'' host Creator/JonStewart, meanwhile, always insisted that he was a comedian rather than a journalist, but regardless, the show came to be seen, especially by the millennials and Gen-Xers who made up most of its audience, as a corrective to the "gut feelings over facts" nature of modern journalism that, during the show's height in the '00s, its viewers saw exemplified in Fox News. Furthermore, while Fox News was a decidedly conservative-leaning outlet, ''The Daily Show'' was just as stridently liberal-leaning.\\\
However, O'Neal concludes that, despite these differences, the two shows were ultimately [[NotSoDifferent two sides of the same coin]] in how they contributed to a blurring of the line between news and entertainment and to a general cynicism of the media and politics, Fox News by getting middle-aged and older people to see liberal journalists and politicians as untrustworthy, and ''The Daily Show'' by getting younger people to see ''all'' journalists and politicians as buffoons. He held up the debate between Stewart and Fox News pundit [[Series/TheOReillyFactor Bill O'Reilly]] in 2012 as the pinnacle of this, with the debate ultimately being as much a {{spectacle}} as it was a serious discussion -- which was [[http://entertainment.time.com/2012/10/07/the-stewart-oreilly-debate-an-inside-view-of-a-seriously-hilarious-rumble/ precisely what Stewart and O'Reilly intended.]]
* ''Series/KamenRiderDragonKnight'' was meant to serve as one to the ''Series/PowerRangers'' franchise, to the point where they refused to hire series fan-favorite Jason David Frank for the former. Though both are an AmericanAdaptation of {{Tokusatsu}} shows, ''Franchise/KamenRider'' and ''Franchise/SuperSentai'' respectively, Power Rangers focus on a team of 3-5 individuals fighting a common enemy while Dragon Knight focused one hero finding other Kamen Riders manipulated by the BigBad. In Power Rangers, the MonsterOfTheDay is usually a creature with a gimmick who interacts with the heroes and sometimes spouts jokes and threats while the monsters in Kamen Rider have no voices or even names, they are on pair with the foot soldiers. While Power Rangers does take itself seriously in certain seasons, it still remains light-hearted and idealistic, Kamen Rider quickly let go of its comedic tones in favor of more serious story telling.
* ''Series/KamenRiderExAid'' feels like one to its predecessor, ''Series/KamenRiderGhost''. Both are series from the same franchise, with kind protagonists that use devices to take on the forms of other beings to use their powers. However, while Ghost uses mystical devices meant to harness the spirits of historical figures, Ex-Aid uses mechanically-created devices that let him take on the form of fictional characters within their universe. While Ghost's suits have mainly dark colors with black visors, Ex-Aid's suits are bright and colorful, with expressive {{Animesque}} eyes for the visors. While the main goal of Ghost was to bring Takeru BackFromTheDead, Ex-Aid focuses more on the idea of moving past deaths and when the option of DeathIsCheap is brought up, the characters question the ethics of such practices. The villains in Ghost were invaders from another world that became immortal by putting their bodies into a state of immortality, while the villains in Ex-Aid were invaders from video games that can cause one to become immortal with the right technology. Ghost has its protagonists get over their flaws during the first half to work together later on, while Ex-Aid has the protagonists struggle to work together, only growing past their flaws over the course of the series. TheHero of Ghost dies multiple times, with each death treated with sadness and often requires outside interference to bring him back, while the one who dies in Ex-Aid multiple times is the former BigBad, with each death being treated as comedic due to how easily he can revive himself. Ghost's core message is about how one can take their life to control their fate and do great things, with the lack of understanding this by many villains making them misguided at worst, while Ex-Aid's core message is how the lives of others are not one's to control, with those disregarding the value of life being treated as amoral at best and utter monsters at worst.
* Jacky St. James felt that the novel ''Literature/FiftyShadesOfGrey'' portrayed [[RomanticizedAbuse an abusive relationship as a realistic depiction]] of UsefulNotes/{{BDSM}}. As a result, she co-created the Creator/{{Showtime}} erotic series ''Submission'' to serve as a rebuke to it and show a more honest and faithful look at the BDSM lifestyle.
[[/folder]]

[[folder:Music]]
* Pretty common with a NewSoundAlbum. For instance, {{Music/U2}} described ''Music/AchtungBaby'' as "Chopping down ''Music/TheJoshuaTree''" -- instead of straight rock with political and social themes, rock with electronica and dance scoring introspective lyrics.
* Music/MilesDavis' Music/KindOfBlue and Ornette Coleman's Music/TheShapeOfJazzToCome are frequently considered this. Both albums came out in 1959, when the jazz world was overrun with complex Bebop compositions, and both set out to do something different. The similarities end there, though; ''Kind of Blue'' is ambient, harmonically complex, and rhythmically laid-back. ''The Shape of Jazz to Come'', on the other hand, is chaotic, aggressive, mostly does away with traditional harmony and rhythms, and focuses on collective improvisation rather than individual solos.
* Music/JohnFrusciante said that his album ''The Will To Death'' was essentially the opposite of his previous one, ''Shadows Collide With People''. Whereas ''Shadows'' had much time put into it's recording (a response to critics saying his previous solo efforts sounded unprofessional), and layered, lush harmonies, ''The Will To Death'' had songs recorded in as few takes as possible, and minimal backing vocals.
* Music/{{Macklemore}}'s "Thrift Shop" and Music/JustinTimberlake's "Suit & Tie". Both are hit singles from 2012-13 about clothing and style, but while "Suit & Tie" talks about how the elegant and classy look of an expensive suit and tie is all Timberlake needs to impress, "Thrift Shop" talks about how we spent way too much on clothes and how one's self-confidence can make even ugly clothes from the thrift shop look cool.
* In a way, Music/{{Weezer}}'s second SelfTitledAlbum (more commonly known as the Green Album) was this to their sophomore album, ''Pinkerton''. Whereas ''Pinkerton'' was very dark and personal, and possibly their most complex album musically, ''Green'' was light, simple, poppy, and safe. Very few of the songs were personal, and the whole album carried an extremely happy vibe to it.
* {{Grunge}} was this to HairMetal, especially once it got big in the early '90s. Hair metal was big, boisterous, and fun-loving, associated with the glamorous and decadent Sunset Strip in UsefulNotes/LosAngeles, and its musicians wore flamboyant outfits, played [[EpicRiff face-melting guitar solos]], and sang about how awesome it was to be a rock star. Grunge, by contrast, was [[DarkerAndEdgier angsty, moody, stripped-down]], and born in the rainy [[DyingTown Rust Belt dump]] that was late '80s UsefulNotes/{{Seattle}} (at the time, the city hadn't yet completed its transition from Boeing to Microsoft), with its musicians playing ThreeChordsAndTheTruth while wearing street/work clothes (flannel shirts came to be the stereotypical "grunge look") as a reaction to the self-indulgence of the late '80s metal scene. The differences were most pronounced when they sang about drugs and alcohol; hair metal was all about the good times that came from the SexDrugsAndRockAndRoll lifestyle, while in grunge, it was something that at best took the pain away and at worst [[DrugsAreBad destroyed the people who followed it]]. Hair metal fans saw grunge as music for [[StopHavingFunGuys dour killjoys]] and felt that its rise had destroyed rock music, while grunge fans saw hair metal as music for [[TheHedonist mindless hedonists]] that rock had to be saved ''from''.
* And in turn, PostGrunge was this to the original grunge. While it used a superficially similar music structure, it tended to be less experimental, more polished, and overall LighterAndSofter both lyrically and musically, allowing it to pick up fans who had grown disillusioned with the DarkerAndEdgier subject matter of grunge after Music/KurtCobain's suicide but still liked the sound of the music.
