"If reincarnation is true, I hope I come back as George Lucas just to find out what it's like to be loved and hated in equally large amounts by exactly the same people."
— Youtube user kasolarUK
There you are, riding high on all your success. The critics adore you. Your fans worship you. The Hollywood Hype Machine has put maximum force behind your career. The money is coming in, and nobody dares speak ill of you. You made that work that inspired the hearts of millions. It seems like everything you touch turns to pure, brilliant art. Just the announcement of your name brings anticipation to whatever you're doing next. There's just nothing you could ever do wrong.
Then it happens. You do something wrong — and it's very wrong. Your first flop.
Suddenly, things don't look so rosy. You just can't recover from that flop. Everything after this flop starts to define you instead, and you can't recapture or recreate the success of the works that made you famous in the first place. Your positive reviews shrink; your aura of invincibility is forever punctured. Your fanbase is fractured and shrinking. The Hype Machine pushing you forward has now moved on to others. In the most extreme cases, just hearing your name attached to a work, even one connected to those beloved pieces you created in the past, makes people cringe where they once cheered. You are now a Fallen Creator.
The life of an artist is full of ups and downs. Unfortunately, some creators, after achieving great commercial and critical success, lose their momentum; their prestige falls far below their previous stature.
Not everyone goes from the very top to the very bottom. Those old franchises still make a lot of money. There's usually just enough people willing to watch your new stuff that you can still be considered commercially successful, even if they're also treating it as Snark Bait. But the love is gone, and your flaws are now constantly on display. The acclaim and hyper-success has dropped, and a once solid and large fanbase is now far less likely to be happy with you.
The true defining trait of the Fallen Creator is the large drop in prestige, even after factoring out the usual Fan Dumb that chases creators wherever they go. It is not necessarily permanent; even if it is, there could still be a partial comeback. Artistic taste can be fickle.
This can sometimes be caused by a combination of Mis-blamed and hubris. The original good productions were a team effort, but one guy took all the credit and was recognized as the sole genius behind the work. When the team breaks up and the sole spotlight hog sets out on his own, people quickly realize he's nothing without his team when he suddenly gets a string of failures. See also Protection from Editors.
An artist developing a Small Name, Big Ego can also trigger this; no matter how talented the creator is, people are only going to tolerate a certain amount of ill-advised egocentric vanity projects and diva-ish tantrums before they start giving up. Same can happen to companies who have bad public relations for one reason or another.
Compare Never Live It Down, in which a creator is only identified with the worst thing they ever did; they may have done successful work before and since, but they never had the prestige and adoration that makes a Fallen Creator. Can also overlap with Deader Than Disco. Sort of the opposite of He Really Can Act, when someone despised proves they can do well.
Contrast Auteur License, Prima Donna Director, Scapegoat Creator. See also Career Resurrection for when the disgraced manage to get acclaimed again.
Note:Please, only give examples where it's clear that public opinion has turned against these people and they're not thought of as highly as before. This is not meant as a Take That against creators you don't like. If you yourself think a creator has declined, but the general public still thinks highly of him/her, then don't add them as an example.
It is very debatable whether Miller's writing has actually turned worse. Others would simply call it more self-satirizing going by his latest Batman run, and an (excited?) quote about his upcoming al-Qaeda story "being bound to offend just about anyone", but his mainstream appeal has never been greater, given his collaboration with highly efficient choreographic filmmaker Zack Snyder.
The result of his retooled "Batman Vs Al-Qaeda" book is out now... and even if one had never known that it began as a Batman story it's obvious Miller barely did anything to change the fact that the Fixer is Batman, the Cat-Burgler is Catwoman, and the policeman is Commissioner Gordon. Holy Terror can be described as a vehement anti-Muslim Author Tract-filled political cartoon, similar to the others which were created in the first frantic year after 9/11. Any doubts about his writing style (as of ASBAR) being self parody are dispelled as Miller's "patriotism" and xenophobia are presented completely seriously. The whole book is a message that Muslims need to be stopped as they could become terrorists at any point. Just when you thought Frank Miller couldn't sink any lower...
His reputation has been hurt even more by his vitriolic attack on the Occupy Wall Street movement whom he referred to as "Thieves, rapists and pond scum" and managed to fit even more attacks on Islam. Its as if Frankie boy has been reading comments about him online and thinking "How can I make myself even worse than They think I am?".
Artist Joe Madureira was once considered the golden boy of American comic artists. He had an acclaimed run on Uncanny X-Men, brought the Japanese manga style into mainstream American comics, and later went on to create Battle Chasers for Image Comics' Cliffhanger imprint. He never finished Battle Chasers, tried his hand at creating video games with catastrophic results (Darksiders is the only game he designed that didn't become vaporware or a total flop) and now works comics once in a blue moon to lukewarm critical reception (especially The Ultimates 3, hoooo boy). He's bundled with other early-mid 90's comic book artists that are now considered past their prime at best and industry jokes at worst.
Brian Michael Bendis was once a hotshot rising star in the comic industry. Then he took over Avengers and gave the team the "scorched earth" treatment in the infamous Avengers Disassembled story and replaced the roster with his pet characters, for stories that were widely reviled at worst and at best, showcased his failings as a writer (in this case, good on street-level solo books with normal type mob-themed bad guys but absolutely horrible on team books and super-villains). Once the face of the future, he's now considered the face of everything wrong with Marvel Comics.
Like Miller, Jeph Loeb came to fame off of his work on Batman; along with Tim Sales, he produced a series of Batman Halloween specials and the critically acclaimed The Long Halloween series. Unfortunately, when he took over as writing Superman (and later, the team-up book "Superman/Batman"), Loeb's writing began to slip as he began losing confidence in his ability to let his writing speak for itself. He began recruiting big name artists to draw his work (which led to massive delays in the case of Hulk run) and tailoring his scripts to match what his artists wanted to draw. Further complicating things was his son's death from cancer, which caused Loeb's writing to take a depressing tone (Ultimatium, Fallen Son, Ultimates 3) with death and grief as a major element of his writing.
The exact moment when Loeb became a Fallen Creator isn't clear cut but here are the popular ones:
Superman V2 #166, which infamously attempted to retcon Post-Crisis version of Krypton back to the Silver Age version, was the first crack in the wall. Loeb (and Joe Kelly) promoted the issue and the retcon as their attempt to bring back the "real" Superman of the Silver Age, while avoiding being blacklisted like Mark Waid and Mark Millar when they attempted to outright restore the Silver Age Superman status quo. Jeph even outright stated that if he could get away with it, that he would bring back the infamous "Love Triangle" and abolish the Superman marriage, pissing off fans in the process.
Hush: Loeb scored success with The Long Halloween and Dark Victory, but his third attempt at a "run the gauntlet" Batman story flopped horribly as far as critical response went. Was it trading Tim Sales in for Jim Lee? The fact that Hush was a lame-ass villain people only cared for, for the single issue in which Clayface posed as Jason Todd, while in the "Hush" uniform? Or was it the fact that Loeb didn't seem to even try to write a good storyline, opting to instead coast off of the huge sales boost that his storyline would get by way of having Jim Lee draw Batman for the first time?
Giving credence to Hush being the tipping point, most positive critical praise for Hush is usually limited to people gushing over Jim Lee's artwork. Talk about the actual story and you'll find that even people who liked the plot were turned off by how incredibly lame Hush's motivations were & that Hush as a character wouldn't be properly acknowledged as a "proper" Batman villain until Paul Dini got his hands on him. This story would be the point in which Loeb discovered that he could phone in his writing and have it sell huge numbers, so long as his subpar scripts were drawn by a big name artist who fans love.
Superman/Batman: Public Enemies: after building up Lex Luthor as the evil President and him successfully forcing the Daily Planet to fire Clark when Lois and Clark discovered proof of Lex's evil misuse of office, Loeb abandoned everything for a contrived storyline involving Lex trying to frame Superman for a meteor about to hit Earth and exposing Metallo as the murderer of Batman's parents.
His Wolverine arc had a "subrace" of mutants that evolved from wolves (which featured Sasquatch, for some reason, who got his powers from the native gods of the North), an immortal overlord of said race who went by the name of "Romulus," and revealed the reason Wolverine and Sabertooth were eternally at each other's throats was because there was a "genetic prophecy" about the eternal fight between a fair-haired wolf mutant and a dark-haired wolf mutant. Oh, and Wolverine killed Sabertooth with a magic sword.
Ultimates 3 and Ultimatium: wiping out a good chunk of the Ultimate Marvel Universe angered a lot of people, especially as Loeb didn't care one iota about what Bendis and other writers had been doing with the Ultimate Marvel characters. Loeb's run on Ultimates flanderized the already flanderized versions that Mark Millar had used in Ultimates 1 and Ultimates 2, making them barely one-dimensional.
The final straw would be his Hulk run, which came off the critically acclaimed Greg Pak run and dismantled all of the major work Pak had done to set up a new status quo for the Hulk and his standing in the Marvel Universe via Planet Hulk and World War Hulk. Adding to the mix was that Hulk revolved almost completely around Loeb's Villain Stu the Red Hulk and the never-ending mystery of who he was.
Artist Rob Liefeld revived the struggling New Mutants comic, which transferred into the top selling X-Force when Liefeld was given full creative control over the book in 1991. But royalty issues led to him abandoning the book after nearly a year and he went on to found Image Comics. There he launched the equally popular creator-owned series, Youngblood, and inspired a slew of copycats as artists began aping his insanely popular style.
But it all quickly evaporated for Rob; the Hype Backlash against him began with several high profile cases of books he was drawing shipping late. He alienated his fellow Image colleagues and split from the company and formed Awesome Comics, which folded after a couple of years of publication. Also, it became clear that he didn't have many more ideas than what was done with New Mutants, and many of his characters were ripoffs of other characters or rehashes of his own, and his art work left something to be desired, to the point that "Liefeldian" has become a term comic fans use when artwork when it stinks to high heaven. Many of his popular characters are considered to have grown the beard once in other hands.
John Byrne was a famous artist whose work alongside Chris Claremont on the X-Men (see above) made it what it is today. When he left X-Men due to creative differences in 1981, he took over Fantastic Four as writer and artist, producing what is considered to be the second most definitive run on the book, second only to the original Stan Lee/Jack Kirby run. When he jumped ship to DC Comics, things started great, with his Continuity Reboot of Superman effectively modernizing the character and his supporting cast for a new generation of fans.
Then it all kind of went downhill after that. After working on Superman for a little over two years, Byrne went back to Marvel Comics and later back to DC, where he began "improving" characters in ways that actually left them radioactive and damaged beyond all repair. He irreversibly destroyed the marriage of Vision and Scarlet Witch, with Vision and the couple's children suffering horrific Fates Worse Than Death. He stole Donna Troy from the pages of Green Lantern (where she was involved in an insanely popular romance with Kyle Raynor) and invalidated her entire existence, reducing her to being a "magic reflection brought to life" and not only mindwiped her, but forced her to live out thousands of horrific lives before being "rescued". And that's not getting into his Spider-Man and Doom Patrol work, his egomaniacal belief that only he knows how certain characters should be written, or his threat during his run on X-Men The Hidden Years to erase from canon Magneto's status as a Holocaust survivor just to spite former collaborator Chris Claremont!
Having burnt his bridges at both of the Big Two comic companies, he's now reduced to doing license work at IDW, drawing Star Trek and Angel comics. His reputation has gotten so bad that his caricature was, until some time later, the poster image of this wiki's Small Name, Big Ego page; for a sampling of why, see his Wiki Quoteentry.
Joe Casey was another rising star in the late '90s, with a popular run on Cable and a popular fan choice for taking over as writer of the main X-Men books. But just as Casey was about to begin the much anticipated "Cable Vs Apocalypse" storyline that Marvel had been building towards since 1996, Casey was forced to quit the book after Bob Harras, to the horror of X-Men fans everywhere, gave the book to Rob Liefeld to draw and effectively told Casey that Liefeld would be the de facto "writer" and that his job would be to simply produce dialogue/plots for Rob's drawings.
Casey fled to DC, where he became one of the major writers on Superman, but was lured back to Marvel in 2001 when newly hired editor-in-chief Joe Quesada gave him Uncanny X-Men to write. Unfortunately, Quesada also hired Grant Morrison to write the other X-Men book. Realizing Morrison was going to revamp the entire franchise, Casey decided to emulate Grant's legendary drug usage for inspiration and slagged his fanbase, over the fact that many X-Men fans were expecting Casey's X-Men book to be a more mainstream/familiar take on the X-Men while Morrison reinvented the wheel. Casey's X-Men run was a complete flop and by the time he was giving fans normal X-Men stories, such as X-Men vs. Freedom Force, Marvel lost faith in him and forced him off the book to replace him with Chuck Austen.
