%% This list of examples has been alphabetized. Please add your example in the proper place. Thanks!
->''"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.

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

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

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



* ''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.
* While being a SpiritualSuccessor to ''Shakotan Boogie'', ''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.
** You may also say that ''GaoGaiGar'', first reconstruction of SuperRobot genre after ''Evangelion'' was another one of these for it - it celebrated and embraced the same tropes Evangelion criticized or outright rejected.
*** And ''GaoGaiGar'' has it's 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.
* Creator/MakotoShinkai's last two works have strong contrasts with his two previous works.
** ''Anime/VoicesOfADistantStar'' and ''FiveCentimetersPerSecond'' - while the former is about love that survives despite great (as in, ''cosmic'') distance between two people, the latter says that not every love can be that strong and sometimes separated people grow apart from each other.
** ''Anime/ThePlacePromisedInOurEarlyDays'' and ''Anime/ChildrenWhoChaseLostVoices'' - the former says that love can prevail and unite people against all odds, but the latter reminds the viewer that there is one barrier that nothing can break - death.
* ''Anime/WataMote'' could be considered the opposite of ''Anime/TheWorldGodOnlyKnows''. In both shows the main characters are big geeks and supremely talented in the field of dating sims and visual novels, but whereas Tomoko is despised for this and desperately seeks love and attention (to a creepy degree), Keima isn't affected by his geekiness and couldn't care less about being popular in real life.
* YoshiyukiTomino likes to follow up his dark and depressing series with their opposites - ''{{Zambot 3}}'' was followed by ''{{Daitarn 3}}'', ''Anime/MobileSuitZetaGundam'' by ''Anime/MobileSuitGundamZZ'', and ''Anime/SpaceRunawayIdeon'' by ''CombatMechaXabungle''.
** The ''Franchise/{{Gundam}}'' franchise in general (even the LighterAndSofter entries to a degree) is arguably 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.
* ''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.
* As part of the science adventure series, ''RoboticsNotes'' provides a contrast to both ''SteinsGate'' and ''ChaosHead''. Setting-wise, the former series takes place on a rural island as opposed the bustling urban areas of the latter two. Thematically speaking, ''SteinsGate'' serves as somewhat a cautionary tale about time travel with the consequences it entails. In contrast, RoboticsNotes takes a more optimistic look at its central innovation(robots in their case) and the potential that can be achieved with them.
* ''SwordArtOnline'' and ''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.
* ''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]]? "''

* 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 AlexRoss created ''{{Marvels}}'', a [[{{Deconstruction}} deconstructing]] but still idealistic portrayal of MarvelUniverse, Ellis wrote ''Ruins'' - a depressing AlternateUniverse where everything that could go wrong did, worse that you can imagine - that is generally seen as [[FanNickname Marvels' Evil Twin]]. When Busiek made a sequel to ''Marvels'', Ellis respond with ''Ghost Boxes'' - a compilation of alternate Universes where the ComicBook/{{X-Men}} failed to stop the threat from his ''Astonishing X-Men'' series, each more depressing that previous one.
** 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 secret super-team doing what they can to stop superpowered threats and the former, while still having it's grim moments, is about secret super-team discovering unknown wonders of the world. it's saying something the same proposal said big theme in ''Planetary'' is Elijah Snow, his AuthorAvatar, rediscovering 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 ''{{Marvelman}}'' as "Franchise/{{Superman}} told as a {{horror}} story". Or, perhaps more accurately, the original {{Marvelman}} done as a {{horror}} story.
** And you could say his run on ''{{Supreme}}'' is the opposite to his Marvelman - in both cases Moore takes character of FlyingBrick based on Superman, who was also 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 SilverAge, Supreme under his guidance took path towards LighterAndSofter territory and paid tribute to the same tropes Marvelman tore apart.
** ''ComicBook/{{Watchmen}}'' is an antithesis to ''Marvelman''. Both are RealityEnsues deconstructions of superhero stories, but ''Marvelman'' suggests that heroes are in the end too far above human beings to comprehend them, while the heroes of ''Watchmen'' are all too human in their behaviour and mindset.
** Likewise his work in ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' is a deliberate {{Reconstruction}} and celebration of many of the {{Superhero}} tropes he mercilessly dissected in ''ComicBook/{{Watchmen}}.''
* Arguably ''[[{{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]].
* ''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 FrankMiller's ''[[ThreeHundred 300]]''. ''300'' has [[BlackAndWhiteMorality heroic Spartans fighting for freedom against irredeemable, evil Persian Empire]] and played [[HollywoodHistory with the actual history]]. ''Three'' 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.
** Another ongoing title by him is ''ComicBook/{{Uber}}'', which is a very grim and violent deconstruction of comics which use [[StupidJetpackHitler the idea of World War II being fought with superheroes and mad science]] as an excuse for lighthearted RuleOfCool high-jinks.
** He also intends his new book, ''The Wicked And The Divine'', 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 ''JourneyIntoMystery'' which is a whimsical, light-hearted series about {{SelfDemonstrating/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 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 barley uses his very minimal HealingFactor, while Deadpool gets by with his extremely rapid healing factor. Animal Man is a product of UsefulNotes/TheSilverAgeOfComicBooks who's 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 forth 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/Multiversity}}'' 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.