* Music/WoodyGuthrie wrote "This Land Is Your Land" as [[http://www.npr.org/2000/07/03/1076186/this-land-is-your-land a response]] to Music/IrvingBerlin's "God Bless America", originally naming his song "God Blessed America for Me" before settling on the final title. It soon came to be popularized as an "alternative" national anthem among left-wing activists, especially from TheSixties onward. While "God Bless America" was rooted in UsefulNotes/ManifestDestiny, with God personally standing beside and guiding the United States, "This Land Is Your Land" carried a socialist message of America belonging to everybody, especially in two verses protesting income inequality that weren't included in the final version of the song.
[[/folder]]

[[folder:Newspaper Comics]]
* ''ComicStrip/TheBoondocks'' stands in stark contrast to ''ComicStrip/LittleOrphanAnnie''. ''Little Orphan Annie'' is a [[StoryArc serialized]] adventure series starring a white PluckyGirl adopted by a kindly UnclePennybags, and is known for its conservative leanings and American pride. ''The Boondocks'', meanwhile, is a joke-per-day series starring a cynical black boy [[RaisedByGrandparents living under his grumpy grandfather]] that rarely leaves its white {{suburbia}} setting, while its politics are radically left-wing and have drawn a lot of controversy for their satirical take on American politics and culture.
** Its AnimatedAdaptation is also one to {{Black Sitcom}}s like ''Series/TheCosbyShow'' and ''Series/FamilyMatters''. The Freeman family are {{dysfunctional|family}} to the point that they're one big argument away from killing each other, while the peaceful {{suburbia}} they move to is more chaotic than their old inner-city neighborhood, to the point that they've considered moving out. The show was also relentlessly cynical about the vision of "black respectability" promoted by such shows, with Uncle Ruckus and his {{Boomerang Bigot}}ry in particular serving as a grotesque parody of Creator/BillCosby (who himself shows up on the show, portrayed as a bitter, [[TheUnintelligible unintelligible]] {{Moral Guardian|s}}).
[[/folder]]

[[folder:Professional Wrestling]]
* As EMLL and CSP developed into two different versions of the World Wrestling Council, WWC became a spiritual antithesis of Wrestling/{{CMLL}}. Two out of three falls became the standard in EMLL and pretty much a ''must'' in championship matches while one fall became he default in CSP. Perhaps not by coincidence CMLL title belts became known for how difficult they were to win while WWC's belts for how difficult they were to hold on to. WWC was also a pioneer in many of the {{gimmick matches}} CMLL would become known for shunning, a contrast that became more apparent as CMLL featured less and less bloodshed over the years. In the beginning EMLL was content to be a regional promotion while CSP has always had universal ambitions but in a bit of {{irony}}, CMLL would become the more international of the two while WWC would end up fairly isolated.
* The difference between the northeastern and southern styles of wrestling can be summed up with the title hunts. NWA and later WCW favored fan-favorites chasing heel champions, WWF/E preferred face champions taking on heel challengers. This was also behind Wrestling/HulkHogan leaving th Wrestling/AmericanWrestlingAssociation, as he liked being a champion more than chasing one.
* [[Wrestling/{{FMW}} Frontier Martial-Arts Wrestling]]'s intent was to be an antithesis to the "Japanese mainstream", namely Wrestling/AllJapanProWrestling's "realistic" presentation of the sport and Wrestling/NewJapanProWrestling's "strong style" of wrestling, adopting an "anything goes" approach where the referee existed mostly to declare winners.
* Wrestling/{{ECW}} was this to Wrestling/{{WCW}} to the point of bitter rivalry. Though both were offshoots of the [[Wrestling/NationalWrestlingAlliance NWA]], World Championship Wrestling had the support of a major media company and their tradition established as an NWA member to determine their direction of their production (at least until Hogan came along). Extreme Championship Wrestling had a far more contentious break with NWA, had a roster full of castoffs, a small budget and a do-it-yourself attitude that forsook the traditions of pro wrestling to present something far darker. Most notably, both were the antithesis of the then-cartoony [[Wrestling/{{WWE}} World Wrestling Federation]], which had to become the antithesis of its past self to compete with WCW and the Wrestling/{{n|ewWorldOrder}}Wo.
* Wrestling/RingOfHonor is the spiritual antithesis of Wrestling/CombatZoneWrestling, created by RF Video after it couldn't get CZW to agree do a deal. They have employed some of the same wrestlers over the course of their existences, the key differences being in how long and how they use them, ROH not being nearly relaxed as far as rules and conduct go, and a much stronger focus on the 'wrestling' aspect of the product, as opposed to the "[[GarbageWrestler ultra violence]]".
* After witnessing the decline and failure of Wrestling/UniversalWrestlingFederation, a company based on 'shoot wrestling' and mixed martial arts, in the face of comparatively traditional pro wrestling promotions, Wrestling/NobuhikoTakada tried again with Wrestling/FightingOperaHUSTLE, which aimed less for realism and plausibility and more for flash and dramatic overacting.
* {{Wrestling/WSU}} for {{Wrestling/SHIMMER}}. Both were the first two major all-women's promotions on the American independent circuit. SHIMMER had a family-friendly product centred more around pure wrestling. WSU was a DarkerAndEdgier product (the U standing for 'Uncensored') with lots more cursing and brutality. SHIMMER would usually bring in a wider variety of international talent while WSU would focus mainly on American and Canadian talent.
* Celtic Championship Wrestling and Over The Top Wrestling - the two biggest promotions in Ireland, who both run monthly shows. OTT is an exclusively over-18's show with emphasis on larger than life gimmicks, extreme rules matches and general drunken fun. CCW is family friendly with a lot more focus on wrestling. They do the occasional over-18's show themselves however.
[[/folder]]

[[folder:TabletopGames]]
* ''TabletopGame/DungeonsAndDragons'' was this to the [[WarGaming tabletop war-game]] ''Chainmail''. In ''Chainmail'', each player commanded an army against another player's army. But with ''Dungeons & Dragons'', each player was controlling a single character, and was instead teaming up with other players and their own characters in a series of cooperative dungeon raids. Plus, ''Chainmail'' was more geared towards combat and competition, while ''Dungeons & Dragons'' was, instead, primarily a storytelling and adventure game.
* ''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''. Your average Space Opera follows the principle that HumansAreSpecial and shows them living peacefully with other races and defeating various space evils. In contrast, The Imperium of Man is utterly racist, [[BlackAndGreyMorality a behavior learned from their alien neighbors]], and its position at the galactic power table was paid for with the blood of millions of humans. Examine the Rogue Traders specifically: Brave and intrepid captains who go out on long missions to find and contact new worlds and new civilizations, with the mandate to exploit the heck out of them, or even wipe the natives off the face of their worlds outright in order to take what's left. Slightly different than the prime directive!
* AdventureBoardGames and {{Euro Game}}s; the former features, well, adventure scenarios, light role playing, and a greater consideration of production values. The latter are focused more on mechanics, and feature far more mundane tasks like running a farm or a power plant.
[[/folder]]

[[folder:Theme Parks]]
* As the world's two biggest rivals in the theme park business, [[Ride/DisneyThemeParks Disney]] and Ride/UniversalStudios have long framed themselves as contrasting {{foil}}s of one another. Disney parks have traditionally drawn most of their inspiration from [[Franchise/DisneyAnimatedCanon Disney's animated films]], and they're famous for their commitment to building immersive experiences that encourage guests to lose themselves in elaborate fantasies; as a whole, the parks often celebrate the innocence of childhood, with "magic" being a [[ArcWords frequent buzzword]]. [[note]] As [[WebVideo/SomeJerkWithACamera Tony Goldmark]] once pointed out: the word "magic" is so heavily associated with Disney theme parks that Universal Studios even avoided using "the M-word" in advertisements for ''The Wizarding World of Harry Potter'', of all things. Instead, the first ad invited guests to "experience the '''wonder'''"; presumably, they worried that "experience the magic" would sound too much like a tagline for their rival Disney World.[[/note]] By contrast, Universal Studios parks have traditionally been a gleeful smorgasbord of American pop culture from multiple companies and mediums, and they opt for the look and feel of a movie backlot, often celebrating the illusory nature of pop culture instead of trying to convince the audience to believe it; they're also much less shy about dipping into properties that don't necessarily target kids, with [[DarkerAndEdgier occasional moments of violence and horror]] to balance out the frivolity.\\
\\
Note that this has started to be [[DownplayedTrope downplayed]] in recent years, as the parks have gradually started [[FollowTheLeader learning from each other]] in certain areas. Case in point: Universal Studios now has ''The Wizarding World of Harry Potter'', which is the sort of painstakingly detailed immersive attraction that Disney is better known for; and with the unveiling of ''Ride/PandoraTheWorldOfAvatar'' and the upcoming ''Franchise/StarWars Land'', Disney Parks have shown a new willingness to embrace properties outside Disney's traditional oeuvre.