Casey went back to DC and continued with Superman, but never had much say in the main plot lines for that franchise. He ultimately pissed off DC Comics years later when he was invited back to do a sequel to Superman: Our Worlds At War as part of a retooling of Superman/Batman (where the book would tell "lost tales" set during big event story lines), but produced a storyline with no connection to the Crisis Crossover, completely fucked up the retool and resulted in him being fired from the book and his scripts for the second half of the storyline dumped and replaced with another writer's script.
While Casey still has fans with Marvel for his retro-Avengers mini-series and mini-series work on Iron Man, as well as for his creator owned/Wildstorm Comic work, he's largely considered a burnt-out druggy who could have been the next big thing had he not screwed up. On the other hand, he co-created the popular cartoon Ben 10, which means that he can probably live on merchandise royalties alone for another two centuries.
Mark Millar was a young writer who got work in American comics thanks to the patronage of Grant Morrison and Warren Ellis. Taking over The Authority just as the book began receiving mainstream buzz, he became one of the top writers in the US and his censorship fights with DC Comics over his run made him a cause celebre amongst comic fans. But the fame quickly went to his head, and before you can say "Small Name, Big Ego", Millar became a complete and total douchebag, spewing self-promoting lies and showing complete and total contempt for anyone who didn't worship him as the next big thing. Further hurting was Millar taking a massive jump off the Sliding Scale of Idealism Versus Cynicism.
And on the "censorship" issue; Millar fell in the eyes of a lot of his fans when he shamelessly took Bill Jemas's side in firing Mark Waid from the Fantastic Four, when Waid refused to make the Fantastic Four more of a sitcom-type book for Jemas.
It got to the point that film versions of Wanted and Kick-Ass (one co-written by him, the other produced and co-financed by him) had to be heavily rewritten to get rid of the unlikability and strawman views. While the Wanted adaptation got a mixed reception due to this, the Kick-Ass adaptation fared much better among critics and audiences. The later has led Millar to retool the property of Kick-Ass to make it more like the movie, complete with pushing Hit-Girl (the only remotely likable character from the first comic and the only character who wasn't changed for the movie) to the forefront of the sequel series.
He also seems to have permanently burned bridges with his former mentor Grant Morrison, especially since Millar's work seems to wallow in the Dark Age tropes that Morrison despises. In an interview with Morrison, when Millar was brought up, Morrison stated that if he ever met Mark Millar again, he hoped that he would be going 100 MPH in the opposite direction Millar would be going to.
Ken Penders was once (for what it's worth) considered one of the best writers on Archie's Sonic The Hedgehog series. In particular, his Knuckles The Echidna series is still regarded as potentially better than the Sonic comics produced during that time. When you mention him now, though, thoughts will inevitably drift to the... less than stellar works from the end of his time on the comic, especially the infamous "Titan Tails" fiasco. Even after he left the comic and Archie, he managed to make things worse by trying to sue for the rights to his original characters from the Knuckles series, even though everyone in the comic is owned by Sega. Praising any of his works, even his good ones, tends not to go well on many Sonic forums.
George Lucas wasn't always the divisive figure he is today. When he started out his career, American Graffiti earned him critical success and several Oscar nominations for making such a groundbreaking film. Then, of course came Star Wars, which revitalized the science fiction genre and turned into a landmark film and franchise that, to this day, remains very near and dear to the hearts of many, as well as Oscar nominations for him personally and the movie. Despite a few missteps in the '80s that briefly rendered him under this trope, he made his mark again with Indiana Jones, another series of critical and fan darlings that still endure.
However, much of his success during this period was the result of him getting a number of friends (including future critically-acclaimed filmmakers Francis Ford Coppola, Brian De Palma, and Steven Spielberg) to read them and offer advice concerning which ideas worked and which didn't. It's also been said that in the original Star Wars trilogy, especially A New Hope, bad lines were ad-libbed over by the actors (Harrison Ford is on record saying to Lucas while filming A New Hope that he "could type this shit... but you sure as hell can't say it"). As time went on, he stopped asking his friends for help (it didn't help that some of them became Fallen Creators themselves, while Spielberg was insanely busy in his own right), his works were rarely vetted by anyone other than himself, and seemed to borrow more from his own previously rejected ideas.
Today, Lucas is just as likely to be reviled as he is to be praised. He still has no trouble finding an audience to see his movies (even the new Indy was a commercial success), but a sign of his decline is the usually negative reaction a Star Wars spin-off receives whenever his involvement is revealed and the likelihood that a review is going to start calling out the usual flaws in his work.
Ivan Reitman used to be a well-respected Hollywood director that first broke out into fame by directing Meat Balls and is best known for being the man behind Ghostbusters, as well as several successful comedies like Stripes, Twins,Kindergarten Cop, and Dave. However, after many huge flops following the release of Dave, his cred dropped considerably, to the point where even the critics began to openly dread his screen credit. My Super Ex-Girlfriend, for instance, had a critic in Newsday asking "... why was it made? ... And, most important, why is there 10 bucks missing from my pocket?" He did claw some respectability back in 2011 with No Strings Attached, which got decent reviews and topped the box office in its first weekend, but he still faces a lot of work if he's ever going to fully restore his reputation.
At least his legacy lives on with his son Jason, who may possibly have a stronger career than his father. Jason now holds four Oscar nominations for his work on Up in the Air and Juno.
Between the three of them, the trio of "Zucker Abrahams Zucker" (affectionately nicknamed "ZAZ") did The Kentucky Fried Movie, Airplane!, Police Squad!, and The Naked Gun. They started splitting up after the first Naked Gun film and separately, all three of them have declined into this trope. Jerry Zucker's last film was the critically panned and mostly forgotten Rat Race, after which he appears to have retired entirely, Jim Abrahams and David Zucker are stuck with Scary Movie 4, and David Zucker had the high-profile flop An American Carol (an Anvilicious parody whose protagonist was a Strawman PoliticalMichael Mooreexpy). That last one notably tried to play up his earlier success from Airplane!, which caused the few critics that actually saw it (it wasn't screened for critics) to remark on how terrible it was in comparison to his earlier movies and how unfunny he has been since.
M. Night Shyamalan may be the fastest example of this happening in the history of film. After his exceedingly awesome debut, The Sixth Sense, his movies continued to rely on a thin pattern of obligatory but telegraphed twist endings and characters awkwardly bonding in forced situations. This might have not even done him in if not for his huge ego that constantly riled at his critics, and increasingly more important Self-Insert/Mary Sue parts for himself in each of his films. Once regarded as "the next Alfred Hitchcock", he's become a joke about twist endings and The Sixth Sense is generally regarded as a lucky fluke. The only successes he had after that film were Unbreakable, which had good critical reviews, and Signs, which had lukewarm critical reviews but good box office numbers. Everything after this point was one flop after another, leading to the self-indulgent mess of Lady in the Water and the widely loathed Film of the SeriesThe Last Airbender. Movies he's worked on since have seen his creative control decrease and his involvement heavily downplayed.
In spite of this, he still made fairly successful movies for most of the '80s, and had a major hit with Coming to America. What really derailed his career totally was the over-budget, out of control production of Beverly Hills Cop III, and the subsequent flop of The Blues Brothers 2000 confirmed the kill. He then retreated to documentaries, a field in which he hasn't declined yet (he won an Emmy in 2008 for Mr. Warmth: The Don Rickles Project), and is only now getting back into making feature films.
What really makes the Twilight Zone part bad, though, is that it was entirely his fault. He ignored the advice of stunt men and actors alike, demanding the helicopter get closer in each shot so it'd look better. Morrow, in contrast, earned a Dying Momentof Awesome by pushing some of the child actors out of harm's way at the cost of his own life.
Another writer-director who took a fall was Blake Edwards. He established himself in the late 1950s/early '60s with Breakfast at Tiffany's, Days of Wine and Roses, The Pink Panther series, etc. He hit rough waters later (the biggest flop of his being Darling Lili), but the Pink Panther series revival in 1975 brought him back around, and his non-Panther films (especially "10" and Victor/Victoria) were well-received too. He even managed to write and direct a thinly fictionalizedTake That to Hollywood (S.O.B.) for his earlier treatment during this period. Then Peter Sellers, who played Inspector Clouseau in the Panthers, died — and Edwards made Trail of... using outtakes and flashbacks of Sellers, and Curse of... using a Replacement Scrappy. Critics were appalled, Edwards and United Artists were sued by Sellers' widow over Trail, and both were box-office underachievers. Edwards made a lot of movies over the next ten years, but to diminishing returns, to the point that MST3K once made a joke where a "brainwashing" machine says "Blake Edwards makes a really good film..." He did receive an Honorary Oscar in 2004, though.
Peter Sellers himself was this for a time. In 1964, he was an acclaimed actor with the success of The Mouse That Roared, The Pink Panther and Dr. Strangelove. But then he suffered a series of heart attacks. While his first post-attack film, What's New Pussycat, was a hit, After the Fox was a disappointment, and his behavior on the set of Casino Royale (1967) was so infamous that the producer and Columbia Pictures blamed him for many, if not most, of its problems. His difficult nature and disappointing films made him almost Deader Than Disco (particularly with American studios) until the Pink Panther revival and Being There turned things around, an example of how the fallen can be redeemed. He looked to be on the verge of throwing it all away again with 1980's disastrous The Fiendish Plot of Dr. Fu Manchu, but in a piece of incredibly good timing, he died a month before it was released.
The "New Hollywood" era is littered with the corpses of great directors. First, a quick history lesson: New Hollywood was an era that started in the mid-1960s with the release of edgy films (Bonnie and Clyde, The Graduate) made by young film school directors who shook up the Hollywood studio system (and killed off what was left of it in the process) and earned massive amounts of money and critical acclaim. As The Sixties and The Seventies went on, directors were given carte blanche for their projects and/or struck out into independent production companies to gain more creative control. Eventually, though, success got to these directors' heads, their films started going from masterpieces to self-indulgent messes, and they fell hard and fast from their lofty perches. Among the most notorious examples:
Michael Cimino went from The Deer Hunter, the Best Picture Oscar winner of 1978, to Heaven's Gate just two years later. Its failure was so catastrophic that, as noted at Genre Turning Point, it ruined United Artists as a stand-alone studio and turned Hollywood off the Western for a decade or more. A while later, Paramount signed Cimino to direct Footloose, but when filming was to have started he demanded more time and money from the producers, who fired him. He hasn't worked much since.
Hal Ashby, after creating classics such as Harold and Maude, Coming Home, Shampoo, and Being There, made a string of critical and commercial failures in the '80s, ruining his reputation, until he couldn't find work anymore. He was dogged by rumors that he'd become an unreliably eccentric drug casualty, but a biography (Being Hal Ashby by Nick Dawson) suggests that this was mostly malicious gossip spread in retaliation for his fighting back against Executive Meddling. Ashby smoked epic amounts of weed and loved his booze, but it was his workaholic and perfectionist tendencies and unwillingness to compromise that really hurt his reputation in Hollywood. He died from cancer in 1988 just as he was starting to make a comeback.
Robert Altman began the 1970s with the success of Mash in 1970 and Nashville in 1975, two films which epitomised New Hollywood, and had influence far beyond their box office take. He then spent the rest of his directorial career falling and rising and falling again in twenty-year cycles. His work in the rest of the 1970s left the box office cold, and eventually turned off the critics; several of his films from the late 1970s and early 1980s remain unavailable on DVD as of 2010. He began the 80s with a disastrous musical version of Popeye starring Robin Williams, and was forced to work in television for a while, until The Player and Short Cuts in 1992 and 1993 rehabilitated him; he threw it away with 1994's Pret-a-Porter, but seemed to be coming back into fashion when he died in 2006.
Peter Bogdanovich was compared to Orson Welles with The Last Picture Show, and succeeded it with the successful comedy What's Up, Doc? and the equally acclaimed Paper Moon. It all went downhill from there, with the negative reception of Daisy Miller and Nickelodeon being the decisive points (1985's Mask being his sole bright spot afterwards).
Subverted by Martin Scorsese, who had his own potentially career-ending Protection from Editors-related bomb (the musical New York New York) and drug-related meltdown in the late 1970s, but managed to claw his way back from it with Raging Bull, which was critically acclaimed if not necessarily commercially successful. His early 1980s movies (The King of Comedy, After Hours, etc) were generally respectable even if they didn't set the world on fire, but The Last Temptation of Christ and Goodfellas fully restored his reputation as one of America's best directors.