* ''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.

* Similarly, Creator/WernerHerzog's ''Film/AguirreTheWrathOfGod'' is a cynical story starring KlausKinski, about white men heading [[RiverOfInsanity into the Amazon]] to civilize it and return rich and powerful, but end up dying pointlessly. 10 years later he made ''Film/{{Fitzcarraldo}}'' - a story starring KlausKinski, about white men heading [[RiverOfInsanity into the Amazon]] to civilize it and return rich and powerful, and actually learning respect for their own limitations and others.
* ''Film/BlackSwan'' manages to serve as ''both'' a SpiritualSequel and SpiritualAntithesis to ''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.
* [[Franchise/MarvelCinematicUniverse Marvel Studios]]' ''Film/GuardiansOfTheGalaxy'' to ''Film/TheAvengers''. 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.
* 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.
* ''Main/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 would 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.
* ''WesternAnimation/TheNightmareBeforeChristmas'' can be considered one to ''WesternAnimation/HowTheGrinchStoleChristmas''. Both feature the VillainProtagonist dressing up as Santa Claus before realizing how wrong their actions were. But whereas the Grinch dressed up as Santa in order to steal gifts from the Whos, Jack did it because he wanted to spice up his life and add a new spin to the holiday. The Grinch's malevolent intentions end up not really harming anyone, while Jack's benevolent intentions end up causing mass mayhem.
* ''Film/PacificRim'' manages to be both a {{Homage}} ''and'' antithesis to classic {{Kaiju}} films. Here the kaiju are [[AlwaysChaoticEvil flat out evil]], not {{Tragic Monster}}s, the [[GreenAesop usual 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}}'' at the same time as he was making ''Film/ETTheExtraTerrestrial'' to contrast each other. He described ET as the Suburban Dream… While poltergeist was the Suburban Nightmare.
** By the same token, ''Film/ETTheExtraTerrestrial'' can be considered a spiritual antithesis to Spielberg's earlier film ''Film/CloseEncountersOfTheThirdKind.'' They're both science fiction films about suburban everymen encountering aliens and tangling with government agents, but ''Close Encounters'' is a thriller about a suburban man embracing his inner child as he tries to understand the boundless mysteries of space, while ''E.T.'' is a light-hearted ComingOfAgeStory about a suburban boy bonding with an all-too-human alien--who spends most of the movie trying to understand the mysteries of ''Earth''.
*** As a few critics have noted, it's also very thematically fitting that, while Roy Neary of ''Close Encounters'' essentially abandons his wife and children in the end [[spoiler: [[AndTheAdventureContinues to explore the cosmos with his new alien friends]]]], ''E.T.'''s Elliott is the child of divorced parents with a DisappearedDad--and the movie ends with him reluctantly letting E.T. go back to his home planet while he stays behind with his family on Earth.
** 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 made the film as a deliberate TakeThat to Heinlein's novel and what he saw as a militaristic, borderline-fascist message, turning it on its head into a satire of militarism and propaganda.
* Verhoeven did this to himself once, too. One of the first films he directed back in the 70s was a Dutch Epic War Film called ''Soldaat van Oranje'' (by now ''the'' quintessential Dutch epic film). It involved the Dutch resistance bravely playing cat and mouse with the unscrupulous Nazi occupiers to achieve freedom. Then, after having spent decades in Hollywood, Verhoeven returned in 2006 to direct his last film - ''Film/{{Zwartboek}}''. The premise and plot are uncannily similar, except that the idealism levels are exactly ''nil''. [[UpToEleven The Nazis are even more brutal]], [[HeWhoFightsMonsters the Resistance are deeply corrupt and bigoted themselves]], everyone turns on each other, 'KillEmAll' is in full effect, and even the ''end of the war'' doesn't hamper the conflict. It's a very bitter foil to ''Soldaat's'' freedom-fighting heroism.
* ''Film/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/TheThing1982 The Thing]]'' can also come across as the antithesis to ''E.T''. Both films came out around the same time, but deal with first contact with aliens in ''very'' different ways: E.T. lands in the American heartland and befriends the protagonist, with the main goal being to help him return home, while the Thing turns up in the Antartic wastes, destroys everything it encounters, and must be kept from escaping at all costs.
* ''Film/TheThirdMan'' for ''{{Casablanca}}''. Seriously, watch them back to back. It's amazing. And depressing.
* The 2005 documentary ''WithoutMyDaughter'' was a direct answer to the notorious 1991 drama ''Film/NotWithoutMyDaughter''. In the documentary, Dr. Mahmoody argues that his ex-wife exploited anti-Iranian sentiment to make money and screw him out of custody of their daughter.