** StarWars existed in the Disney Parks long before the latter bought the rights to the former. George Lucas nixed any bids from other theme parks for his ride, because he felt only Disney would treat it with the same love, respect, and attention to detail that he would if he had a theme park.
[[/folder]]

[[folder:VideoGames]]
* ''VideoGame/OneThousandAndOneSpikes'' is the LawfulEvil to IWBTG's ChaoticEvil. Both games are platformers with a OneHitPointWonder protagonist and quick respawn mechanics, and the level design for both features heavy emphasis on traps. However, the former is far more fair with its traps, featuring consistent trap types to the point that keen-eyed players can often spot them before they're triggered, and most traps when triggered offer a split-second window for players to escape. Compare that to the latter, where literally EverythingIsTryingToKillYou, consistency and forewarning be damned, to the point that the game relies on TrialAndErrorGameplay.
** The game could also be considered the antithesis of ''VideoGame/LaMulana'', both games are platformers featuring ''Film/IndianaJones''-styled AdventurerArchaeologist protagonists who both have troubled relationships with their AdventurerArchaeologist fathers whom they're in competition with, both games revolve around infiltrating some ancient trap-filled ruins, and both games feature retro-style 8-bit graphics (at least the original version of La Mulana does.) However, La Mulana is a sprawling {{Metroidvania}} revolving around solving puzzles and riddles, while 1001 Spikes is a linear, level-based affair where the player's only concern is grabbing collectibles and getting to the exit. Also as mentioned above, Aban Hawkins is a OneHitPointWonder, while Lemeza has a life meter and can take multiple hits. The two protagonist's fathers are also antitheses of each other; Aban's father Jim is TheAce, whom Aban's legitimately unable to match up with [[spoiler: to the point that it's revealed that Jim already cased the Ukampa ruins that Aban spends the first half of the game exploring to prove himself,]] while Lemeza's father Shorn is implied to be a MilesGloriosus [[spoiler: who failed to completely explore the game's ruins, instead lying in wait for Lemeza to reach the Treasure of Life at the end before swooping in to claim it for himself.]]
* ''VideoGame/{{Super Mario Bros|1}}'' and ''VideoGame/{{The Legend of Zelda|I}}'' were developed concurrently so that any ideas that didn't fit with one game could be implemented in the other. As such, ''Mario'' is a straightforward, fast-paced trek from point A to point B, whereas ''Zelda'' was a more open-ended adventure that focused on exploration and building up your abilities. The resulting series developed similarly: ''Franchise/SuperMarioBros'' is whimsical and lighthearted with several loosely-connected installments and {{Spin Off}}s, while ''Franchise/TheLegendOfZelda'' is more sweeping with a lore built up across a few titles per console.
* ''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.
* ''VideoGame/{{Splatoon}}'' is the complete opposite of ''VideoGame/SuperMarioSunshine'' from a gameplay standpoint. ''Super Mario Sunshine'' is a singleplayer platformer with slight shooter elements set on an island that's based around cleaning up as much ink as possible. ''Splatoon'' is a multiplayer-focused shooter with platformer elements set in an urban environment that's based around spreading as much ink as possible. The fact that during the planning stages it was considered to make ''Splatoon'' a ''Mario'' spin-off increases this connection.
* As Mario's biggest rival back in the Nineties, VideoGame/SonicTheHedgehog was designed to be the anti-Mario in many ways. While Mario primarily deals with flat terrain and platforming challenges, Sonic focus more on speed and using the terrain to build up speed(though not necessarily to the detriment of platforming). While Mario resembles a more middle-aged figure, Sonic is [[TotallyRadical meant to seem more youthful and "hip"]]. The way people view their FanDumb is also different, the stereotypical Mario fanboy is an idiotic ManChild who will enjoy anything put out by Nintendo, regardless of the actual quality, while the stereotypical Sonic fanboy is an insufferable jerk who looks at Sega's modern works with disdain, without actually playing it.
* Sonic the Hedgehog resulted in many MascotWithAttitude games. While they all FollowTheLeader, one exception was Sparkster of ''VideoGame/RocketKnightAdventures''. While both their games are similar (starting on the SegaGenesis and having a bright and colorful template) the main character of the latter was the opposite of Sonic, and all of his imitators. While Sonic is meant to be edgy and cool with a look that screams TheNineties, Sparkster is designed to be humble and adorable and given a more timeless look. Also, while Sonic's games were about speed more than platforming, Sparkster's were more about platforming than speed.
* ''VideoGame/SonicMania'' and ''VideoGame/SonicTheHedgehog4'' were both created as {{Genre Throwback}}s to the original UsefulNotes/SegaGenesis trilogy, both taking place after ''VideoGame/Sonic3AndKnuckles''. However, there are many differences:
** The character designs used in ''Sonic 4'' were the ones used from ''VideoGame/SonicAdventure'' onward, while ''Sonic Mania'' brought back the original character designs.
** ''Sonic 4'' was developed as an EpisodicGame that was ultimately [[LeftHanging unfinished]], while ''Sonic Mania'' is a whole, complete game.
** ''Sonic Mania'' features Sonic, Tails, and Knuckles as playable characters, while ''Sonic 4'' only features Sonic as the main playable character -- Tails was incorporated into Episode 2, but he was only player-controlled in co-op mode. ''Sonic 4'' never got to feature Knuckles at any point.
** ''Sonic 4'' uses Zones that are similar to (or, in some cases, look just like) Zones from the older games, while ''Sonic Mania'' reuses the actual old zones with updated layouts to keep things fresh.
** ''Sonic 4''[='=]s soundtrack attempts to [[{{Retraux}} mimic the sound limitations of the Sega Genesis]], while ''Sonic Mania'' favors a more modern sound.
** ''Sonic 4'' is a SpritePolygonMix for the first episode, and TwoAndAHalfD for the second. ''Sonic Mania'' generally favors a bitmap graphic presentation instead, with UsefulNotes/PolygonalGraphics only showing up in the Special Stages.
** ''Sonic 4'' uses a game engine descended from the more modern ''VideoGame/SonicRush'' series. ''Sonic Mania'' uses an engine designed specifically to replicate the mechanics of Genesis ''Sonic'' 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; Asura's daughter was kidnapped by those he once trusted giving him a chance to save her, but Kratos was tricked into murdering his daughter as well as his wife which makes his bitterness somewhat justified, Asura values the lives of innocents while Kratos has a huge lack of regard for them, finally [[spoiler:Asura pulls a HeroicSacrifice and abandons his anger completely, while Kratos lives on and learns to be in better control of his rage.]]
* ''VideoGame/BioShock'':
** The [[VideoGame/BioShock1 first game]] is a made as a TakeThat to ''Literature/AtlasShrugged'', making Rapture an antithesis of that book's [[StrawUtopia Galt's Gulch.]] It shows what it ''really'' takes to build a truly libertarian society, and what it takes to keep it together. Ryan uses mind altering drugs and his private army to keep the city in line, and is easily threatened by a civil war if Ryan doesn't take more restrictive actions to prevent someone else from usurping his rule.