Tom Cruise is a pretty severe self-inflicted case of this. During the '80s and '90s, he was a renowned, charismatic movie star, but that changed over the course of the 2000s as he started acting increasingly unbalanced in public. Things did not seem so bad at first, but once he became the latest "Current Main Face of Scientology in Hollywood" things (and, seemingly, Cruise) went off the deep end. He became more known for some of his infamous stunts (particularly the notorious "couch jumping incident" on The Oprah Winfrey Show) and, more seriously, his embracing and promoting of Scientology's hard-line approach to mental illness and psychiatry. He nabbed some particularly bad publicity after suggesting that actress Brooke Shields, who had revealed the depths of her battle with postpartum depression, "just needed vitamins". His diva antics on the set of Mission: Impossible 3, the film's astronomical budget, and the demand that Scientology be permitted to set up tents on all filming sites, did not go over well with Paramount either. Though the film somehow survived the box office (mostly it was J. J. Abrams and Philip Seymour Hoffman), his reputation didn't. It remains to be seen whether Cruise can ever reclaim his mega-stardom instead of just being known as a couch-jumping nutcase.
Cruise seems to have regained a modicum of respect after Playing Against Type gloriously in Tropic Thunder, but that was a small-ish role for a star like him. His own production from UA (which he bought after Paramount dumped him) was flop after flop.
Even a little before Tropic Thunder, he started taking a few good roles (he got some critical love for Valkyrie), and went more moderate on the Scientology angle.
And despite the again-lackluster box office returns, Zack and Miri Make a Porno was critically well-received. However, Cop Out, the first film which he directed but did not write, was critically panned. This, together with the now-infamous "airline incident" that occurred shortly before the release of Cop Out (which, although he was totally screwed over by the airline, he managed to handle the situation very poorly), has led to Smith's reputation plummeting spectacularly among film fans. Although it remains to be seen whether Smith has well and truly squandered his loyal fanbase, these two incidents (particularly the airline incident) have clearly caused irreparable damage to his reputation.
His next film, Red State, could make up for those incidents as it is a return to his writer/director roots and features a a fairly strong cast. However, it is a horror/thriller type movie, a genre he has never before dabbled in. Only time will tell.
Smith eventually got it in the news for another incident over the film rights of Red State. After a bizarre introduction featuring Wayne Gretzky's stick and lots of profanity, he held an auction in which he stopped it after submitting his own bid for $20 and announced he would self-distribute. After this display of egotism, many distributors were angry and have possibly severed ties with the director.
Smith also dabbles in the occasional writing of comic books over at DC & Marvel, where his stuff was already controversial. His next project, Batman: Widening Gyre, was already receiving low reviews when Smith wrote out a scene where Batman flashes back to his confrontation of the crime bosses in the mansion during Batman: Year One. Said scene "revealed" that when Batman used explosives to blow open a wall, the shock made him.... soil himself in his costume. What little respect people had for the book instantly vanished after that.
It also didn't help that he wrote a scene where The Joker raped Harley Quinn. First of all The Joker is about as sexually aggressive as turnip in literally every incarnation, second it shows that he understands the character even less than Tim Burton and third why the hell would you think this would remotely make sense?
Meanwhile, over at Marvel, he penned Daredevil for a time - a run that included killing over steady girlfriend Karen Page and villain Mysterio. The latter is particularly irksome because Mysterio is a long-time Spider-Man villain and his motivation for going after Daredevil was never very clear. Marvel editors have since admitted that they didn't rein in Smith like they would've for other writers. Also, his Spider-Man/Black Cat miniseries, which suffered from severe Schedule Slip. It was originally a four-parter, but it took several years for Part 4 to come out. (And by that time, the mini was given a couple extra parts - most likely to justify the long wait.) And by the time it wrapped, the book was also not well-received because it retconned Black Cat's backstory so that she took up a life of theft because she was unable to kill the guy who raped her in college.
Woody Allen is a multi-talented actor, director, writer, and musician. (For example, he holds the record for most Academy Award nominations for Best Screenplay — fourteen.) First becoming famous as a stand-up comic in the 1960s, he went on to major film successes like Sleeper, Bananas, Annie Hall, Manhattan, and Hannah And Her Sisters (among others) in the '70s and '80s. His films began to decline in prestige and commercial success in the 1990s; in fact audiences favoring his "early, funny" films were already a problem for him in The Eighties. Unfortunately, he also had a massive scandal in his personal life that overshadowed much of his earlier work — an affair with his long-time lover Mia Farrow's adopted daughter, Soon-Yi. Because he had known the girl since she was seven, it didn't matter very much that she was 22 at the time they married and that she was a legal adult when the relationship is believed to have begun, thus dogging him with jokes about pedophilia ever since. This ended his relationship with Farrow and also estranged him from one of their biological children in the aftermath. It didn't help that the real-life scandal caused audiences and critics to be more judgmental about his tendency to romantically pair his characters in films with ones played by very young actresses, although he's far from the only Hollywood offender there. Allen's films continued to decline, with several massive flops in the late '90s and 2000s, with minor bright spots in 2005's Match Point, 2008's Vicky Cristina Barcelona and 2011's Midnight in Paris. While he is prolific, with at least one new film each year since 1982, his glory days appear to be well behind him.
It doesn't help that Woody Allen came out and supported Roman Polanski after the famous director was arrested for drugging and raping a thirteen year-old girl.
While Roman Polanski is still generally acknowledged as a gifted artist, when he raped a thirteen year old girl and fled the country, a lot of people were appalled. It was, however, an extremely complex situation which also involved allegations of judicial misconduct, and there are many people who are going to reserve judgment until he actually comes back to America and faces the courts, as well as some die-hard fans who don't care. AND THAT IS ALL WE WILL SAY ABOUT THE CASE.
And now with the emergence of a certain petition, a lot of actors and directors might get this from their fans.
Even before the incident a lot of critics felt that Polanski had betrayed the promise of his earlier films and had been riding on his reputation for a while. While Chinatown was universally praised, Polanski only joined the project well into its development. His other early '70s movies (Macbeth, What?, The Tenant) were mostly commercial and critical flops.
Guy Ritchie's first film Lock, Stock & Two Smoking Barrels was an indie success and critical darling for its fresh, vibrant style. He followed up with Snatch, which was an even bigger success, but some critics complained that he was rehashing his previous film too much. In response, he remade Swept Away, and everyone hated it. When he returned to familiar territory with the crime caper Revolver, he tried to mix things up with a Xanatos Gambit and an AnviliciousAesop. The film was so poorly received that it didn't even see wide release in America. Ritchie then made Rock N Rolla in an obvious attempt to recapture the violent and irreverent underworld hijinks of his first two films. By this point, people seemed to have lost interest in his original style and the film tanked. His adaptation of Sherlock Holmes appears to have revived his fortunes, at least for now; it received mostly positive reviews, and was successful at the box office, grossing more than all of his previous films combined.
Fred Dekker directed two of the most well-known cult classics of the 1980s: The Monster Squad and Night of the Creeps. In 1991, he took on the job of writing the screenplay for and directing the much-maligned sequel RoboCop 3, effectively killing the RoboCop franchise in the U.S. for several years. Dekker stayed out of the limelight, and only stepped out of hiding more than a decade later to help produce the first season of Star Trek: Enterprise.
Lindsay Lohan had a decent start to her film career with remakes of The Parent Trap and Freaky Friday (2003), and seemed poised to transition well to young adult stardom with Mean Girls and A Prairie Home Companion. Immediately afterward, her reputation tanked hard thanks to drug addiction and numerous car crashes, plus a publicized letter during the making of Georgia Rule about her frequently showing up late to the set thanks to going out partying the night before. After seeming to hit rock bottom with the universally panned I Know Who Killed Me, Lohan went through rehab and publicly stated that she let success go to her head and she would try to maintain a better public image from now on. Then came her recurring role on Ugly Betty, where she reportedly acted like such a diva on set that the storyline was heavily rewritten just to get rid of her, though there are conflicting reports that say she left the show due to Creative Differences over the way her character was handled. In 2012, she appeared on Saturday Night Live, and though many watched the episode, critics gave mixed-to-negative reviews, noting that she didn't play a big role in the sketches. Her attempted comeback in the role of Elizabeth Taylor in the Lifetime movie Liz And Dick that year was also poorly received.
Joel Schumacher had some acclaimed films in The Eighties and The Nineties, such as The Lost Boys, St. Elmo's Fire, and Falling Down. Yet when he's the director chosen by Warner Bros to turn BatmanLighter and Softer... while Batman Forever made some money while dividing people, the dreadful Batman & Robin led him to picking lower budget films, most of which were failures (the critically acclaimed Tigerland and the critical and commercial hit Phone Booth being exceptions). The next big-budget film he directed, The Phantom of the Opera, met with popular approval, but critics denounced it as overproduced and badly directed. (The film was nominated for three Academy Awards, but not for Best Director or Best Picture.) It is too soon to tell if the Nicolas Cage/Nicole Kidman thriller Trespass will restore his career after such forgettable flops as The Number 23 and Twelve (but sinceTrespass got a video-on-demand release the same day as its (very) limited theatrical release and hit cinemas with a DVD date already set, probably not).
Director Tod Browning had a string of successful silent-film collaborations with Lon Chaney, and helmed the seminal talkie vampire film Dracula (1931), but after the initial disaster of Freaks, it was all downhill. However, Freaks has become Vindicated by History and is now considered an underrated classic.
The Wachowskis have been lurching dangerously towards this status over the last few years. After a modest start with Bound (which didn't do all that well at the box office but performed pretty nicely in the VHS market, no doubt due to the volume of Les Yay it featured) they hit it big with The Matrix, which many acclaimed for "revolutionizing" the action genre. Since then, it's been a gradual downwards slope. The Matrix Reloaded did pretty well at the box office, but there was a nagging feeling among viewers that it should have been a lot better, and later that year The Matrix Revolutions was widely slammed as being nigh-incomprehensible as well as being a poor conclusion to the series, and did only moderately well at the box office. V for Vendetta saw a brief return to form (although they didn't direct it), but since then it's been downhill all the way, as they helped to produce a butchered re-edit of The Invasion, had a major money loser with Speed Racer and their following production, Ninja Assassin sank without a trace at the box office. Reports of their next film being a "hard-R gay love story" between an Iraq war soldier and an Iraqi likely won't help gain fans back.
Williams has regained some measure of respect by returning to his roots with a number of well-recieved stand up specials.
Former Disney CEO Michael Eisner is often remembered now as a talentless, soul-sucking hack that "destroyed" the company built by Walt and Roy O. Disney. Few remember that the company had nearly been destroyed by Ron Miller's inept leadership in the early '80s, and that Eisner was brought in by Roy E. Disney after the first "Save Disney" campaign in 1984. Eisner took Disney to the major market force that exists today — returning it to higher-budget films, creating the Touchstone division for adult-oriented material, and pushing for the much-lauded Disney Renaissance that revived animated films after the false start of The Black Cauldron. He believed in Who Framed Roger Rabbit and brought new interest to the golden age of animation, while getting Disney into television animation (resulting in DuckTales, Darkwing Duck, TaleSpin, Gargoyles, etc.). But when Disney's president Frank Wells died in a helicopter crash just before the release of The Lion King in 1994, long-time studio chairman Jeffrey Katzenberg expected to be promoted to fill Wells' position. When Eisner refused and forced Katzenberg to resign, he left the studio to found Dreamworks, whose animation arm became a major competitor to Disney's. The promotion of Eisner's friend Michael Ovitz to the position was a disaster that upset most of the shareholders — even more so when he left the company with a $38 million dollar severance. Disney's new films, shows, and theme parks began to tank one after another in the late '90s and early 2000s — accused of becoming formulaic, obsessed with The Merch, and in the case of the parks outright lazy and cheap, while the old animated films were hit hard by Direct-to-VideoSequelitis. Eisner burned enough bridges that even Pixar was ready to end their long partnership. In the wake of this, Roy E. Disney resigned from the board of directors and started a second "Save Disney" campaign to get rid of Eisner, who resigned under extreme pressure in 2005. It wasn't all doom and gloom for both Disney and Eisner though — Disney under Bob Iger is slowly recovering, having rebuilt the bridges with Pixar and drawing positive attention from the public with threeparticularprojects, while Eisner's guest-hosting stint on The Charlie Rose Show not long after his ouster led to him getting a regular talk-show on CNBC; he continues to expand into Internet production and he bought the Topps baseball company.
Eisner was famous for being a control freak. Jerry Bruckheimer initially brought the CSI: Crime Scene Investigation franchise to ABC/Disney and Eisner rejected him. Eisner also reportedly hated LOST and wanted it canceled despite its success. Reports from the inside even say that Eisner was hard set against both LOST and Desperate Housewives, which were immense hits for ABC in 2004... while pushing his own project, which was basically "Stacy's Mom" by Fountains of Wayne as a sitcom.
