* Creator/{{Tokyopop}} is a meta-example:
** They were the first U.S. manga publisher who published a lot of unflipped, read-it-right-to-left manga in English.[[note]]This had been done before, but extremely seldom. We're talking a total of less than ten manga books, tops, and most of them were too obscure for either comics fans or manga lovers to have heard of them.[[/note]]
** The affordable ten-dollar digest editions that pretty much all U.S. manga publishers use nowadays was their idea. Before Tokyopop started publishing those, the norm had been to publish translated manga flipped left-to-right, in single-issue comic books with a chapter or two in each issue, which were then collected in trade paperbacks, just like American comic books.
** Another idea of theirs was the concept of having your manga sold in bookstores instead of in comic book stores - which really helped increase their potential customer-base.[[hottip:*:This is also because a lot of bookstores may be placed in area(s) of the town where kids without cars can access them - ie the mall. Not to mention, comic book stores don't even exist in some towns in FlyoverCountry - but bookstores themselves do.]]
** And content-wise, they were the first ones to publish high school romance shoujo manga. Pretty much all of what little shoujo had been published in the USA up until that point had featured some element of adventure or fantasy that the publishers hoped would appeal to male readers, but Tokyopop published high-school romances like ''Manga/KareKano'' and ''Manga/MarmaladeBoy'', that had no supernatural or adventure elements and were clearly intended for girls (but good enough to be read by anyone regardless of gender). In short, Tokyopop was the first American manga publisher to fully accept that manga didn't have to pretend to be American comic books. Nowadays every publisher does this, so Tokyopop's editions come off as cheap-looking compared to, say Viz's and Kodansha's manga. Especially the early Tokyopop releases. The translations of Sailor Moon and Magic Knight Rayearth were absolutely painful with spelling and character name inconsistencies galore. And the fact that it's unflipped is just AsbestosFreeCereal now that it goes without saying that you don't flip your manga.
* ''Anime/CuteyHoney'' will make you cringe, until you realize it created the template for anime fanservice, for the Warrior MagicalGirl achetype and possibly featured the first ActionGirl main character. If you don't remember it from the early 70s, you'll think it's just another typical high-schooler gone superhero story.
* ''Manga/DokiDokiSchoolHours'' got hit by this hard. The manga is one of the early examples of the "WackyHomeroom"-format, up to and including a childish teacher, and likely formed the inspiration for other mangas like ''Manga/AzumangaDaioh'' and ''Manga/LuckyStar''. Alas, the anime got released ''after'' those other series, which made a lot of viewers cringe at the "tired and old" jokes.
* ''Franchise/DragonBall'' for that matter. It seems horribly cliché now (even more so than ''Fist Of The North Star'', if only because it was copied more, or at least more directly) but it was refreshing at the time. One of the big ones is the IdiotHero, which has been done to death in Shonen, but Goku was one of the first, though predated by the title character of ''Manga/{{Kinnikuman}}'' (and besides that Goku is more naive than stupid. That's TheThemeParkVersion for you - the real version will take forever to read.)
* ''Manga/FistOfTheNorthStar'' seems like horribly cliché shonen, but keep in mind it more or less helped create many of the shonen tropes that exist today. Along with ''Manga/DragonBall'', many people cite it as a GatewaySeries or an inspiration for other Shonen creations.
* ''Anime/GhostInTheShell''. The English dub of the original most likely comes off as {{Narm}}y to most modern-day viewers, but in the 90s it was considered a major step forward for anime dubbing, featuring a reasonably faithful translation of the source material, correct pronunciations of Japanese names, and semi-believable voice acting.
** Since the standards for anime dub voice acting have improved so much in recent years, many dubs that were considered huge steps forward in quality for their time have become increasingly unpopular among modern viewers. Examples include ''Manga/RanmaOneHalf'' and ''Anime/NeonGenesisEvangelion''. An even better example would be the ''Anime/TenchiMuyo'' franchise. Back in the day (around 1994, to be exact), the use of union actors combined with clever dub scripts was considered a groundbreaking development in the world of anime dubbing. While many people still look back fondly on the dub even now, more level-headed viewers without a NostalgiaFilter will notice the dubs' miscast actors and actresses, awkward delivery and overall poor acting quality in comparisons to modern dubs for anime like ''Anime/TengenToppaGurrenLagann'' and ''Manga/FullmetalAlchemist''.