** The BigBad of ''VideoGame/BioShock2'', Sofia Lamb, is this to the original game's Andrew Ryan. Lamb is a radical collectivist/egalitarian, Ryan a radical libertarian/Objectivist. However, they do have [[NotSoDifferent one thing in common]]: they are both equally willing to [[{{Hypocrite}} jettison their ideals when they become inconvenient]].
** Columbia, the setting of ''VideoGame/BioShockInfinite'', is clearly designed to be the polar opposite of Rapture, the setting of the first two games. Whereas Rapture was dark, gloomy, cramped, and UnderTheSea, Columbia is bright, sunny, spacious, and floats among the BubblyClouds. Furthermore, while both cities play host to rapacious robber-baron capitalism run amok, their root stocks come from two very different sources. Rapture's ideology is rooted in rugged individualism and anti-statism and holds little but scorn for nationalism and religion, with the player's introduction to the city being a giant banner that reads "No Gods or Kings. Only Man." Columbia, meanwhile, is rooted in [[ManifestDestiny American nationalism]] and [[WhiteAngloSaxonProtestant WASP]] supremacy, with its founding father Zachary Hale Comstock [[CultOfPersonality regarded as a literal prophet]].
* The ''Breach & Clear'' series includes two games: ''Breach & Clear'' and ''Breach & Clear: [=DEADline=]''. While they both are strategy games with RPGElements about controlling [[ElitesAreMoreGlamorous a four-men special forces squad]], they actually are very different beside this premise. The original is a TurnBasedTactics game about realistic operations by real-life special forces against terrorists or drug cartels, while ''[=DEADline=]'' is a RealTimeWithPause game set during a ZombieApocalypse.
* ''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.
** Additionally, ''Origins'' is focused on how much of a difference one person can make: the Grey Warden determines the future of both Orzammar and Ferelden. ''II'' is focused on how much they ''can't'' -- for all their skill, the PlayerCharacter can't stop the inevitable outcomes of acts 2 and 3.
* ''VideoGame/FireEmblem'' and ''VideoGame/ShiningForce'', two iconic turn-based strategy [=RPGs=] published by Creator/{{Nintendo}} and Creator/{{SEGA}}, respectively. The former is a LowFantasy, politics-driven game where [[AllDeathsFinal all deaths are final]], while the latter is a HighFantasy epic where [[DeathIsCheap the dead can be resurrected by the local priest]]. Another subtle but important distinction is in magic: ''Fire Emblem'' focuses strictly on TacticalRockPaperScissors, whereas ''Shining Force'' - while having elemental resistances to some extent - places a heavier emphasis on AreaOfEffect.
* ''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}}''.
* ''Franchise/{{Halo}}''[='s=] take on multi-star system governments made up of diverse peoples/races is, for better or worse, the polar opposite of ''Franchise/StarTrek'' and other more idealistic SpaceOpera. Where the Federation is all about bringing different races together for mutual benefit, ''Halo''[='s=] major powers have been rather the opposite: The Covenant races are stripped of their culture, indoctrinated into a bizarre and fanatical state religion, and act as specialized cogs in a machine serving a caste of uncaring overlords. The UNSC crosses into outright authoritarianism in order to keep its colonies in line; framing journalists, shutting down the ''entire'' space internet, kidnapping children to turn them into {{Super Soldier}}s, etc. Even the advanced and supposedly wise Forerunners weren't all that great; while they considered themselves the benevolent and rightful caretakers of the galaxy, their subject species were kept subordinate and ultimately weak, any species who fought against them were brutally punished, and the very Forerunners who designed their kind's wonderful technology used their powers for personal gain. While humanity and the Sangheili are officially allies after ''VideoGame/{{Halo 3}}'', and have cooperated closely on a number of projects, there is still a lot of bad blood between the two thanks to the Covenant war, and many individuals from both species have formed their own organizations seeking to wipe the other side out. Even among their main governments, there is some reluctance to get "too" involved with each other.
* ''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. One 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 ''VideoGame/PlanescapeTorment'' than it is the game it's a sequel to.
* In ''[[VideoGame/{{Langrisser}} Der Langrisser]]'', the Independent route serves as the SpiritualAntithesis of the Light route. The Light route is straight out of a traditional fantasy novel and centers around accepting your destiny as a Descendant of Light and the commands of the goddess to destroy the evil Demon Tribe, but the Independent route rejects the very ''premise'' of the Light path as genocidal racism under the mantle of BlackAndWhiteMorality, and the [[PlayerCharacter Elwin]] of the Independent route is a treacherous and murderously cynical AntiHero who believes that [[WellIntentionedExtremist peace for everyone can only be achieved by seizing power for himself]].
* ''VideoGame/MegaManClassic'' to ''VideoGame/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. ''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.
** ''VideoGame/MegaManX'' takes place in a dystopian future where a powerful rogue android leads a rebellion against mankind. Loved ones die, friends betray you, and enemies come back for revenge.
* ''VideoGame/RadiantSilvergun'' is known for its complex weapon system, giving the player the ability to use any combination of the three basic weapons for seven weapons total on top of a special LimitBreak attack, as well as a weapon level-up system that's tied to the player's score; ignoring the scoring system is a good way to end up underpowered in later stages. In contrast, ''VideoGame/{{Ikaruga}}'' only gives the player one basic twin-blaster weapon to go alongside their special attack that never powers up, and can be reliably completed without learning how to score proficiently; in fact the game will even recognize {{Pacifist Run}}s. Additionally, while ''Silvergun'' tells a bleak story of humans trying to escape the wrath of a misanthropic god-like entity, [[spoiler:failing terribly to put up a LastStand and all dying, and causing the cycle to repeat ''ad infinitum'']], ''Ikaruga'' ends with the protagonist(s) [[spoiler:taking on the same entity and committing HeroicSacrifice to put it down once and for all.]]
* 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. Also, ''Slender'' puts you in the role of an innocent little girl, while ''Containment Breach'' puts you in the role of a (male) former death row inmate. Finally, ''Slender'' gets harder as you collect more items, while ''Containment Breach'' gets slightly easier as you gather more gear (slightly).
* ''VideoGame/SoundVoltex'' to ''VideoGame/{{beatmania}}''. ''beatmania'' gives you a background music track with missing bits and you have to fill in those bits by pressing keys in time to falling notes. ''Sound Voltex'', on the other hand, gives you a track that is already complete and you hit notes to add effects to it. ''beatmania'' maintains a minimalist note-scrolling interface with very few changes ever to the gameplay mechanics, while ''Sound Voltex'' makes use of fancy interface effects that can potentially [[InterfaceScrew screw over the player]] and each new game has added at least one new gameplay gimmick. While ''beatmania'' is best known for its collection of in-house and commissioned tracks, ''Sound Voltex'' features some of those ''but'' also allows [[OfficialFanSubmittedContent fans to submit tracks for use in the game]] through ''Sound Voltex Floor'' contests.
* 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.
* ''VisualNovel/UminekoWhenTheyCry'' can easily be seen as this towards ''VisualNovel/HigurashiWhenTheyCry''. 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!
* The Avatar (Robin) from ''VideoGame/FireEmblemAwakening'' in comparison to the Tactician (Mark) from ''[[VideoGame/FireEmblemElibe Fire Emblem: Blazing Sword]]''. Mark is a [[NonActionGuy Non-Action Person]] who merely serves as the 'connection' between you and the game. Robin is an actual badass in combat, and a playable class complete with class promotion. Mark is TheFaceless with minimal canonical bonds with other characters. Robin is customizable by the player and can even form support bonds and get married with other characters. Mark has [[DemotedToExtra minimal importance to the overall plot]]. Robin is ''very heavily'' involved in it.
* The Sowers of ''VideoGame/EndlessSpace'' are the antithesis of the Reapers of ''VideoGame/MassEffect''. The Sowers are robots whose mission is to terraform worlds to habitable planets for their dead creators the Endless, while the Reapers are mechanical lifeforms who's sole purpose is to harvest the entire galaxy of all life till there is nothing left.