After Signs, Mel Gibson decided to take a break from acting and focus on directing, eventually making the controversial but successful The Passion of the Christ and Apocalypto. But then his personal life made him a very hated person, with allegations of anti-Semitism and racism, and arrests for DUI and domestic violence. In 2010, he attempted an acting comeback with Edge of Darkness, which flopped. And then came the release of a series of recorded phone conversations with his ex-girlfriend, in which his lunatic behavior seems to have been cranked Up to Eleven. It's probably safe to say he'll never fully recover from this; he got kicked out of a cameo in The Hangover 2 after Zach Galifianakis raised holy hell, and The Beaver flopped despite being one of the most acclaimed unproduced scripts from the last couple decades. To make it worse, despite a promising trailer, his next movie, the domestic debut of his next movie, Get the Gringo, will not be theatrical, but on Direc TV's video-on-demand.
National Lampoon made a name for itself as a humor magazine spun off from the Harvard Lampoon. Their first film, Animal House, was an American classic and a huge box office successnote The film grossed $140M on a budget of just $3M. The National Lampoon name was a valuable commodity, and they licensed it out to other films. The success of the ''Vacation'' series only added to their clout. Then the magazine fell hard from its '70s peak, and they have since attached their name to a string of low-budget "teens behaving badly" productions: Senior Trip, Dorm Daze, and Van Wilder are relative highlights.
In the late '80s and early '90s, Luc Besson was an internationally acclaimed filmmaker whose movies The Big Blue, La Femme Nikita, The Professional and The Fifth Element continue to be popular with audiences and critics alike. Then he started focusing more on producing and writing increasingly panned French action movies such as the Taxi franchise, as well as anglophone movies that, while enjoying a certain amount of success overseas, were either ignored or panned by French critics. In later times, in spite of his successes with the adaptations of his own Arthur and the Invisibles trilogy, he is dismissed by most French critics as a once-talented sellout who writes and produces loud, dumb and cliché-ridden action movies.
John McTiernan was one of the biggest action directors of the late 1980s and early '90s with films such as Die Hard, Predator, and The Hunt for Red October. It was pretty hit or miss after that with Medicine Man and Last Action Hero both underperforming and getting mixed reviews. McTiernan made "good again" by returning to direct the third Die Hard film in 1995. Unfortunately, this was followed by the massive financial flop that was The 13th Warrior. The remake of The Thomas Crown Affair was McTiernan's last "real" hit. What followed was extremely harshly recieved (not only financially, but critically) remake of Rollerball. McTiernan's next film (and his final film to date), Basic, despite the presence of John Travolta and Samuel L. Jackson also received mostly negative reviews. After that, McTiernan was in the news more for his criminal conviction in the Anthony Pellicano wiretapping scandal than for his movies.
Richard Linklater was a critical darling and high in-demand director of films such as Dazed and Confused, School of Rock, Waking Life and Slacker and looked to be one who could never make a bad movie. Then he did an adaptation of the non-fiction book Fast Food Nation, changed the entire point of the book and turned it into one long Author Tract against eating meat. The film was a critical and box office disaster and Linklater has since had trouble getting distributors for his films.
Robert Zemeckis has fallen victim of this as of early 2011 with the spectacular failure of Mars Needs Moms. It's too early to tell if it may grind the performance capture movies Zemeckis was a champion of to a temporary halt (October's Tintin was a big success critically and commercially), but in the meantime, it has led to the closure of his studio. At least, this may prompt him to return to "traditional" movies...
Throughout the 1970s and 1980s, Burt Reynolds was one of the biggest movie stars in the world. However, by the start of the 1990s, he seemed to be more in the news for his personal life (such as his messy divorce from Loni Anderson and having to file for bankruptcy) than for his acting. Around this period, Reynolds transitioned himself into being a television star with the B.L. Stryker TV movies for ABC and the sitcom Evening Shade for CBS. Reynolds would resurface in the critically bashed buddy movie Cop & a Half. It wasn't until Reynolds' Oscar nominated turn in Boogie Nights that Reynolds regained some respectability, but even that didn't last too long.
Japanese directors Hideo Nakata and Takashi Shimizu were internationally acclaimed for their forays in the J-horror genre (Ringu for Nakata, Ju-on for Shimizu). Their acclaim was so good that they came to the United States to remake their own films. Nakata's The Ring Two made money but was critically panned (mostly for retreading the remake of the first film's events) and Nakata has struggled to gain back his momentum (an attempt at a comeback with Chatroom was a critical and commercial disaster). Shimizu's first American film The Grudge was a hit but its sequel was badly received and became a Creator Killer for him and its star, Amber Tamblyn. Nearly all of his post-The Grudge 2 projects have been complete disasters.
Vincent Gallo. After making a career as a supporting actor in films like The Funeral, he made his acclaimed directorial debut Buffalo 66. Then he made his infamous follow up The Brown Bunny, which led him to an unsuccessful war of words with critic Roger Ebert, who had previously supported his career. Since then, he has mostly been in tabloids for his extremely bizarre behaviour (e.g. trying to put a hex on Ebert), his truly venomous personality (e.g. criticizing Christina Ricci for her weight, unprovoked four years after working with her), his own claims of genius, and his vitriolic verbal tirades (e.g. calling Francis Ford Coppola "a fat pig", Sofia Coppola "a parasite" and Martin Scorsese "an egomaniac has been, who hasn't made a good film in twenty-five years"). While he still has a sizeable fanbase, even his most ardent supporters have come to accept that he is an unfortunate case of talent undone by ego. Nowadays, he is more likely to be known for inspiring the character of pretentious jerkass Billy Walsh in Entourage.
John Singleton started his career out with a bang with Boyz n the Hood, which was a box office hit and got him Academy Award nominations for Best Original Screenplay and Best Director (he was the youngest to be nominated for the latter). After a number of acclaimed films in the 1990s, the changing box office climate in the 2000s made Singleton a dinosaur and forced him into making for-hire projects such as 2 Fast 2 Furious. One of the big reasons for his downfall was that Paramount apparently screwed him over after he made a deal with them for Hustle And Flow, basically they promised him two independent films, but they made it all but impossible for those films to get made. The bottom fell out in 2007 when he was in a car accident that caused him to accidentally kill a man (he was acquitted though), which led him to become a pariah in Hollywood. His first post-accident project was the critically mauled Abduction. At this point, it's looking like he will never reach the fame and glory of his early days.
In film scoring, Hans Zimmer protege Klaus Badelt was a rising star in film scoring with his work in action films such as The Time Machine and Equilibrium, with his high point being the score in Pirates of the Caribbean: The Curse of the Black Pearl. Then a pair of high-profile flops (Catwoman and Poseidon) combined with the reveal that the majority of the Pirates of the Caribbean was really the work of Zimmer (Badelt simply taking credit) irrepairably destroyed his career. He's still around but as a lower-tier composer in Zimmer's canon, scoring mostly little-seen indies and straight-to-DVD films.
Warren Beatty was once a renowned actor/director, but that all changed when he made Town And Country which was both a Box Office Bomb and a flop with critics, the behind-the-scenes drama of the film (Beatty insisting on doing re-shoots of almost every scene, causing the film's budget to swell from 40 million to 80 million, quite a large amount for a romantic comedy) didn't help him either.
Ironically, at the start of the 1990s, Beatty had somewhat of a Career Resurrection with Dick Tracy (the most commercially successful film of his career) after the previous biggest flop of his career in 1987's Ishtar.
Spike Lee spent much of his career as a polarizing but successful director in Hollywood whose films usually tended to be well-reviewed and topical. Even when he missed, he still managed to recover with the next film. But the breaking point came in 2008 when his film Miracle At St Anna flopped and his Small Name, Big Ego became too much to handle for others (he had gotten in the news some time before its release criticizing Clint Eastwood for not featuring any black characters in Flags of Our Fathers when Eastwood was simply abiding by historical fact). Since then, Lee has mostly spent his time in television and documentaries but will likely never get the stature he once had in Hollywood and with audiences (Pariah, which he produced was acclaimed but little-seen while Red Hook Summer, which he directed was badly received at Sundance and did not get a distribution deal).
Roscoe "Fatty" Arbuckle was one of the top film comedian/director/producers in the beginning of the Golden Age of Hollywood. After a scandal in 1921 where a woman died of kidney failure at a party Arbuckle held, and (unsubstantiated) rumors kindled by the press formed that Arbuckle raped the girl while she was unconscious, crushing her under his weight, his good-guy image fell hard. Arbuckle, even while acquitted in court, had to resort to working under pseudonyms as a movie director for the rest of his life. Neither he nor his career ever fully recovered from the rumors, and the scandal was reportedly one of the catalysts of the passing of The Hays Code.
Following her breakthrough role in When Harry Met Sally, Meg Ryan starred in a string of successful romantic comedies and dramas over the course of the 1990s (perhaps most notably, her three films with Tom Hanks, the latter two, Sleepless In Seattle and You've Got Mail both grossed over $100 million at the domestic box office). However, Ryan's reported affair with her Proof of Life co-star Russell Crowe (while Ryan was still married albeit, separated to Dennis Quaid) did serious harm to Ryan's "good girl", "America's Sweetheart" image. Ryan gained further negative publicity while appearing on the UK talk show Parkinson while promoting the erotic thriller (and decidedly against type role) In the Cut. Ryan gave a few one-word answers, and after she acknowledged that she wasn't comfortable with the interview Michael Parkinson asked her what she would do if she were in his position now. She replied that she would "just wrap it up". Parkinson later revealed to the press that he felt her behaviour to his earlier guests, Trinny Woodall and Susannah Constantine, whom she turned her back on, was "unforgivable". Ryan also commented that Parkinson was a "nut" and said that she was "offended" by him as he was like a "disapproving father" in his tone. Ryan's ill-advised cosmetic procedures (which further diminished her girl next door appeal) also served as a major blow to her career. Following the 2004 boxing drama Against the Ropes (which flopped at the box office and was panned by critics for baring too much of a resemblance to other boxing movies, such as the Rocky series), Ryan didn't appear in another movie for three years. Ryan would resurface in the independent movie In the Land of Women and the direct-to-DVD movies The Deal and Mom's New Boyfriend. Ryan's next major theatrically released film, 2008's The Women received significant negative response from critics and holds only a 13% rating on Rotten Tomatoes. Ryan herself would also be nominated for a Worst Actress Razzie (alongside co-stars Annette Bening, Eva Mendes, Jada Pinkett Smith, and Debra Messing).
Orson Scott Card is also an excellent example of this trope in action. Between Ender’s Game, Speaker for the Dead, the early books of the Alvin Maker series, and even his work on games like Monkey Island, Card was easily one of the best sci-fi/fantasy authors of the '80s and early '90s. But he took a turn with the increasingly political and continuity-contradictory Ender's Shadow series and Advent Rising. Now Card can't seem to write anything without having to rehash his political views and run them smack dab into the plot as he did in Empire. His online non-fiction essays and blogosphere reaction to them also made his more controversial social and political views much more visible and hotly-debated, reaching a peak with an article (which he later back-pedalled from) that appeared to suggest that legalisation of gay marriage in the US would justify armed revolution against the government. Now just the mere mention of his name can cause problems, such as his work on the plot for Shadow Complex.
Then he rewroteHamlet and explained that Hamlet's father was a gay pedophile who was killed by Horatio because he molested him as a child. Oh and he, Laertes, Rosencrantz and Guildenstern all turned gay because of it. It ends with Hamlet damned him to Hell, where his father tells them now they can be together. This was initially published in an anthology, and then someone somehow decided that it should have wider release.
Anne Rice was a groundbreaking author (and partially responsible for creating the goth/vampire subculture.) Then in the early '90s, she started demanding Protection from Editors, and the quality of her writing took a sharp turn downward.
And then this. How many slippery slopes can one person go through anyway? In any case, people are still awaiting something to make up for the Amazon incident....
A while after she had all fanfics removed and banned from Fanfiction.net, even the harmless comedy ones, she also stopped feeding fodder to the people writing them; the GLBT community and yaoi fans, which made up a good chunk of her fandom at the time.
Martin Amis, possibly. After writing for a while, he struck it big with Money, and continued his success with books such as London Fields and The Information. Then came Yellow Dog, which despite being longlisted for the Man Booker Prize was reviewed extremely harshly (The Daily Telegraph even compared it to "your favourite uncle being caught in the playground masturbating"). He managed to recover some success with House of Meetings and The Pregnant Widow, but those also received mixed reviews and average sales. Time will tell if he manages to get his momentum back.
Transylvanian poet KAF (Kovacs Andras Ferenc) used to be a talented author, with some very good poems. He's still talented but for the past few years, his writing has been influenced by alcohol, and it shows.