* Creator/HayaoMiyazaki. Many of his movies have been copied so extensively by both anime and manga that people complain about them being "cliché". No, [[Anime/CastleInTheSky Laputa]] isn't just "another ancient civilization on a floating island", it is THE ancient civilization on a floating island. Ironically enough, even though it was this movie that really started Japan's fascination of highly advanced, extinct ancient civilizations, both the name and the concept of the floating island of Laputa comes from ''Literature/GulliversTravels'', [[OlderThanTheyThink written more than two centuries earlier]].
* ''Manga/LoveHina''. Yes, if you just started reading or watching it today, it just seems like another [[ClicheStorm cliché]] harem anime. This mainly comes from the fact that the show redefined nearly every rule of modern anime romance/harem comedy, and has been copied relentlessly since.
* {{Magical Girl}}s. If you're not an old-school, die-hard fan, you'll probably think that everything in the genre is a ripoff of ''Franchise/SailorMoon''.
** ''Anime/SailorMoon'' itself gets this as well, as it created a sub-genre, and in many countries also contributed to make Anime popular in the first place. When compared to [[Manga/TokyoMewMew some]] [[Franchise/MaiHiME more]] [[Anime/PrettyCure modern]] [[Franchise/LyricalNanoha shows]], it can look overly cheesy, {{Filler}}-ridden, and low-budget.
** Another {{magical girl}} series to suffer from this and which predates ''Franchise/SailorMoon'' is ''Anime/MajokkoMegChan'', from 1974. It introduced many now-common elements to the genre and was groundbreaking as far as the genre was concerned. Nowadays, since the tropes it introduced have been done repeatedly since, it isn't highly regarded.
* ''LightNovel/MariaSamaGaMiteru'' is gradually getting there; the series has been copied and especially parodied mercilessly, to the point where viewers suspect it to be a parody ''itself''. Admittedly, the [[RomanticTwoGirlFriendship romantic entanglements between the girls]] of the depicted all-girl school do get rather fluffy and melodramatic at times, but it mostly kept in check by the tight storytelling and outstanding voice-acting in the anime.
* ''Anime/MazingerZ'', the TropeCodifier for SuperRobot shows, never got that much love outside of Japan, due to the fact that it was usually picked up sometime ''after'' successive shows, such as ''Anime/{{Voltron}}'' and even ''Anime/{{Grendizer}}'' got popular, leading to ''Mazinger'' often being called a ripoff of its own derivatives.
* Likewise, ''Anime/MobileSuitGundam'', the TropeMaker for RealRobot shows, never quite caught on in the States, airing after the explosively popular ''Anime/MobileSuitGundamWing''.
* ''Anime/NeonGenesisEvangelion'' has single-handedly popularized the concept of {{Deconstruction}} for formulaic, beaten genres, as well as demonstrating just what circumstances would realistically result in a token teenage action protagonists having to save the world, and how much pain, isolation and psychological pressure would they have to endure in the process.
** After numerous direct imitators who went full steam ahead with DarkerAndEdgier, indirect examples of a SpiritualLicensee that applied CerebusSyndrome to anything from {{Mons}} (like ''DigimonTamers'' and ''ShadowStarNarutaru'') to MagicalGirl series (including hits such as ''RevolutionaryGirlUtena'' and ''PuellaMagiMadokaMagica''), and {{Reconstruction}} series that attempted to justify the casual, hot-blooded nature of a SuperRobot show (such as ''GaoGaiGar'', ''RahXephon'', and ''TengenToppaGurrenLagann''), the modern viewer is likely to be familiar with at least some aspects of the discussion started by ''Evangelion'' and probably would not consider its approach and message as innovative.
** The series has also become so ingrained in Japanese pop culture that the [[RebuildOfEvangelion sequel/remake series]] doesn't even ''try'' to retain some of the elements that were treated as {{Shocking Swerve}}s or {{Driving Question}}s in the original show. There's just an assumption that thanks to PopCulturalOsmosis, the audience already knows stuff like [[spoiler: Kaworu being an angel or Lilith being locked up underneath the NERV base]], and the producers instead preferred to concentrate on the original's other strong side: unique designs of the Evangelions, Angels and locations, as well as VisualEffectsOfAwesome. The public was impressed, but those who debated the original were quite uncertain as to what message do the new movies try to convey, or whether there even is one.