* In VideoGame/SuperSmashBros:
** [[VideoGame/PunchOut Little Mac]] is basically the anti-[[VideoGame/{{Pokemon}} Jigglypuff]]. While Jiggs is a female nonhuman with a great air game balanced by a terrible ground game, Mac's a male human who's top tier on the ground and crappy in the air.
** [[VideoGame/KidIcarus Palutena]] is the Antithesis to [[Franchise/TheLegendOfZelda Ganondorf]]. Both of them are [[Really700YearsOld ancient]] {{Physical God}}s, but they're opposites in numerous ways: Palutena is the BigGood of her series while Ganondorf is the BigBad of his, she's a GlassCannon with many magic-powered [[LongRangeFighter long-ranged attacks]] and is unique in that all her custom moves do different things while he's a MightyGlacier with an incredibly strong magic-enhanced [[CloseRangeCombatant physical moveset]] and is a MovesetClone of a different character. Palutena has a white color scheme with green hair while Ganondorf has a black color scheme with red hair and both share a FemaleAngelMaleDemon dynamic.
* ''VideoGame/TheSecretWorld'' is the polar opposite of ''VideoGame/DeusEx'', both use everything in the ConspiracyKitchenSink but have different ways of utilizing them. Deus Ex is a CyberPunk setting about going against or joining one of the AncientConspiracy using sci fi weapons and tools. The Secret World is a DarkFantasy Lovecraft setting, and the player joins one of the secret societies, and fights against EldritchAbomination's, by using magic.
* ''VideoGame/YumeNikki'' has its own antithesis in the form of the obscure ''HerNightmares'': despite sharing striking similarities in their premises -- female protagonists are locked within their rooms and spend the entire game exploring their dreams -- they have very different executions. ''Yume Nikki'' is primarily based on [[QuicksandBox exploration]], [[NothingIsScarier atmosphere]], and [[RuleOfSymbolism symbolism]], with {{Jump Scare}}s being few and far between. In contrast, ''Her Nightmares'' [[SlidingScaleOfLinearityVsOpenness severely restricts the player's options]] and ramps up the pacing, with dreams lasting no longer than a minute and many of them ending with a JumpScare. ''Her Nightmares'' also leaves less to the imagination, making it clear that the unnamed protagonist is being held against her will; this is only one of many [[AmbiguousSituation possible situations]] in ''Yume Nikki'', with the more prevalent theory being that Madotsuki is a {{hikikomori}} dealing with depression. Side-by-side, ''Her Nightmares'' shows inspiration from Western indie {{horror}} games like ''VideoGame/FiveNightsAtFreddys'' and ''VideoGame/SadSatan'', while ''Yume Nikki'' could be better compared to works of PsychologicalHorror like ''Franchise/SilentHill'' or ''Film/{{Eraserhead}}''.
* ''VideoGame/FarCry4'' is this to ''VideoGame/FarCry3'', which was even confirmed by the former's Creative Director. ''[=FC 3=]'' was a standard MightyWhitey narrative involving an American protagonist who becomes the peaceful natives' ChosenOne and saves them from the oppressive group that has taken over their island. ''[=FC 4=]'' on the other hand features a Western raised immigrant who returns to his place of birth to fulfill his mother's dying wish and also gets involved in a conflict against oppression but if the player doesn't go for the secret ending [[spoiler:ultimately leaves the region worse than it was before due to the two "freedom fighter" leaders being just as bad if not worse than the dictator the player just toppled, thus showing the dangers of just throwing yourself into a conflict you know very little about.]]
* ''VideoGame/Fallout3'' and ''VideoGame/FalloutNewVegas'' are very similar to each other; both use the gamebryo engine, ''New Vegas'' reuses ''a lot'' of parts from ''3'' (mostly due to time restrains), both have 4 DLC's, both feature a main plot that involves the PlayerCharacter chasing after a man (your missing father in the former and your would-be killer in the latter) and becoming embroiled in a conflict far larger than themselves, the PlayerCharacter is largely self-dependent, and both (really) start with the character exiting into the unknown world with a bright light. That's where the similarities end. In ''VideoGame/Fallout3'' The Lone Wanderer/Kid 101 has a defined home, Vault 101, which they have to leave behind, the game has a very open ended gameplay that lets the player explore across the vast expanse of the DC Wasteland and ignore the plot for as long as they want, there's a emphasis on your KarmaMeter with different foes gunning for you and allies joining you, the story is [[BlackAndWhiteMorality black and white]] (Brotherhood good, [[spoiler:Enclave]] bad) and ends with [[spoiler:you saving the wasteland.]] The DLC share little in common with each other, they're separate stories that are tenuously tied to other quests such as ''The Dark Heart of Blackhall''. In ''VideoGame/FalloutNewVegas'' the Courier has no home; they live on the road and walk from place to place to deliver mail (obviously), the game has more RailRoading (you can't go straight to New Vegas unless you like getting your ass beat by Radscorpions, Deathclaws, and Cazadors) forcing you to take the highways there and slowly learn about the world on the writers' terms, more emphasis on your allegiances than KarmaMeter, [[BlackAndGrayMorality the story isn't so clear cut]] (the NCR has turned into a corrupt state with bloated bureaucracy and incompetent military but has the resources to run the area in the long term, Caesar's Legion is a ruthless group of slavers and war lords that crushes all beneath it and while it does bring order it's implied that the Legion will not last long without Caesar leading it, Mr. House wants only New Vegas and will ignore everything else, and the Wild Card has no ''real'' leadership skills and isn't likely to improve the lives of the locals), and ends with the Courier deciding who gets the land. The DLC also share the theme of [[BlackAndGrayMorality Not-so-Good vs Bad Guys]] and the theme of "letting go" and "beginning again".
* ''VideoGame/MetalGearRising'' can be seen as an antithesis to Creator/PlatinumGames's previous landmark game, ''VideoGame/{{Bayonetta}}'' in story and gameplay. While ''Bayo'' is a bright, happy, optimistic adventure more concerned with style and panache, ''Rising'' is a dark, gritty assault with heavy focus on the seriousness and complexity the series is known for. ''Bayo''s story is ridiculous, incorporating angels, demons, witches and wizards and feels like an afterthought until the end; while ''Rising'' is grounded in reality and focuses on themes of the lives of soldiers, the cybernetic arms race, the complacency of modern society and what it means to kill someone. ''Bayo''s gameplay is about fighting humongous enemies with huge sweeping attacks and a heavy focus on dodging; ''Rising'' is about fighting you-sized foes with tight, short strikes and is built around a parrying system. ''Bayo''s music is mostly big band Cabaret remixes of 50s songs and the visuals are heavily stylized while ''Rising''s music is electronic hard rock with screaming vocals and the visuals are mostly monochromatic. ''Bayo''s levels are huge and can take upwards of an hour to complete, while ''Rising'' has very short levels, some of which can be cleared in minutes. If it wasn't for [[StylishAction the similar gameplay]], it'd be hard to think these games are from the same company.
* ''VideoGame/BanjoKazooie'' is inspired greatly by ''VideoGame/SuperMario64'' while also managing to differ from it in plot and gameplay. Mario 64 was the first 3d installment of a pre-existing series where the setting is in Peach's Castle, which has been taken over by Bowser and Mario must set it and the princess free; in contrast Banjo and Kazooie enter Gruntilda's Lair in order to liberate Banjo's sister Tootie. Mario enters portraits to enter levels while Banjo must restore pictures in order to enter the levels. In Mario, the player collects one of the golden stars and is immediately booted out of the level; while in Banjo the player collects the golden Jiggies but can leave the level on their own, meaning they can collect all of the Jiggies if they wanted to before leaving. Mario's transformations come from wearing unique caps that have a short time limit, Banjo and Kazooie transform thanks to the shaman Mumbo Jumbo and remain that way unless Mumbo turns them back or they leave the level and stray too far.