Traviss' works started out with the hit Hard Contact, which is considered one of the best Clone Wars novels written, and then delivered the well received Triple Zero. But following these books, her bias towards Mandalorians and her demonizing of the Jedi left EU readers divided. Things only got worse with her contributions to Legacy of the Force, where she managed to kill off two beloved fan favorites in disappointing fashion, and delegating the main plot to the sideline to make way for the Mandalorians. Her abrasive attitude towards people who disagreed with her on Star Wars message boards gained her a sizable Hatedom. She has since left writing in the EU due to contractual reasons, but mentioning her is surefire Flamebait for some.
Karen Traviss wrote the second-last book of Legacy of the Force and Troy Denning wrote the last book of Legacy of the Force. Karen had Jaina learning new fighting techniques and other things from the Mandalorians in the second-last book. Troy, according to reviewers, did not show Jaina really applying what she had learned from the Mandalorians to her fights with her brother Jacen in the last book. It can be inferred from this that Troy did not like Karen treating the Mandalorians as important over everything else, that he was willing to mess up the story just to give her the finger, and that he considered her a Fallen Creator like everyone else.
In addition to Troy Denning, the writings in both Christie Golden's and Aaron Allston's works in the Fate of the Jedi series indicate that no love was lost between them and Karen after her departure.
An earlier example for Star Wars is Kevin J. Anderson. At the time of publication, his Jedi Academy Trilogy was well received, (plus creating a huge part of the EU), he was riding high on his Tales of the Jedi comics for Dark Horse, he was heavily involved in reference books such as The Illustrated Star Wars Universe and the original Essential Guide series and he edited the still-popular Tales From anthology collections. Cracks began to show when he wrote the divisive Dark Empire comics, which are allegedly George Lucas' favourite EU stories (for what it's worth) but included the notorious resurrection of Emperor Palpatine and Dark Side Luke. Then Michael A. Stackpole wrote I, Jedi, pointing out the MASSIVE number of problems with the JAT, and now Kevin J. doesn't write Star Wars books anymore. Dune fans can also be sent into frothing seizures at the mention of Anderson as well.
Yukio Mishima was one of the most prolific writer of post-WWII Japan, and was nominated three times for the Nobel Peace Prize in Literature. He also became his country's biggest embarrassment when he attempted to stage a coup with the Japan Self Defense Forces, then committed seppuku when this failed. Even though his writings and other creative works are still considered culturally significant, his death - and the faulty justification behind itnote Wanting to restore power to the emperor, even though Japan had since moved on. - left an ugly mark on his otherwise influential legacy.
Elton was at one point doing well as a novelist, Popcorn and Dead Famous in particular being both bestsellers and critically well-received; but he hit a low point in 2005 with The First Casualty which not only did not sell well and was panned in reviews, but also earned him a "Bad Sex Awards" nomination for the worst sex scene in fiction that year. None of his subsequent books have recovered his former success.
In 2011 Elton wrote and presented a stand-up / sketch comedy variety show in Australia, Ben Elton Live From Planet Earth which was heavily promoted as something of a comeback and intended to be a flagship for Channel Nine, the station it was airing on. Unfortunately for him, viewers and critics largely agreed that it was actually a contender for one of the worst shows of the year, it was widely pilloried as dated, unfunny and hackneyed, and hemorrhaged from 805,000 viewers to 233,000 over the first episode alone. It was eventually cancelled after three episodes, and it looks unlikely that Elton's going to be returning to the screen any time soon.
Verity Lambert was the producer who helped Doctor Who get under way, in no small part due to her disregarding the initial instructions given to her by the BBC. She enjoyed similar levels of success in her subsequent projects, and in the '70s and '80s was widely considered to be the top drama producer in the UK. Then, in the early 90s she produced the infamous soap opera flop Eldorado (you may recognise the name from an episode of Whose Line Is It Anyway?), which knocked her reputation quite badly. She still amassed a decent list of credits (including Jonathan Creek) between then and her death in 2007, but her reputation never really recovered to the phenomenal levels it had reached in the preceding decades.
Crossing Jordan did well for writer Tim Kring, but he garnered tons of notice after he made Heroes. There were many Lost-like shows then, but Heroes not only become a popular phenomenon on its own but actually became more popular than Lost was by that point. It even got a Emmy nomination for Best Drama Series, rare for a sci-fi show. His popularity didn't decline with season 2, because the well-known writers' strike made whatever plans they'd had impossible, and he apologized for the season's flaws and promised to do better. Then came the universally-derided third season. Now critics and fans alike frequently say that the only way the show could improve would be if Tim Kring left, turning him from "the next JJ Abrams!" to a complete laughing stock.
With the show's cancellation, fans seem pretty convinced that it was actually Bryan Fuller who was responsible for the show's initial greatness, and that Tim Kring is a "nice idea, shame about the execution" kind of writer. Still, considering that Kring's early career was spent writing stuff like Teen Wolf 2, he can probably be proud that he gained any sort of reputation to squander in the first place.
Not helping was an interview where he throws blame around with reckless abandon as to why the ratings were drying up, not saving any of it for himself. He also said that his initial "apology" was taken out of context and he's never felt the need to actually apologize for any part of the series.
And there was also the infamous "saps and dipshits" comment Kring made at a screenwriting con, when he claimed that DVR was ruining serialized shows like Heroes. Given that these comments came at a time when the suckage of Season 3 was hitting fans full-force, nobody was inclined to read his comments very charitably.
"The engine that drove [serialized TV] was you had to be in front of the TV [when it aired]. Now you can watch it when you want, where you want, how you want to watch it, and almost all of those ways are superior to watching it on air. So [watching it] on air is related to the saps and the dipshits who can't figure out how to watch it in a superior way."
Bruce Kalish went through this so fast among Power Rangers fans it borders on Mood Whiplash. The first season he produced was SPD, which was received well by fans (though it had quite a few holes that didn't escape notice, while not ruining the show for most). The next that he did was Mystic Force which... wasn't. After that, he produced Operation Overdrive, which is one of the three considered the worst of the show's entire run, alongside ''Turbo'' and ''Wild Force''. Jungle Fury was a little better, but now most fans consider his entire four-year run of the show a Dork Age for the series, and blame him for its near-cancellation (though Screwed by the Network actually carries equal responsibility).
Bryan Elsley, the creator of Skins, was once the favored writer among the Skins fandom. Lately, though, he has seen his star fall as a result of the utter failure of the American adaptation of Skins, which he helmed. (In addition to losing most of its advertisers thanks to Moral Guardians, the show had low ratings and was slammed by critics.) He particularly upset LGBT viewers, a group he had won over in large numbers with his treatment of the Naomi/Emily pairing in the British version, by playing the Bait-and-Switch Lesbians game with Tea in the US version. By contrast, Jamie Brittain, who used to be disliked due to his love of Shocking Swerves, has done a fairly good job with the new generation on the British show and has seen his popularity increase as a result. With Brittain's departure from the British version and Elsley's return to it with the US remake's cancellation, this has only increased as the sixth UK series has Jumped the Shark in the eyes of most fans, largely due to Brittain's and Elsley's competing visions for the Generation 3 characters.
Michael Jackson was big in the 1970s, successfully building a solo career from his initial success with the Jackson 5/Jacksons, and then became huge with 1982's Thriller, especially when the three music videos derived from it refined and defined many tropes of the format. He was the biggest celebrity in the world for the remainder of the 1980s, and his next two solo albums were big hits as were most of his side projects; even his Pepsi commercials were events. He had a reputation for eccentricity, plastic surgery, and ego, but also for delivering great entertainment. Then in 1993, he was accused of child molestation and settled out of court. Nothing was the same for him after this, in part because he had cultivated an image as a friend to children — he became "freakish" rather than "eccentric" (not helped by his increasingly Uncanny Valley appearance). The resultant Creator Breakdown resulted in 1995's HIStory, which let many critics and listeners down in the wake of its massive hype. Jackson didn't release another album of all-original work (Invincible) until 2001, and he was so unhappy with its sales (which weren't bad, but not close to his old numbers) that he accused his label of racially-motivated sabotage in its promotion. Things went From Bad to Worse with a second round of child molestation charges resulting in a trial over 2003-05; he was found not guilty. Nothing of artistic note followed until he announced a series of London farewell concerts over 2009-10. These might have returned him to glory, but he died of an overdose of medication in June 2009 before a single show was performed. The upshot was that suddenly there were "King of Pop" tributes everywhere, with nary a critical word spoken. From The Onion's point of view, death was the only normal thing to happen to a star whose abusive childhood paved the way for a deeply disturbed adulthood.
As a teenage idol, Britney Spears used to be known for her sexy schoolgirl look and sexier music that led her to international superstardom. As an adult, her musical success has been eclipsed by the breakdown of her mental health and personal life (04-08). Most notable were her surprise late-night Vegas marriage to a childhood friend, the subsequent annulment 56 hours later, her equally sudden marriage to one of her stage dancers, her even more sudden decision to divorce said second husband, several failed trips through rehab, shaving her head and attacking nearby paparazzi with her umbrella, losing custody of her children over her behavior and her rumored drug abuse, an MTV Video Music Awards performance in which she appeared terrified, supposedly out of shape, and unable to perform, and eventually being legally declared a conservatee of the state and placed under the care of her father and her attorney. Yet despite all this, her albums can still sell well. She has since made a successful Career Resurrection. Top selling tours, number one singles, outrageous first day plays, critical acclaim. Just to name a few. (2008-2011+)
MC Hammer was once the biggest rap star on earth ("Please Hammer Don't Hurt 'Em" went 11x platinum and was at the top of the charts for 21 weeks), but after going bankrupt he fell harder than Michael Jackson ever did.
Couldn't the same thing also been said for Vanilla Ice as well?
AFI is a case of this to some. They started out as nothing remarkable - an ultra-fast hardcore punk revivalist band with a funny sounding singer and a weird sense of humour. Over time, they incorporated more horror punk style with a big Gothic lyrical streak, but still playing fast and loud. This is commonly considered to be when they became something great and original. They then released "Sing The Sorrow", which was actually well-received by fans, but was also slower and more pop-oriented. It was also a commercial hit. After that, "Decemberunderground" was more new wave, with the exception of several songs that demonstrated that AFI was now incapable of writing a good loud fast song. Then they followed that up with a terminally boring "Crash Love".
Roger Waters of Pink Floyd became this after The Wall, and especially during The Final Cut, when he wrote all of the songs for that album, and the recording sessions for the album were so fraught with tension that David Gilmour requested to have his name removed from the producer's credits. Waters would quit the band in 1985, calling it "a spent force", and tried to sue his former bandmates to prevent them from using the Pink Floyd name, but he lost, though he did retain exclusive rights to The Wall, save for three songs that were co-written with Gilmour. Despite this image damage and solo albums that made a fraction of the impact of the Gilmour-led Floyd, in the 21st century Waters found success again, with Pink Floyd's reunion concert, solo tours inspired by The Dark Side of the Moon and The Wall, and the debut of Ça Ira, an opera written by him (!).
The Spice Girls were top of the pops after the success of their debut single "Wannabe" in 1996: critical success, shedloads of awards, two platinum-selling albums, a sell-out tour and a movie that was a hit at the box office, as well as advertising deals for everything from cameras to lollipops. Then in 1998 Geri Halliwell left the group citing "differences" with the other girls. This fuelled tabloid speculation and led to backlash against the surviving band members (encouraged by similar rumours the previous year when they had fired their manager.) Her departure threw a spanner in the works of their recording and tour plans, forcing them to take a hiatus. Two of the "girls" got pregnant and wanted time off, Victoria became better known for her relationship with David Beckham than as a performer and Melanie C, claimed by some of the more cynical to be the only talented member of the group, became desperate to work as a solo artist. Their next album was a flop and they faded into the distance, although an official split was never announced. In 2007-2008 they had a successful reunion tour, but their new music was again poorly received. Victoria and Mel B, in particular, have begun to get bad reactions for events in their personal lives.
Metallica pioneered the sound of heavy metal in America, selling out concerts without radio airplay and generally known for their rebel personas (who had special sections in their concerts for bootleggers to come and record the shows). Then they released Metallica (what we all call "the Black Album"). Not a bad album, but it made some of their old fans disappointed. Produced by Bob (Mötley Crüe) Rock, it lacked their traditional complex song structures and depth, and sounded like Metallica-lite. Then they went and dropped Load (no pun intended) on their fans in 1996, which sounded like some of the heavy grunge bands that had been popular for a couple of years by that point, only a bad version of grunge. Of course the guys in Metallica claimed that they weren't listening to any of that type of music and the album reflected their personal tastes. Not long after that, during the days of Napster, the rebels revealed their Digital Piracy Is Evil crusade, finally alienating most of their original fans. They followed up Load with a little album called St. Anger in 2003, an album widely hated by the fanbase, and one that even the band doesn't care much for. But then came Death Magnetic, widely considered a return to form - despite the Unpleasable Fanbase not being fully satisfied, and a nasty case of the squish. Death Magnetic was followed by Lulu, a joint project with Lou Reed consisting of off-the-wall 'avant guarde' rock and noise. If the idea sounds nutty to you, you're not alone. Critical opinion ranged from underwhelming to horrified, with Pitchfork Media giving a rare 1/10 rating, and the fans were far less kind. Lou Reed said in an interview he made the album for fun and not to appeal to anyone, while Lars Ulrich compared the change in style to the band's acoustic turns on the critically acclaimed Ride The Lightning, suggesting that listeners would grow to like it.