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

[[folder:Live-Action TV ]]
* ''Series/BlakesSeven'' was meant to be ''Franchise/StarTrek'' turned on its head: the symbol of the fascist Terran Federation was even the symbol of the Federation Starfleet turned 90 degrees to the right.
** ''Series/{{Farscape}}'' is another anti-''Star Trek'' space opera - like ''Series/BlakesSeven'', it featured a group of scruffy fugitives as the main characters, alternately fighting or fleeing the clean, well-dressed military.
** Also, with ''Series/BattlestarGalacticaReimagined'', Ronald D. Moore was pretty much able to do everything he had ever wanted to do on ''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.
* 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 arguably 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 protrayal 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.
* ''MarriedWithChildren'' was this for ''TheCosbyShow'', contrasting the loving, upper middle-class, black Huxtables with the [[DysfunctionalFamily dysfunctional]], lower-class, white Bundys.
* ''Series/{{Misfits}}'' is a Spiritual Antithesis for ''Series/{{Heroes}}'', with its working-class, local, setting; deliberate avoidance of world-threatening storylines; mockery of high-flown philosophy or grand gestures; and open contempt for any idea that people with powers have a moral responsibility to become superheroes.
* ''Series/TheOfficeUK'' and ''Series/TheOfficeUS''. The former is far more bitter, showing characters that have abandoned their dreams in meaningless dead end jobs, the latter shows a WorldHalfFull where the best things in your life are often right in front of you.
** The 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.
* The ''Series/QuantumLeap'' episode "[[WhoShotJFK Lee Harvey Oswald]]" (demonstrating that Oswald could have and most likely did act alone) was made in response to the Creator/OliverStone film ''Film/{{JFK}}''.
* In a few interviews, Creator/StevenMoffat has said that he considers ''Series/{{Sherlock}}'' to be this to his tenure on ''Series/DoctorWho'', with his take on Literature/SherlockHolmes essentially a dark {{Foil}} of The Doctor. ''Doctor Who'' is about an immortal alien time traveler's relationships with his beloved friends who keep him "down to Earth", whereas ''Sherlock'' is about a human detective who shuns emotions and friendly relationships. Where The Doctor is an omnipotent being who's afraid of losing touch with his "human" side, Sherlock Holmes is an ordinary human who wants to prove to the world that he's something better than human (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.
* Patrick Jane ''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, Patrick is a confident, arrogant, and highly observant man who can easily read peoples habits, and behaviors.

* Pretty common with a NewSoundAlbum. For instance, {{U2}} described ''Achtung Baby'' as "Chopping down ''The Joshua Tree''" - instead of straight rock with political and social themes, rock with electronica and dance scoring introspective lyrics.
* 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 sounding unprofessional), and layered, lush harmonies, ''The Will To Death'' had songs recorded in as few takes as possible, and minimal backing vocals.
* ''[[Music/{{Macklemore}} Thrift Shop]]'' to ''[[Music/JustinTimberlake Suit and Tie]]''. Both are songs about clothing and style, But while Suit and 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.

* ''TabletopGame/{{Paranoia}}'' is this for the more common type of game in which the [=PCs=] are generally expected to work together toward common goals.
** Also, unlike the vast majority of tabletop games (particularly ''Dungeons And Dragons''), death in ''Paranoia'' is not only completely expected and extremely frequent, but also often flat-out funny. Death in something like D&D is considered a serious major event due to FinalDeath, often signified by the player having to write up a whole new character sheet in some versions.
* ''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!