* ''VideoGame/ConkersBadFurDay'' is this to ''VideoGame/BanjoKazooie'', in both tone and gameplay. Other than the obvious stuff with Conker being filled with levels of gore, sexual content and profanity that the family friendly Banjo games never touched, the developers deliberately avoided going the collect-a-thon route that ''Creator/{{Rare}}'' were so well known for at the time and went for a more linear and story-driven style than the open ended Banjo Kazooie and ''VideoGame/DonkeyKong64''. There's also the controls. Whereas Rare's other platformers all had incredibly elaborate control schemes that used nearly every button on the controller as well as plenty of button combinations for even more abilities, Conker instead only uses the analogue stick and the A, B and Z buttons, with their functions being context-sensitive to allow for the expansive movesets of other Rare games but with a less convoluted control scheme.
* ''VideoGame/VagrantStory'' was this to ''VideoGame/FinalFantasyTactics''. Both games take place in and around Ivalice, the same universe as ''VideoGame/FinalFantasyXII'' released around six years after the former and nine years after the latter. However, ''Vagrant Story'' was an {{Action RPG}} about a single warrior soloing dungeons and fighting in a real-time combat system, while ''Final Fantasy Tactics'' was a {{Tactical RPG}} that featured the main-protagonist gathering an army and fighting in a series of turn-based tactical battles.
* ''VideoGame/GwentTheWitcherCardGame'' is practically this to ''VideoGame/TheWitcher3WildHunt'', especially after spinning off from the latter and becoming its own separate game. ''The Witcher 3: Wild Hunt'' is a solo {{Action RPG}} about the eponymous witcher fighting monsters for profit while rescuing his girlfriend and surrogate daughter, doing his best not to get involved in war and politics. ''Gwent: The Witcher Card Game'', on the other hand, is a {{Collectible Card Game}} involving the five main opposing factions of ''Franchise/TheWitcher'' universe fighting an epic-scale war with each other, one bigger and more important than Geralt alone killing monsters for profit and rescuing his surrogate daughter, Ciri.
* ''VideoGame/ArmoredCore'' (1997) is practically this to ''VideoGame/FrontMission'' (1995). While both feature [[DesignItYourselfEquipment customizable mecha]], ''Front Mission'' is primarily a {{Tactical RPG}} about commanding small armies in turn-based strategic combat, while ''Armored Core'' is a {{Third Person Shooter}} about controlling a single mecha in real-time, action-based combat.
[[/folder]]

[[folder: Web Comics]]
* ''Webcomic/DMOfTheRings'' and ''Webcomic/DarthsAndDroids'', the two [[TropeCodifier codifiers]] of the CampaignComic. ''DM Of The Rings'' involves a fantasy campaign where the DM is a domineering, {{Railroading}} jerkass and the group hate each other more with each passing page. ''Darths And Droids'' involves a sci-fi campaign where the DM is a laidback NiceGuy who functions well OffTheRails and the group develop into TrueCompanions over time.
[[/folder]]

[[folder:Web Original]]
* ''Literature/DecadesOfDarkness'', a story featured on Website/AlternateHistoryDotCom, can read as this to two separate AlternateHistory works.
** The first is Creator/SMStirling's Literature/TheDraka series, which was intentional on the writer's part. He found the series, which revolves around an [[AmoralAfrikaner evil South African slaver empire]] that [[TheBadGuyWins takes over the world]], to be wildly implausible from an allohistorical standpoint, so he wrote ''Decades of Darkness'' as basically "the Draka, but done right".
** The second is the {{mockumentary}} ''Film/CSATheConfederateStatesOfAmerica'', which probably wasn't intentional. Both ''CSA'' and ''[=DoD=]'' depict worlds in which the values of the DeepSouth's planter aristocrats took over the United States, the nation subjugating Latin America under an apartheid-like system while keeping black people enslaved well into the 20th century, all while a less-powerful nation in the northern half of North America (UsefulNotes/{{Canada}} in ''CSA'', an alliance of Canada and [[HollywoodNewEngland New England]] in ''[=DoD=]'') fiercely opposes everything it stands for. The difference is in tone. ''CSA'' [[SlidingScaleOfAlternateHistoryPlausibility plays fast and loose with plausibility]] and is largely PlayedForLaughs as a BlackComedy satire of American race relations, the film's Confederacy ultimately portrayed as NotSoDifferent from our world's America. ''Decades of Darkness'', meanwhile, strives for plausibility, and is very much ''not'' played for laughs -- by the end, its oppressive, {{dystopia}}n society is so unrecognizable from our world's United States that readers have taken to calling it "the *US", with a conspicuous asterisk.
* Richard C. Meyers of ''Diversity and Comics'' is one to Andrew Dobson of Webcomic/SoYoureACartoonist. Both are comic artists known for their controversial opinions regarding politics and the comics industry, most of which are posted on Website/{{Twitter}}. However, while Dobson is a liberal that openly supports what he views as more diversity with characters in comics that give minorities positive representation, Meyers is a conservative that openly mocks what he views as the forcing of diversity in comics meant to fill more of a quota than create interesting characters. Dobson is notorious for his infrequent updates on comics, while Meyers updates comic reviews and thoughts on his Youtube channel regularly, at 3 videos each day. Dobson is often accused of hating sexy women and adoring lesbianism, while Meyers is often accused of only enjoying sexy women and being anti-LGBT. Dobson's experience in the comics industry is mostly self-employed with support of patrons that he views as a career, while Meyers has worked as a professional artist before, but mostly does it more as something coming second to his job, with patrons to just fund some of his projects. While Dobson views negative criticism as repetetive and doing nothing to help him grow, Meyers openly welcomes criticism of his comics, even asking his own viewers to roast his ''Jawbreakers'' comic.
[[/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.
** Another example to the AVGN is Webvideo/CygnusDestroyer's ''The LJN Defender''. Whereas the Nerd considers Creator/LJNToys his ArchEnemy and rarely sees much (if any) good in their games, Matt does his best to find the good in their games, and usually ([[EveryoneHasStandards though certainly not always]]) finds himself enjoying them, warts and all.
* Similar to the above, while WebVideo/CinemaSins judges movies on how they suck based on their Sins, WebVideo/CinemaWins does the opposite by praising how great movies are based on their Wins.
* Likewise, Creator/BobChipman created the show ''[[https://www.youtube.com/playlist?list=PL1WoYVvJ35Xqeh6JGw1GPMB_HvxB8mSFe Really That Good]]'' as a more upbeat alternative to the likes of WebVideo/CinemaSins, WebVideo/TheNostalgiaCritic, and WebVideo/RedLetterMedia. He felt that too many online film critics had a tendency to AccentuateTheNegative for the sake of getting viewers, playing into stereotypes of the StrawCritic in the process, and that there was a dearth of web shows devoted to exploring why good films were good rather than why bad films were bad.
* Both ''WebVideo/RebelTaxi'' and ''WebVideo/TheMysteriousMrEnter'' are animation-focused {{Video Review Show}}s whose hosts prefer not to be seen, but that's where the similarities end. The two are very much the TechnicianVersusPerformer of animation reviewers: Pan Pizza is easygoing, jokey, and perverted, and while he does know a well-written work from a poorly-written one, he cares more about a work's style in his reviews, to the point of having an animated FramingDevice. On the other hand, Mr. Enter is an {{Asexual}} ByronicHero who is very brusque in his method of critique, and takes decent storytelling far more seriously, being far less forgiving to shows that fail in that regard.
* SuperMinecraftKid is this to SammyClassicSonicFan. Both are young children who are obsessed with {{video games}} and get very angry easily, but while Sammy is a fan of retro games who rants on camera, SMK's videos are all behind his computer and hates {{Nintendo}} and classic games. (Though he seems to believe ''VideoGame/{{Minecraft}}'' was made in the 1960's) Sammy notoriously replaces all profanity with "frick," while SMK is a bit more... open with his language. Outside of their normal content, Sammy makes lighthearted videos of himself related to Nintendo, and SMK makes "animated" videos with content much closer to what you'd expect out of this kid.