A literal example: Matthew Good. After breaking out on Underdogs, his band (the Matthew Good Band) was selling out shows across Canada. Their website was one of the pioneers in bands interacting with fans directly, as well as marking Good as a wacky-as-fuck singer with his "manifestos." Their third album, Beautiful Midnight, raised them to superstar status in 1999. Then, things began to fall apart rapidly, at first with Beautiful Midnight's heavily-delayed release in the States (partly due to actual label demands, mostly due to Good's Jerkass antics) to 2001. Then came The Audio of Being, released the same year which broke apart the band (disbanding shortly after release). Good recovered slightly, getting married the following year. However, his first solo effort, Avalanche, released just before the Iraq War was to begin, was too political for its own good (though sounded incredibly great). He became more politically agitated online as well, losing fans due to his preaching against the American military-industrial complex. The follow-up album, White Light Rock and Roll Review in 2004, was a mediocre album at best, an inconsistent blather with odd dabblings of country at worst. Then, after a greatest-hits release in 2005, several things happened to him, all almost at once: his wife divorced him (after cheating on him), he developed an addiction to painkillers, and he gets diagnosed with bipolar disorder. He still manages to write an album while in the psych ward, at his absolute lowest. The result, Hospital Music, seemed like something only a woobie could write and record. He has recovered since though, in part due to the album's success and an unlikely successful American tour. This recovery was cemented with Vancouver (the album, not the city) in 2009 which, despite being angrier, was more interested in social justice than American politics, and sounded much more consistent, and a return to form from the MGB days.
It's hard to believe now, but when The Knack debuted with Get The Knack in 1979, some people seriously called them "The New Beatles," partially because Capitol Records encouraged this idea with its Meet The Beatles-like packaging of the group. The hype was somewhat justified, as the album was pretty good power-pop. But they followed Get The Knack up with ...But The Little Girls Understand, perhaps the worst second album in rock history. After one more flop album, the band broke up and is now known to most people only as the band that did "My Sharona."
Sepultura, who once made brilliant albums like Beneath The Remains have gone a long way from that and developed a Broken Base with their next material.
Anthrax enjoyed massive success in their early years, becoming one of the "Big Four" 1980s thrash metal bands alongside Metallica, Megadeth, and Slayer. Their chunky, mosh-oriented riffs, quirky sense of humor, and two excellent vocalists in the form of Neil Turbin on their first album and the famous Joey Belladonna on their next three, have made their earlier material undisputed metal classics. But then grunge got big, Belladonna was fired in favor of the terminally bland John Bush, and Anthrax quit making thrash in favor of tepid '90s wannabe grunge. Fans deserted them in droves. In 2005 Joey Belladonna rejoined the band, Anthrax went on a dynamite world tour, and the fire seemed to be lit again, but relations fell apart in 2007 and Belladonna left. Anthrax went back to their forgettable '90s selves. Belladonna later came back to Anthrax and the band have announced a new album. Time will tell if they can make a comeback on the same level as the excellent new albums from Megadeth and Overkill.
Christina Aguilera is headed in this direction after a bad 2010 — Bionic undersold, Burlesque hasn't yet broke even and she's been plagued by divorce and cheating rumours. General disinterest from the public (due in part to the rise of Lady Gaga) and long delays in releasing her albums clearly took a toll, and flubbing the lyrics of "The Star-Spangled Banner" at the 2011 Super Bowl just make matters worse.
However, she seems to be making somewhat of a comeback with The Voice.
Lauryn Hill was already an established act with the hip-hop group the Fugees when she released her commercially and critically successful solo album The Miseducation of Lauryn Hill (which won five Grammys including Album of the Year). However, about a year or two later, Hill had disappeared from the public eye. This was due in part to her displeasure with fame and the music industry. Hill briefly resurfaced with an "unpluggged" live album and a short-lived reunion with the Fugees (which in itself, ended badly due in large part to Hill's chronic tardiness and diva behavior). Also, by this time, Hill was in the news more for her controversial criticism of the Vatican (in reference to the molestation of boys by Catholic priests) than her music.
Results May Vary seems to be a case of Critical Dissonance; it actually did mange to go platinum and fans seemed to like the album a lot more than critics did. And they're now experiencing a Career Resurrection, as Gold Cobra was by far their most critically acclaimed work.
Common consensus is that the four members of The Beatles never managed to hit the same heights in their solo careers as that they did in a group. It's generally argued that John Lennon and Paul McCartney particularly benefited from the other's strengths offsetting their respective weaknesses. After several years of solo releases of mixed critical and commercial success Lennon eventually retreated from the limelight for five years while McCartney's work — although often commercially successful — was generally dismissed by the critics. Of the other two, George Harrison had the most successful post-Beatles solo album (All Things Must Pass) — unfortunately, that was his first solo album, and he never really recovered the critical and commercial success in his later albums. And to be generous to Ringo Starr, great things were never really expected of him compared to the other three, so while he had his successes he was never really in the same league.
Milli Vanilli's debut album went sextuple platinum in the US alone. Then it was discovered that the two guys fronting it never actually sang anything and were lip-synching at live performances. This blew up in their faces and things quickly went downhill from there.
Many of the Chinese pop stars who made it big in the 1990s have fallen into obscurity or disgrace thanks to a combination of drug abuse, suicide, criminal activity, and failure to consistently produce hits.
Billy Squier was one of the biggest Hard Rock stars of the early 1980s, selling himself on a "tough guy" persona. The video for "Rock Me Tonite," a So Bad, It's Good video featuring Squier dancing in a pink tank top, completely destroyed this image and caused a major blow to his career. He would still have moderate success throughout the rest of the decade, but even he admits that the video killed any chances of being as big as, say, Queen.
Nelly was once one of the most popular rap stars in the world, with his first three albums going platinum (the third one, a double album, sold six million units) and giving rise to the St. Louis rap movement. Then, his fourth album went through constant delays and had a chaotic production with several producers having different ideas on how to do it. After finally being released to weak reviews and sales, his star largely derailed with only his hometown fanbase sticking to him. A 2011 attempt at a comeback hasn't fared much better despite slightly better sales.
You can argue that the infamous "Tip Drill" video set things in motion for Nelly's supposed "Fallen Creator" status. It at the very least, alienated a good portion of Nelly's female fanbase.
Coolio was one of the most successful rappers in the 1990s (especially in 1995), with hits like "Fantastic Voyage" and especially, "Gangsta's Paradise", which reach to number one on the mainstream charts and earned Coolio a Grammy. Coolio even popped up on Nickelodeon to provide the theme song to Kenan and Kel. The start of Coolio's "fall" was his feud with "Weird Al" Yankovic over Al's spoof song of "Gangsta's Paradise" called "Amish Paradise". However, what really did Coolio in was when his album My Soul fell just short of the top 50 on the Billboard charts (which caused his record label to drop him). It didn't help that Coolio didn't release another album for about another five years.
Though it can be stretch to completely call him "fallen", Elton John somewhat fits this trope, too. Elton recieved great critical acclaim for early works such as Tumbleweed Connection, Madman Across The Water and Honky Chateau. The next few years, despite some Critical Dissonance, gained him a Beatles-like popularity with albums such as Don't Shoot Me (I'm Only The Piano Player) and Goodbye Yellow Brick Road. His singles were all over the radio, he sold out countless concerts (where he demonstrated a flamboyant showmanship (and use of colorful costumes and glasses). He was even something of a Teen Idol. He hobnobbed with Ringo Starr, John Lennon and Billie Jean King, and in 1975 recieved a star on the Hollywood Walk Of Fame. His downfall came in 1976, when an exhausted Elton revealed his bisexuality in a Rolling Stone magazine interview, which cost him many fans in Middle America. After he announced his (short-lived) retirement from the road in 1977, and separated from his longtime lyricist Bernie Taupin a year later (Taupin would return full-time in 1983), sales dwindled, and apart from various comebacks in the next few decades, his career hasn't seen either the same critical acclaim or commercial success as he had in his peak until 2011, when the duets album The Union with Leon Russell gave Elton his best reviews and album sales in 35 years, and putting him in the direction of a full fledged Career Resurrection.
Jermaine Dupri was one of the most notable record producers in the R&B world, helping launch the careers of Usher and Jay-Z while also producing many notable albums in the late 1990's and early 2000's and helping Mariah Carey have a Career Resurrection. However since 2008 he's been relatively silent with his status having dropped severely since his golden days, with the likely culprit being the Troubled Production of fellow fallen creator Nelly's Brass Knuckles (in which all but one of his songs was thrown out before release). The one song also barely charted.
Gary Glitter. It goes without saying that if you want to maintain your career as a game-changer in the field of rock n' roll, then don't commit a severe sexual offence. From The Seventies to the early '90s, Glitter had spent a combined three and a half years on the chart and was one of the most influential names in rock music. Then, a search of his computer by a PC World repairman turned up thousands of pictures of child pornography. Understandably, he was mauled by the media, saw his music used less commonly at sporting events note For example, his music was banned by the NHL at hockey games and his appearances cut out of films, and was rejected by the British public. This is prominently reflected in the events surrounding On, his last album, less than three years after his conviction. It generated controversy simply by existing—the British Phonographic Industry had to release a statement claiming that it Glitter was allowed to make it. He had to sell it himself, as no distributors would issue it, or anything else of his. It sold 5,000 copies worldwide before going out of print.
Rock & roll pioneer Chuck Berry enjoyed one last top 40 hit with 1972's "My Ding-a-Ling". However, Berry perhaps didn't help himself by shortly thereafter, stopping recording and strictly doing the oldies circuit (with a different backing band each night because he didn't want to hire anyone full time and figured everyone knew his songs). Ironically, Peter Tosh's cover of "Johnny B. Good" stormed the charts in 1983, two years prior to the smash success of Back to the Future. Unfortunately, since this time, Berry himself, received negative publicity for being caught filming women using the toilets in his St. Louis eatery.
After dropping three consecutive Platinum albums from 1996-1998 and then two more that went Gold, Master P dropped off the radar. An attempt to rebrand his No Limit record company didn't do much to bring Master P back to relevance. Master P's involvement with World Championship Wrestling and the rise of the more polished Cash Money label put a damper on his sales.
Scott Adams, creator of Dilbert, after a screed he posted against the "men's rights" movement in 3/11 went viral, in which he essentially said that he agreed with them on every point, but they should "man up" and stop complaining, because women get special treatment for the same reason as the mentally disabled. It didn't help him when he deleted it, or when he was exposed for defending himself with sock puppets, and it really didn't help when he posted an article a few months later saying that a number of "men behaving badly" stories in the news was due to society suppressing male nature - including the rape allegations against Dominique Strauss-Kahn and Julian Assange. He fairly clearly condemns rape, but the juxtaposition was enough for some, as well as his assertion that female urges were "encouraged."
DC Simpson, creator of Ozy and Millie. Quite a few things have contributed to this. Ozy and Millie was nearly mainstream, and received some notable press for a webcomic. Things got shaky with her fans beginning with Raine Dog, which was heavily criticized for its heavy-handed political content, with the blue dog standing in for "Blue State" Democrats at one point. Then it got stranger with a page depicting Raine making out with a young boy, which caused far too many Unfortunate Implications for fans to get behind it. As the result of one message board's negative response to her comic, Simpson disowned the board. Not much has happened in regard to Simpson after her Vaporware attempt at a syndicated comic, Girl, which was better received than Raine Dog, but still heavily criticized due to the fact that many of the jokes were recycled from Ozy and Millie, and fans opined that the recycled gags were far funnier in the context of Ozy and Millie and made less sense in the context of Girl (specifically, that the new strip had no context for the jokes, being that it was intended for syndication).