* [[VideoGame/AsurasWrath Asura]] may seem like an {{Expy}} of [[VideoGame/GodOfWar Kratos]] at first glance, given that both fight other gods and have issues with anger, but it becomes apparent that Asura actually contrasts heavily with Kratos, especially as he values the lives of innocents unlike Kratos' lack of regard for them.
* The BigBad of ''VideoGame/BioShock2'', Sofia Lamb, is this to the [[VidoeGame/BioShock original game's]] Andrew Ryan. Lamb is a radical collectivist/egalitarian, Ryan a radical libertarian/Objectivist. [[NotSoDifferent They are both]] equally willing to jettison their ideals when they become inconvenient.
** 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.
** The 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 threaten by a civil war if Ryan doesn't take more restrictive actions to prevent someone else from usurping his rule.
* ''VideoGame/ChronoTrigger'': the heroes save the world by changing time...except that, in ''VideoGame/ChronoCross'', we find that they inadvertently caused horrible, horrible things to happen by doing so.
* ''VideoGame/DragonAgeOrigins'': the BigBad is a classically evil EldritchAbomination, and the idea that [[Film/StarTrekIITheWrathOfKhan the needs of the many outweigh the needs of the few]] is a recurring theme. ''VideoGame/DragonAgeII'': there's no clear BigBad, just a lot of misguided people (some people have ended up believing that your ''PlayerCharacter'' was the big bad) and the game shows what terrible things happen when the rights of a minority are trampled for the common good.
* ''GearsOfWar'' and ''VideoGame/CallOfDuty'' are different ways of taking the shooter genre (''Gears'' being about [[TakeCover taking cover]] and ''COD'' making ''both'' sides weak to bullets), seemingly as a counterpart to the radical influence of ''Franchise/{{Halo}}''.
* Speaking of ''Halo'', its take on race relations is, for better or worse, the polar opposite of ''StarTrek'' and other more idealistic SpaceOpera. Where the Federation is all about bringing different races together for mutual benefit, 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. Most interesting is the end of ''{{VideoGame/Halo 3}}'', where the Sangheili and the humans decide to go their own separate ways. Though a lot of mutual respect has developed between them, they've agreed that there's still too much bad blood because of the war and that trying to maintain relations would only lead to more conflict down the line.
* ''VideoGame/IWannaBeTheGuy'' is a PlatformHell game with '''loads''' of FakeDifficulty. It's about a kid who's a CosmicPlaything trying to find The Guy and kill him, [[KlingonPromotion so he can become the next Guy]]. The world ''will not let him''. ''VideoGame/BattleKidFortressOfPeril'' is similar, but takes out the FakeDifficulty. It's about a {{Determinator}} with a ScrewDestiny philosophy going up against impossible odds for the good of the world. The world won't let ''him'' accomplish ''his'' goal either, but it ''will'' let him try. Both are equally NintendoHard, but in complete opposite ways. Fights dirty and hits you where it hurts, the other fights honorably and gives you a fair chance.
* ''KnightsOfTheOldRepublic II'' serves as this to the original ''KOTOR'' while also being its sequel. The original was a classic "[[BlackAndWhiteMorality good vs. evil]]" story about a larger than life Jedi hero and set to tell a tale in the vein of the original movies. The sequel, on the other hand, was a {{deconstruction}} of the Star Wars universe with the main focus being about an exiled and effectively nameless Jedi in the darkest hour of the galaxy (which had become a CrapsackWorld), all while tearing apart the black-and-white concept of the galaxy as well as the entire concept of The Force itself.
** To put simply, ''KOTOR 2'' is, [[SpiritualSuccessor in spirit]], more like ''PlanescapeTorment'' than it is the game it's a sequel to.
* 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.
* 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).
* The demo to ''VideoGame/TheStanleyParable'' is ultimately this for the game itself. The demo is a highly linear experience that frustrates the Narrator and causes him to desire a game about choices, while the game itself is entirely about the choices you make.
* ''VideoGame/SuperMario3DLand'' to ''VideoGame/SuperMario64''. The latter introduces 3D gameplay to the ''Franchise/SuperMarioBros'' series, yet radically changes some of the gameplay conventions. The former, however, not only uses 3D gameplay as its basis, but makes the conventions more true to the 2D games.
* ''VisualNovel/UminekoNoNakuKoroNi'' can easily be seen as this towards ''VisualNovel/HigurashiNoNakuKoroNi''. While both series share similar themes and structure (Psychological horror mystery with a GroundhogDayLoop function) Umineko is much more cynical and deconstructs several of the tropes in Higurashi.
* ''VideoGame/ValkyriaChronicles I'': war elevates brave men and women into heights of glory! ''VideoGame/ValkyriaChroniclesIII'': war crushes idealism and destroys the dignity of humankind!
* The Avatar (Robin) from ''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.


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

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

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