[[/folder]]

[[folder: Websites]]
* There's a very good reason why Website/{{Reddit}} and Website/{{Tumblr}} have such an infamously bitter FandomRivalry. Their respective communities and general user culture, particularly where their most {{Vocal Minorit|y}}ies are concerned, are complete opposites in every way, practically to JekyllAndHyde levels. Reddit attracts mostly white males, and it's known for being hospitable to Libertarian politics, but it's frequently criticized for attracting a vocal subset of [[HollywoodAtheist militant atheists]], [[ANaziByAnyOtherName white nationalists]], and [[HeManWomanHater anti-feminists]]. By contrast, Tumblr users are predominantly women, the site is much more actively welcoming to non-white and LGBT users, and it's known for being hospitable to Liberal and Progressive politics, but it's frequently criticized for attracting a vocal subset of radically [[StrawFeminist anti-male]] and [[MalcolmXerox anti-white]] users. In general, Redditors are often stereotyped as [[TooCleverByHalf smug pseudo-intellectuals]] who will gleefully search for even the tiniest factual errors in other users' arguments in order to dismiss them out of hand, while Tumblr users are often stereotyped as [[SoapboxSadie hysterical crusaders]] who make passionate speeches without bothering to do the proper research first.
* Website/TheOnion and Website/{{Clickhole}} are run by the same creative teams, but their respective styles of humor are so fundamentally different that they may as well call Clickhole "The Anti-Onion". The Onion is a parody of traditional newspaper and television journalism that, like the best satires, uses self-aware humor to force its audience to think about the inherently absurd aspects of society. Even at its goofiest, it's usually making some intellectual point about politics or modern culture. Clickhole, on the other hand, is a parody of new media in TheNewTens, and it discards satire in favor of absurdism and SurrealHumor; most of its humor comes from how it deliberately refuses to make a coherent point about anything. The Onion has its share of SomeAnvilsNeedToBeDropped moments related to hot-button social issues, while Clickhole is infamous for its occasional CrossesTheLineTwice moments that treat those same issues in as blasé a manner as possible. Case in point: [[http://www.theonion.com/video/judge-rules-white-girl-will-be-tried-as-black-adul-18896 The Onion]] attempting to discuss racism, vs. [[http://www.clickhole.com/video/if-you-dont-think-you-have-any-racial-prejudices-y-1026 Clickhole]] attempting to discuss it.
* Citizendium was created by Larry Sanger, one of the co-founders of Wiki/{{Wikipedia}}, in 2006 as an alternative wiki that corrected what he felt to be that site's problems with allowing poorly-sourced misinformation to flow unchecked. Whereas Wikipedia allows anybody to edit, Sanger's plan for Citizendium was to recruit experts in their respective fields to curate articles and hold final approval over the editing process. For various reasons, including the site's bureaucratic structure, top-down leadership, and assorted cranks gaining control of articles that pertained to their pet hobby-horses, Citizendium never took off despite media hype, and by 2011 it was mostly moribund. [[https://arstechnica.com/tech-policy/2011/10/five-year-old-wikipedia-fork-is-dead-in-the-water/ This article]] goes into more detail.
[[/folder]]

[[folder: Western Animation]]
* ''WesternAnimation/AdventureTime'' is this to the first 3 seasons of ''WesternAnimation/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.
* ''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]]. Aang [[SingleTargetSexuality only ever loved]] Katara and while their were [[GirlOfTheWeek occasional one off]] love interests for Katara, the show mostly avoided {{love triangle}}s, regardless of the [[{{FanPreferredCouple}} shipping fandom]]. Korra was in a [[UpToEleven love quadrangle]] with all of the main cast, and by the end of the {{Grand Finale}}, [[spoiler: she's dated all of them. Yes, [[BiTheWay even Asami]].]] 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.
** The series itself is built the same way. While the first series was one long story, the second series is broken up into individual seasons with new villains each time. While the original series has them traveling all over the world, the new series stays mostly in the Republic City, although this element fell away as the series got extended. Finally, Aang is facing a decidedly external enemy, the Fire Lord, whereas Korra must deal with problems that she helped cause in the first place, faces {{Arc Villain}}s, and constantly has to worry that her decisions are making the world worse instead of better.
* ''WesternAnimation/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, features 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.
** Ultimate Spider-Man also serves as one to ''WesternAnimation/BatmanTheBraveAndTheBold''. Both shows are about a hero who works alongside other heroes. The difference is that while USM has an ongoing story that takes place during Peter's early years, BATB is mostly one-shots with Bruce already a veteran. Not to mention while Peter is in a group with few guest heroes, Batman doesn't officially join a team until later in the series, with most guest appearances from other heroes.
* ''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.
* A writer for ''[[Magazine/TimeMagazine Time]]'' once described WesternAnimation/SpongeBobSquarePants as "the anti-[[WesternAnimation/TheSimpsons Bart Simpson]]". Both are playful young yellow-hued cartoon characters from the most popular animated shows in their respective decades (Bart in the '90s, [=SpongeBob=] in the 2000s), but Bart is a cynical spiky-headed troublemaker known for his complete hatred of all forms of authority, and [=SpongeBob=] is a relentlessly optimistic flat-headed go-getter who instinctively sees the best in all people. This also spills into both shows' general appeal: ''The Simpsons'' appeals to both kids and adults with its intentionally subversive humor on top of its general wackiness, while ''[=SpongeBob=]'' is unabashedly a kids' show, but manages to appeal to adults with clever humor rather than vulgarity.
** Both have also come under fire due to the intense amount of SeasonalRot. Though while with Spongebob it is said because the original creator left the show(before coming back after the second movie).
* Even though most of the similarities were definitely not intentional, ''WesternAnimation/RockosModernLife'' is undoubtedly this to ''WesternAnimation/TheRenAndStimpyShow''.
* The second ''WesternAnimation/DannyPhantom'' 1 hour special, "WesternAnimation/TheUltimateEnemy", is this to "WesternAnimation/ChannelChasers", the second 1 hour special to Creator/ButchHartman's first series, ''WesternAnimation/TheFairlyOddParents''. Both involve {{time travel}}, dealing with growing up and meeting and facing against future selves, but take different paths. In Channel Chasers, Timmy rejects the idea of growing up and escapes into the world of television to avoid aging; in The Ultimate Enemy, Danny is stressed about a test that might determine whether or not his future is a successful one. While they both meet and oppose their future selves, each does it differently. Timmy opposes his future self before knowing who he is (believing him to be a threatening individual) and upon learning he is itneracting with his older self, he still has trouble with it. However, they bond as they stop Vicky from trying to reach the history channel (and thus cause a retroactive reality warp that would cause her to become ruler of the world.) Danny however never does this with his older self, opposing him all the way due to his older self being a violent sociopath responsible for destroying most of humanity [[note]]though Dark Dan isn't fully Danny, being a fusion of Danny's ghost form absorbing Vlad's ghost form, but becomes overwhelm by the evil and the two fuse.[[/note]]. By the end, Timmy does look forward to growing up again after being inspired by his older counterpart, while Danny rejects his BadFuture in favor of a better one where he still remains a hero.
* Creator/MikeJudge's flagship shows, ''WesternAnimation/BeavisAndButtHead'' and ''WesternAnimation/KingOfTheHill'', both {{satir|e}}ize life in the American South, particularly Judge's home state of [[EverythingIsBigInTexas Texas]]. The difference is the ''Beavis & Butt-head'' is more scathing in its portrayal of [[DeepSouth a crude, ignorant, white-trash bunghole]], whereas ''King of the Hill'' offered a more respectful portrayal of [[SweetHomeAlabama a wholesome, honest, down-to-earth community]].