Hulk Hogan was once the single most dominant personality in the whole of Professional Wrestling, and one of the most financially successful. His All American Face role model status was permanently tarnished in The Nineties by a steroid scandal and his clumsy attempts at outright denial. His attempts to play Superman to the more traditional, heel-oriented WCW audience pegged him as a Creator's Pet until a well-timed Face-Heel Turn. His post-WCW appearances have typically led to one strong nostalgia-based TV or PPV number, and disappointing returns afterwards (and his non-WWE appearances didn't even have that one strong number). His attempts at branching out into acting went nowhere. Then the personal issues came: his son Nick was involved in a high-profile street racing accident, with a passenger in a vegetative state, Hogan himself was caught on tape claiming it was all a God-given punishment to the passenger, which the TMZ crowd did not like one bit; and a nasty divorce followed, with both sides airing their dirty laundry in public. Hogan's later attempts at a comeback with rival TNA haven't generateddidn't generate any significant interest, and an attempt at a revival of the Monday Night Wars almost cost them their TV slot. The divorce and the legal settlement from the car wreck have left him with a negative net worth, and the damage done to his back by years of bumping, heavy weightlifting, and steroid abuse have more or less finished him as an active wrestler. His following attempts at staying relevant include TenMinuteRetirements, protein powder multi-level-marketing schemes, making an ass of himself on Twitter on a regular basis, and lending his name to a midget wrestling TV show.
Ric Flair is like the "only less so" version of Hogan. His reputation as one of the best wrestlers in the business by and large kept the disintegration of his family out of the public eye (in particular, his then-wife accused him of abusing steroids, hitting her, and exposing himself to other women; the latter has been a backstage trademark of his for some years if other accounts are to be believed), as did his position as a dignified WWE elder statesman. After being given an incredible send-off in 2008 for a retirement match against Shawn Michaels, Flair ultimately had to sever his WWE contract in order to make enough money on outside projects to cover his back taxes (he's had IRS issues going back to the '70s) and his alimony. He was a partner-in-crime on Hogan's failed Australia tour, and ended up following him to TNA, with little or no impact on ratings, buyrates, or house show attendance. His return from retirement has acquired him a significant hatedom in the wrestling fandom, since his retirement show was so emotional. This article shows how far he's fallen money-wise. The absolute low point was a money dispute with Highspots.com (over him putting up a NWA title belt as collateral for a loan without mentioning there was a lien on it for another outstanding debt) that threatened to land him in jail.
In 1998, Vince Russo was one of the best bookers and storyline writers in the Wrestling Industry. After co-masterminding the Attitude Era with Vince McMahon and with input from several other writers, Russo was an important part of a creative team that snatched victory from the jaws of defeat in the Monday Night Wars. Unfortunately, when his contract expired in 1999, Russo jumped ship to WCW, where he almost single-handedly killed the entire company. According to The Death of WCW, during the time Russo worked for the WWF he would bounce ideas off of McMahon, who would decide whether or not to use them. In WCW, he was given free reign to do whatever he wanted, which didn't work out. With Russo's ridiculous storylines used in a company that was famous for being very traditional when it came to wrestling, the massive mismanagement of money by Eric Bischoff, and older stars like Hulk Hogan, Kevin Nash, and Scott Steiner outright refusing to put over new talent, Russo's arrival, which was supposed to herald WCW's return to form, instead set about pounding in the final nail in WCW's coffin. Being part of the writing/booking team at TNA until October 2011, it appears that Russo has yet to learn his lesson.
Verne Gagne was a ten time World Champion and his American Wresting Association (AWA) promotion was at the very least, one of the "Big Three" promotions from the 1960s-first half of the 1980s (alongside the National Wrestling Alliance and World Wrestling Federation). The Minneapolis based AWA was one of the most successful and expansive single territories in the country. More to the point, the AWA at its peak, featured a virtual "who's who" of wrestling. One of these notables was Hulk Hogan, who went to the AWA after ending his heel run in New York and becoming a successful superstar in New Japan Pro Wrestling. As Vince McMahon, Jr. was expanding the WWF and raiding the AWA's talent (including Hulk Hogan, who immediately became "The Chosen One"), Gagne stubbornly refused to change with the times (i.e. adapt to a more "sports-entertainment" type promotion). Gagne seemed to think that what worked in the '70s could still work in the '80s. By late 1987, the AWA was running on fumes (even though they landed a national cable TV deal with ESPN, they were still losing talent left and right to the WWF, including then World Champion, Curt Hennig) and had to align themselves with World Class out of Dallas and the CWA out of Memphis. This culminated with the AWA's first and only stab at pay-per-view called Super Clash III. Gagne burned his bridges with the other promotions when it was revealed that the wrestlers were literally, working for free. Jerry Lawler refused to defend the AWA World Title until he got the payout from Super Clash III. Instead, Lawler was "stripped" of the belt and the next champion was Gagne's real life son-in-law Larry Zbyszko. With the AWA sinking further and further in irrelevancy, they threw a Hail-Mary called the "Team Challenge Series", which backfired (and is generally regarded as one of the most embarrassing, poorly executed and desperate angles in wrestling history). Not too surprisingly, the AWA was forced to shut down by the end of 1990. It got even worse for Verne Gagne however. In 2009, Gagne, who by this time in his life, had been suffering from Alzheimer's disease, accidentally killed a 97 year old man in memory-loss section of a Bloomington, Minnesota health care facility. Meanwhile, Verne's granddaughter Gail (Greg's daughter) had a warrant issued for her arrest for criminal sexual conduct with a then 16 year-old St. Paul, MN high school student when she was a teacher there.
Here's a great blog chronicling the sad decline of the AWA.
Scott Hall: He gained mainstream success as Razor Ramon in the WWF, and in WCW, as one of The Outsiders (alongside Kevin Nash) as members of the New World Order. And then his personal issues reared its ugly head (his struggles with alcoholism being the most prominent). These still affect him to this day.
Before Scott Hall, there was Jake "The Snake" Roberts, who became more known for his struggles with drugs and alcoholism (climaxing in Jake's appearance in the 1999 documentary Beyond the Mat) then his wrestling accomplishments.
The Ultimate Warrior: The fact that WWE went as far as to produce a DVD (called The Self-Destruction of The Ultimate Warrior) that totally buried one of their biggest stars of the late '80s-early '90s is enough evidence. Most of the things the DVD makes fun of are actually the things that made the Warrior stand out and become a star in the first place. Warrior's Fallen Creator status more than likely comes from his repeated entrances and exits over the years, his general batshit-craziness, and his homophobic comments in the following years.
Vince McMahon and WWE in general would be a highly contentious example. Attempts to branch out into other forms of entertainment have continuously failed over the years, to where announcements of a new "media venture" of any kind are enough to make the stockholders start banging their heads against the wall. Despite strong international growth, there's a feeling among wrestling reporters and even in the company itself that the product isn't connecting with the American viewerbase (outside of children, explaining much about the hated "TV-PG" push), with domestic PPV buys at their lowest since the early '90s. Of the scores of performer deaths between the product's first expansion in 1984 and today, many of them have been shown to be related to the use of performance enhancing drugs; WWE's "Wellness Policy" has no credibility with the public and doesn't explain why that many people in a fake sport feel driven to use the drugs in the first place (or why the company's 66-year-old CEO, who is a featured performer and isn't tested, has a physique putting most 30-year-olds to shame). The only reason the company managed to avoid the Congressional bitch-slapping that MLB got is that even elected officials don't take wrestling seriously.
During the 1980s, "Cowboy" Bill Watts headed up Mid-South Wrestling (later the Universal Wrestling Federation or UWF). Watts' promotion (which regularly sold out the New Orleans Superdome and was renowed for its well booked and entertaining storylines) gave wrestlers such as the Junkyard Dog, "Hacksaw" Jim Duggan, and Ted Dibiase their first taste of national exposure. Unfortunately, things went sour for Mid-South when the once lucrative oil market collasped. After selling out to Jim Crockett Promotions (the forerunner to World Championship Wrestling) around 1987, Watts took a lengthy hiatus from the industry. Watts would reemerge in 1992 to take over as the Executive Vice President of WCW. However, it became quite apparent how out of touch Watts became. He banned off the top rope moves (which in essence, killed the cruiserweight division), cut the wrestlers' pay, banned catering and wives and families backstage at live events, removed the protective padding at ringside (thus, making for a more hazardous working enviroment), and forced the wrestlers to stay at the events from start to finish regardless. Despite rumors and allegations throughout the years of him being racist, Watts booked African American Ron Simmons to become World Heavyweight Champion. Unfortunately, Simmons didn't exactly set the world on fire during his championship run (mostly due to Simmons lacking in the charisma department and being booked in matches against life-long midcarders like the Barbarian). Worst of all, Watts in his position of power (just like Verne Gagne did with his son Greg), had his son Eric be pushed to the moon despite being incredibly green (or unprepared/not fully trained) and bland. Ratings and attendance fell into the toilet. The final straw for Watts was an interview he did for the Pro Wrestling Torch (ironically, before he was even hired), in which he went off on a libertarian rant, defending the actions of Lester Maddox (a Southern restaurant owner who closed his establishment rather than sell food to blacks), defended slavery as the best thing that ever happened to the black race (in the sense of them being transported to North America, where their descendants could live better than in Africa), and made liberal use of the word "fag". This obviously, didn't sit too well with the folks over at Turner Broadcasting (among them, baseball legend Hank Aaron) and Watts quit before he could be fired.
By the later half of the 1980s, Jim Crockett Promotions (the Charlotte, North Carolina based faction of the National Wrestling Alliance or NWA) was undoubtably at the very least, the number two biggest wresting promotion in America behind the WWF. In 1985, JCP landed the coveted Saturday evening spot on TBS (ironically, replacing the WWF). Unlike the more cartoonish, kid-friendly WWF product under Vince McMahon, Jim Crockett Promotions was the more "PG-13" product that was more grounded in athleticism rather than one-sided squash matches from the former. Attempting to keep up with Vince McMahon, Jim Crockett made several key mistakes. Crockett burned out his main booker, Dusty Rhodes, who kept the same talent on top for far too long, protecting them with non-decisive "Dusty Finishes" (in which the babyface is initially thought to have won the match only to have it reversed at the last minute), he flew himself and his superstars across the country in private jets, he booked Starrcade '87 (JCP's version of WrestleMania) and the 1988 Bunkhouse Stampede in areas which had no real history with his product (Chicago and Long Island, New York respectively, where they inevitably bombed at the gate), and he had the company make an expensive move to Dallas, Texas (feeling that the company would have been better represented in a Top Ten media market). The 1987 purchase of the Bill Watts-led UWF led to a very large cash outflow, as the UWF's television outlets were essentially paid programming. His attempts to expand his business into pay-per-view were troubled by the stale television product and counter-programming from the WWF (the first Survivor Series and the first Royal Rumble aired directly against Crockett shows; Crockett struck back with the first ever Clash of the Champions airing on TBS against WrestleMania IV, but the cable companies put a stop to it happening even further). By the start of 1988, the traditional Carolinas markets were weak, markets outside the Carolinas were effectively dead, and Crockett was taking out one and two million dollar loans every week in order to meet his expenses. Later in the year however, TBS founder, Ted Turner (who always had a fondness in his heart for wrestling, because it was really the first big TV show on his network dating back to the early '70s) purchased what would become World Championship Wrestling (which was the name of the Saturday night TBS program) for about $9 million. Crockett and Rhodes were very harshly judged by wrestlers and wrestling fans alike for a long time, although the more business-savvy ones are willing to point out that a small regional wrestling company wasn't going to survive the business changes in the early '90s either way.
Matt Hardy has been on a downward spiral since his release from WWE in 2010. Originally, fans were sympathetic towards Matt, what with him formerly being released from the company after the blowout over his girlfriend Lita having an affair with Edge, and his younger brother Jeff (who himself is a Base Breaker with the IWC) consistently getting better pushes with the company. This changed however over the years. While both he and his brothers have had real life problems with drugs, Matt has done nothing to repair his reputation by becoming an Internet Tough Guy. His brief stint in TNA saw him suspended, and then fired for various DU Is. And then he faked a suicide note all so he could get more attention and boost his followers on twitter. Unfortunately for Matt, this very stunt may have effectively blacklisted him from both TNA and WWE.
Howard Stern: For years, favorite targets of Howard Stern's ridicule included the obscenely rich, extreme political activists, famous people coerced by their spouses into promoting their attempts at also being famous, those that remarried people much younger than them, other celebrities he perceived as lazy or undeserving of their fortune and fame, and entertainers that stayed in their chosen profession much longer than they should have. Now Howard is in his late 50s, has completed a 5-year 500 million dollar radio contract (only to be awarded another multi-year multi-hundred million dollar contract), and has a second wife (19 years his junior) who constantly promotes various silly animal charities and seems to be trying very hard to use Howard's fame to become a hostess, actress, or writer. Howard also seems less interested in the radio show and only works in the city of New York 3-4 days a week before running back to his home in the ritzy Hamptons in Long Island. Some of his fans are less than pleased with what he has become.
Julie Taymor became famous for her innovative work on The Lion King musical, winning two Tonys for her stage direction and costume design. From there, she started off what seemed like a strong film career with the critically acclaimed Titus and Frida (the latter earning six Oscar nods and winning two of them) while maintaining a strong presence in the theatre world with her 2006 production of the opera Grendel. Then Across the Universe came out, to mixed reviews and weak box office, followed by her critically trashed film of The Tempest. Her theatre career likewise crashed and burned with Spider-Man: Turn Off The Dark, whose Troubled Production status became memetic.