** Partially due to the above reasons, the third film in the ''Rebuild'' saga was rewritten from the grounds up to outdo the original series in the ShootTheShaggyDog department. The end result wasn't as well received as the previous two. New viewers were dismayed by the blatancy and shoehorning of drama, while the hardcore fanbase had an outcry over the misaimed shock value. Like the sequels to ''Film/TheMatrix'', 3.33 played up the aspects that were supposed to surprise and shock the viewer as if they were just as groundbreaking as when the original was released in 1995. However, due to various anime series that responded to everything that the original ''Evangelion'' stated, or refuted the original show's cynicism, the third film didn't have the expected emotional impact, and when analyzed, turned out not to actually be all that thoughtful due to the rushed plot and so many TheEndOfTheWorldAsWeKnowIt situations the viewers won't be surprised by anymore.
* Creator/OsamuTezuka falls victim to this in the American market. His characters look much closer to Disney and Fleischer cartoons than modern anime and manga, making his art look quaint to modern manga readers. Additionally, it's hard to spot the sheer innovation in his page layouts and stylized pacing when they've more or less become the norm after around fifty years.
** Naoki Urasawa's ''Manga/{{Pluto}}'', an UltimateUniverse of an ''Anime/AstroBoy'' story arc from the '70s, is a lot closer to the original story than some people may realize. The primary change is simply a PerspectiveFlip.
* ''Anime/{{Robotech}}''. With its dramatic tone and unvarnished depictions of the death and destruction caused by war, it was the first localized anime to really display Japanese animation's capacity for weighty, dramatic stories to a western audience. With uncut translations of space opera now a dime a dozen, and with the series' multiple flaws now harder to forgive, many now ignore the series' achievements and instead focus on the compromises made in the franchise's creation--namely, the stitching together of three distinct and unrelated anime series into one narrative, necessary for the series to get a syndication deal. The {{Macekre}} page goes into greater detail about the significance of ''Robotech'', [[YouKeepUsingThatWord despite the title]] being a TakeThat to Carl Macek for said compromises.
** The Expanded Robotech Universe, particularly Sentinels, blew the marriage of Rick and Lisa out of proportion by modern standards. The wedding took two comic book issues to tell and that was after about ten issues of "anticipation" leading up to the big day. Sentimental fans might be to blame. New fans were wondering when they were going to just launch the mission.
* ''Manga/SaintSeiya'' suffers from this quite badly if one were to watch if after seeing more recent {{Shonen}} series, especially during the Gold Saint arc. It pretty much ''created'' the RescueArc, and if not, it certainly was what popularized it.
* ''Manga/KatteniKaizo'', a comic about a boy who believes his world to be a FantasyKitchenSink and forms a club based around it, in the end [[spoiler: it all turns out to have been a CuckooNest]]. That description makes it sound like a parody or a {{Deconstruction}} of ''LightNovel/HaruhiSuzumiya''; thing is, Kaizo predates Haruhi by a couple of years.
** ''Haruhi Suzumiya'' itself has fallen into this pattern in recent years; with its plot and jokes being [[FollowTheLeader copied by many other series to cash in]], the WolverinePublicity of the character, and the decline in popularity following [[SeasonalRot the Endless 8]]. Other MundaneFantastic SliceOfLife anime series, such as ''Manga/AzumangaDaioh''; have remained well-regarded in the time since their original airing.
* ''LightNovel/SisterPrincess''. When you watch it in 2010s, it seems to be incredibly cliche. But it's one of the TropeCodifier of "otherworldly harem" anime.
* ''Manga/AstroBoy'' is THE Anime and Manga. It was the first truly popular piece in not only Japan, but also in the States, where it was one of the first Animes we had ever received. It's hard to articulate how much Astro Boy means to the medium; it's on par with MICKEY in how important of an animated work it is.
* ''Anime/ScienceNinjaTeamGatchaman'' is the TropeCodifier for nearly all giant robot AND FiveManBand tropes. It started the entire Sentai genre. Today, it's just seen as another combinable mecha show.
* To the modern-day reader, ''The Mysterious Underground Men'' is just another relatively obscure Osamu Tezuka manga from his early days. No masterpiece, but still a fun book to spend half an hour or so reading. But to the people that read it when it first came out in 1948, it was shocking to see a manga with some genuinely tragic moments. Not only was Tezuka bringing tragedy to manga, he was doing it by using plots where [[AnyoneCanDie main characters died]] in a medium where this was unheard of until now.
* To one who grew up in the 2000s and the new tens, ''Anime/TheVisionOfEscaflowne'' may come of as one big ClicheStorm - especially since a lot of people (Despite its initial run in Japan not faring so well) have actually used it as an influence.