** ''Beavis and Butt-Head''[='=]s spinoff ''WesternAnimation/{{Daria}}'' also did this with its source material. Both were animated sitcoms about Generation X teens who didn't fit in with their peers, but while the titular protagonists of ''B&B'' were a pair of meatheaded, {{delinquent|s}} teenage boys for whom ignorance was bliss, the titular protagonist of ''Daria'' was a [[DeadpanSnarker sarcastic]], [[InsufferableGenius brainiac]] teenage girl whose intellect [[TheSnarkKnight made her miserable and antisocial]]. While Beavis and Butt-head were frequently the butt of the joke on their show, with a heavy dollop of ThisLoserIsYou (Judge wasn't subtle in his mockery of Creator/{{MTV}}'s target audience), Daria was often given a more sympathetic and humanizing portrayal, serving as an AudienceSurrogate with most of the humor coming from her commentary on the stupidity and madness of the [[CrapsackWorld sick, sad world]] around her, while she and her friends got real CharacterDevelopment over the course of the show's run versus the NegativeContinuity of the gag-a-day ''B&B''. Daria was originally created as a {{foil}} to Beavis and Butt-Head before she got her own show, and while she tolerated the pair, it was frequently made clear that she held them in very low regard.
** King of the Hill notably made an effort to avoid the {{cliche}}s of the typical Adult Animated {{Sitcom}}, such as ''WesternAnimation/TheSimpsons'' and ''WesternAnimation/FamilyGuy''. Such shows starred boorish, rowdy, [[ManChild childish]] {{Bumbling Dad}}s who often get into wacky situations, whereas ''King of the Hill'' prided itself in being realistic and able find humor in the mundane, with a lead who was straight-laced, sensible, and hard working. This is most obvious when comparing Hank Hill to Stan Smith of ''WesternAnimation/AmericanDad'', both of which are stubborn Conservative patriarchs who have [[JockDadNerdSon a strained relationship with their sons]]. Stan often ends up learning lessons on humility and open-mindedness, while Hank is almost always portrayed as the voice of reason. ''King of the Hill'' eventually passed the torch of the down-to-earth Adult Animated {{Sitcom}} to ''WesternAnimation/BobsBurgers'', whose lead, Bob Belcher, who acts as an antithesis of Hank in the opposite direction; he also plays the OnlySaneMan trying to keep order within his eccentric family, but has more moments of fallibility and is an OpenMindedParent in sharp contrast to Hank's my-way-or-the-highway stubbornness.
** On a more obvious note, whereas ''King of the Hill'' is a {{satire}} of the politically far-right American culture done with love, one of Mike Judge's other shows, ''WesternAnimation/TheGoodeFamily'', is a {{satire}} of the politically far-left American culture that is nothing but scathing.
* ''WesternAnimation/HarveyBeaks'' was deliberately intended as one to C.H. Greenblatt's previous show ''WesternAnimation/{{Chowder}}''. Both shows are centered around plucky child protagonists who live in unique, fantastical worlds, but whilst ''Chowder'' was a surreal, fast-paced ZanyCartoon that tore down the FourthWall on a regular basis and took place in an urban setting, ''Harvey'' is much more restrained and often delivered bittersweet reflections on childhood and growing up in the woods.
* ''WesternAnimation/TransformersPrime'' is this to ''WesternAnimation/TransformersAnimated''. ''Animated'' draws more asthetically from [[WesternAnimation/TheTransformers the G1 cartoon]], and is a bright {{Animesque}} GenreThrowback to {{Saturday Morning Cartoon}}s. ''Prime'' draws more asthetically from the Film/TransformersFilmSeries, and is lot more grim and serious. ''Animated'' deconstructs the series background by showing the GrayAndGrayMorality that started the Autobot / Decepticon war, while ''Prime'' deconstructs the characters themselves to show what made them who they are. ''Animated'' notably echews the more "religious" aspects of the Franchise/{{Transformers}} mythos (Primus, Unicron, the Thirteen) so as not to clutter the show, whereas ''Prime'' deeply explores these concepts as it goes on.
* The animators of ''WesternAnimation/TheTwistedTalesOfFelixTheCat'' intended the show to be the polar opposite of the [[WesternAnimation/JoeOrioloFelixTheCat Joe Oriolo's]] WesternAnimation/FelixTheCat cartoons due to their hatred of that series and love of the original Creator/OttoMessmer [[WesternAnimation/FelixTheCatClassic Felix cartoons]]. Don Oriolo, Joe's son, [[ExecutiveMeddling forced elements from that show like the Magic Bag of Tricks into the first season]], and [[DefiedTrope put a stop to this altogether]] with the second season's retool making things more in line with the Joe Oriolo version.
* Two Creator/DisneyChannel shows made the same creators, ''WesternAnimation/PhineasAndFerb'' and ''WesternAnimation/MiloMurphysLaw'', star a perpetually optimistic WeirdnessMagnet as they go about their lives. The difference is that Phineas and his brother Ferb are {{Gadgeteer Genius}}es who create the weirdness, whereas Milo Murphy is a BornUnlucky WalkingDisasterArea who ''survives'' the weirdness.
* The two Disney Junior shows that Craig Gerber created, ''WesternAnimation/SofiaTheFirst'' and ''WesternAnimation/ElenaOfAvalor'' both star young princesses who are compassionate, brave, and altruistic, and cover similar themes on love, family, friendship, altruism, and leadership. However, there are a few differences. For one thing, Sofia is a young girl (said to start the series at 8-9 years old) while Elena is technically a teenager of age 16 who turns 17 near the end of season 1. In addition, Sofia started with more standalone episodes before dwelling into major story arcs, while Elena's story arcs are set up right off the bat, and get even deeper. Plus, Sofia is worried about keeping her magical amulet and other magical adventures secret until later on while Elena is more open with talking about it early on. On top of that, Elena has a more noticeable political edge due to being a more direct ruler, while Sofia is more indirect due to her younger age.
[[/folder]]

[[folder: Other]]
* Part of the reason why the Afro is considered a culturally significant hairstyle is that it was conceived as an antithesis to [[http://en.wikipedia.org/wiki/Conk the conk]], which had previously been the most popular hairstyle among black men in the US from the 1920s through the '50s. 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 Power movement in the 1960s as a backlash, and it involved emphasizing the natural curl and volume of black people'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 Power movement adopted for themselves, wanting to express pride in their African roots.
* The {{pinball}} designers Creator/SteveRitchie and Creator/PatLawlor take opposite approaches to the machines they've designed. Most of Ritchie's tables are designed for the ball to travel quickly with little stopping or deceleration and are focused on ramps and loops. Lawlor's tables, on the other hand, have comparatively few ramps and are downplayed in favor of scoops, targets, magnets, and other mechanisms that stop the ball. Together, this means Ritchie's tables are focused around speed and action (not that they can't be slowed down either, but that's done deliberately by the player), whereas Lawlor's tables are about trapping the ball on a flipper and then taking careful aim. To pinball fans, whether a table is "flow" or "stop-and-go" is SeriousBusiness and has long been easy FlameBait material. In a sense, Steve Ritchie is also the antithesis to his brother Creator/MarkRitchie in theme: Steve prefers high-concept themes where you fight an adversary, but all of Mark's tables have mundane themes about everyday life.
* The [[https://en.wikipedia.org/wiki/Prairie_School Prairie School]] of architecture, most associated with Frank Lloyd Wright and Louis Sullivan, was created as a backlash against the [[AncientGrome Greco-Roman neoclassicism]] prevalent in American architecture in the 19th century. Originating in the Midwest, especially UsefulNotes/{{Chicago}} after the city's 1893 World's Fair (which held a preponderance of neoclassical architecture), the Prairie School focused on open plans, horizontal lines, and minimal ornamentation, meant to evoke the feel of the open plains as a uniquely American, modern, and organic alternative to European styles that tended towards the grandiose and larger-than-life.
[[/folder]]

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