One of the more tragic examples — Gunpei Yokoi was a creative genius at Nintendo that was making successes even before Shigeru Miyamoto became the public face of the company. On top of being the inventor of the D-pad that all gaming controllers use to this day, he created the Game & Watch series that broke Nintendo into home video games, and later replicated this with the Game Boy. Serving as a producer, he also oversaw the creation of Metroid, Kid Icarus, Fire Emblem, Dr. Mario, and Panel de Pon. Then he made the Virtual Boy. The high-profile disaster of a system was discontinued within a year, by which time he had become persona non grata at Nintendo. Nintendo was notoriously cruel to the poor guy, too. After the Virtual Boy debacle, they made him man the booth at a trade show, which in Japanese corporate culture is considered entry-level work, and thus a severe insult to someone of Yokoi's stature. He eventually resigned and began development on the Japan-only handheld system, the WonderSwan, which did go on to be a reasonable challenger to the Game Boy's domination in Japan. But sadly he didn't live to see it as he died suddenly in a traffic accident in 1997. After his death, Nintendo paid tribute to him and still recognize him to this day as an important figure in the company's history... and are kind enough to his departed soul to just forget the Virtual Boy ever happened.
John Romero was a revolutionary. He helped design the ultraviolent masterpiece Doom, and earned such respect there is a whole genre based on the Trope Codifier: First Person Shooters. But, when the sodomy-threatening publicity for Daikatana came along, and the game's release date was changed so much for what turned out to be a game so bad it is frequently described as one of the worst games ever, nothing has been the same. He lost his prestige, his company, his girlfriend, and even his hair. He eventually apologized over the ad and the quality of the game.
American McGee began as a level designer of the first two Doom and Quake installments, and later gave us his own grim take on a certain Lewis Carroll classic and became an overnight superstar with even talks of movie deals for the property. Since then, he's never been anywhere near as popular, with his subsequent works being mostly ignored (Scrapland got a lukewarm reception from players and critics, and Bad Day L.A. was a pure trainwreck). American Mc Gees Grimm got a small amount of press and has done reasonably well on GameTap, but still has yet to achieve the critical or commercial success that Alice had, which might explain why he chose to create a sequel, Alice: Madness Returns, which has received reviews ranging from fairly positive to lukewarm, although it can hardly be credited as a full return to form.
Formed in 1982, LucasArts became a well-regarded and financially dominant PC gaming studio throughout the late 80s and early 90s for their ground-breaking adventure games. Well before they began to truly leverage the obvious licenses they had, they became best known for the Monkey Island and Maniac Mansion franchises, several one-offs such as Full Throttle, turning Sam & Max: Freelance Police from an indie comic hit to a household name, and even making Indiana Jones games that were actually good. Sometime around the mid-90s, however, there was a management shift as Star Wars games finally started coming out through their studio. Ron Gilbert, David Grossman, and Tim Schafer, along with many other key creative staff, drifted out of the company as they left to start their own projects or were let go. Several big games flopped, numerous other games were canceled, and slowly but surely, LucasArts converted into a Star Wars factory... which wouldn't have been a problem since some of these games were still memorable, but these eventually slid in quality and sales as well, with only out-sourced projects like Knights of the Old Republic managing to sell. The 2000s were largely defined by a massive series of CEOs coming in and out of the company, mass layoffs, one attempt to completely convert the studio into nothing more than a Star Wars licensing house, more layoffs, occasional attempts to market their old properties with remakes and even an attempt to get Monkey Island going again by licensing it out to some of the original staff that had since gone on to form Tell Tale Games. None of this really helped the company stay solvent and by 2013, with their last release being the terribly received and poorly-selling Kinect Star Wars and the massive failure of Star Wars: The Old Republic, all internal development was (again) shut down by new corporate owner Disney. While any of the IPs could resurface again, 2013 marked proper the end of its thirty-year history.
Back during the Spectrum days, they were known as Ultimate Play The Game (initially Ashby Computer Graphics), and their earlier works were all acknowledged as massive landmarks in gaming — the aforementioned Jetpac, Atic Atac, Sabre Wulf (possibly the biggest selling game on the Speccy) and the seminal Knight Lore, which introduced isometric graphics to the machine. Then came Filmation II. Nightshade and Gunfright were both toss, and the name was sold to U.S. Gold. Unfortunately. Martianoids and Bubbler were Ultimate games in name only, and the company soon disappeared, until the team behind Ultimate rebranded themselves as Rare.
The team who did GoldenEye left Rare shortly after it was done to start Free Radical Design. Their first title was TimeSplitters, which was lauded for continuing what GoldenEye started, but was met with some critique, like the lack of story. Their follow-up was Timesplitters 2, which rectified all the problems of the first game and overall polished it. The game was a huge success and still to this day has a hardcore cult following. After that came the very underrated Second Sight. But their next title would be the third Timesplitters game. This one faced some problems, seeing as it was trying to be a bit more of a standard FPS similar to Halo, instead of the more classic GoldenEye feeling of 1 and 2, but was still a huge hit. Their next title would be Haze, a game that was bashed to hell by critics and led to Free Radical announcing bankruptcy in the end of 2009 and laying off most of their employees (by locking them out of the building with no prior announcement), but the core members became Crytek UK.
Another victim of this is Silicon Knights, who was coincidentally another former Nintendo devnote Though technically, Nintendo still owns some stock in the company. The creators of the first Legacy of Kain game, the acclaimed GameCubeSurvival Horror game Eternal Darkness: Sanity's Requiem and well-done Metal Gear Solid remake The Twin Snakes, their next game, Too Human, languished in Development Hell. From jumping from threedifferentconsoles to an incredibly bloated budget($60 Million!) to a series of Frivolous Lawsuits between Epic Games, the finished product received mediocre reviews and rather bad sales, which put a damper on that trilogy they planned. They have rarely made anything since then, with their latest game X-Men: Destiny being quite a stinker.Comments by former employees paint a bleak picture of how Silicon Knights was run, with its President Denis Dyack resenting Nintendo's quality control measures while developing Eternal Darkness and the Metal Gear Solid remake, taking Activision's money for X-Men: Destiny and quietly using it to fund a tech demo for Eternal Darkness 2 whilst blowing off the publisher's concerns and attempting to prolong the development (and funding) of Destiny for as long as possiblenote Eventually Activision released a trailer for the game with Silicon Knights' name attached to force them to meet the next deadline, and removing developers name from the credits if they quit during development note which were later added back in under the "Special Thanks" section. As of October 2013 two separate attempts to use crowd sourcing to fund a spiritual successor to Eternal Darkness have fallen far short of their intended targets, Silicon Knights' reputation has been shattered in wake of the allegations against it and the failed lawsuit against Epic Games, combined with the loss of key staff from the original Eternal Darkness team has well and truly cemented the developer’s fall from grace.
Ditto for Interplay, Shiny's publisher up to Sacrifice. Back then, they owned a good number of successful franchises including said Shiny games, Fallout, Descent, Baldur's Gate among a buncha other things. Then in the 2000's, they mucked up with Fallout (see They Just Didn't Care for more details). The end result? Interplay went bankrupt, and only managed to save its ass by selling the Fallout franchise to Bethesda Softworks. Nowadays, they are only putting up games on the Virtual Console, and not much is heard of their planned sequel games. Interplay's descent into the shit began when they became publicly traded in 1998 and reported losses after the release of Video Game/Descent 3 and FreeSpace 2. Then a different company managed to buy a majority share of Interplay's stock in 2001. That company was Titus Software, headed by a pair of French hacks by the names of Eric and Herve Caen. Brian Fargo then left Interplay to the wolves. After the acquisition, Titus as a company went belly up because of their over expansion and shut down in 2004 while racking up huge debts because of owed back pay and redundancy to wholly owned development studios. Herve Caen named himself the new CEO of Interplay but their sky high debts ensured that they had no resources to produce new games. Herve Caen is still CEO of Interplay and the court battle between Interplay and Bethesda over Fallout licensing and the lack of progress on the Fallout MMO Project V13 shows that Caen is still a talentless hack who can't produce results.
During the Sixth Generation, Dimps was praised by Sonic fans for keeping 2D Sonic alive at a time when Sonic leaped to 3D. When Sonic's Dork Age started setting in, Dimps' games were further praised for making quality Sonic games when the main console games were declining in quality. Then came Sonic the Hedgehog 4: Episode I. Suddenly, they took all of the blame for the game not truly being in the spirit of the original Genesis games, saying that Sonic Team alone should have made the game (cheerfully ignoring that it was the current leader of Sonic Team, Takashi Iizuka, that said he wanted it to be different from the original Genesis games). Afterwards, they somehow went from producing completely original Sonic games to Reformulated versions of the Sonic Team's games, and now Dimps gets a lot of flack for producing some of the worst games in the entire franchise (most notoriously Generations 3DS and Lost World 3DS), and even their earlier Sonic games like Sonic Advance and Sonic Rush now receive bile for being subpar.
Brad McQuaid, the original lead developer for Everquest. McQuaid got most of the credit for the initial success of Everquest 1. When his company, Verant Interactive, was absorbed by Sony, McQuaid was dropped. At this point, he had the implicit loyalty of Video Game/Everquest fans. He began ostentatiously working on Vanguard Saga Of Heroes, with people waiting anxiously. The end result? A game so high-end that most computers couldn't handle it, almost no high-end content, and all the flaws of the old-school EQ with few of the good points. His name is now reviled by the same people who once exalted him. And just for kicks? Vanguard was also bought out by Sony.
Being still independent more than 20 years after its foundation is no small feat but Team 17, the studio that was one of the top Amiga developers in the 1990s, capable of trying with several genres, has since the early 2000s churned out just Worms games and a few Lemmings ports. Finally, in 2009, they released something different... unfortunately, it was the very aptly-titled Leisure Suit Larry: Box Office Bust. Later the same year, they released the revival of their own Alien Breed but, while overall decent, it turned out pretty bland. Worms Reloaded, released in Summer 2010, fared much better. Then they decided to leave the retail market and concentrate on smaller productions for digital distribution. During 2011, they have released two more episodes of Alien Breed in the space of two months, two more Worms ports, several expansions packs for Worms Reloaded, an Updated Re-release of the 3D episodes of Worms, and even a Worms Golf Game. Oh, and they are working on ''Worms Social" for Facebook. Unfortunately, they seem capable of just rehashing their old successes by now.
But, alas, it was not to be - Duke Nukem Forever is currently hovering in the mid-40 percent range on GameRankings for the Xbox 360 and, most unfortunately, PC versions. The game is being derided as being several years too late, looking and playing dated. The script is also being called overly crude and even hypocritical - an early scene in the game has Duke turning down a suit of Halo-style power armour with derision, except he is now only able to carry two weapons and has a regenerating health bar... exactly like Halo.
Bill Roper was praised as the genius behind Diablo and Diablo 2. He quit Blizzard Entertainment due to what many suspected was a conflict about the direction of Diablo III, taking most of the Diablo staff with him. He founded Flagship Studios and went to work on Hellgate: London, a game that was expected to be so successful that things like separate executables for single player and multiplayer (to prevent hacking), a comic, a series of statues with a price tag approaching four figures and a whole separate free game (Mythos) created just to test the network infrastructure seemed appropriate. The actual game was rushed out the door after a very long development cycle and was a massive flop due to underdeveloped content and an insane amount of bugs. The company later went bankrupt.
He then went to work with Cryptic Studios, but the collaboration was amidst a period of serious difficulties for the developer and lasted less than two years. After a period of hiatus, it seems he's going to work with a branch of Disney Interactive that will deal with Marvel Comics' properties.
Mythic Entertainment was once a force in the field of MMORP Gs thanks to Dark Age Of Camelot; it was even given back its name by Electronic Arts (who had renamed it EA Mythic upon purchase in 2006) prior to the release of their supposed next big thing and videoGame/World of Warcraft-killer, videoGame/Warhammer Online. Unfortunately, the good launch of the game couldn't cover its rushed release and, worse, new contents often added new problems while old ones were never fixed properly; many argue if there ever was a precise direction in the project from the start. The number of players quickly dropped, Mythic's CEO resigned, and the company has been reduced to a division of Bioware, with much of WO's staff diverted to The Old Republic. WO is still there, but only a few servers are still active, two or three Game Directors have been alternated in a few months, European servers and support have been completely shut down, and Realm VS Realm, which should be one if its strong points, has been reduced to just 24 players for every side due to bad engine performance.
Hironobu Sakaguchi is universally known as the father of the Final Fantasy series. As either director or producer of the first ten games in the series, he had a long string of successes behind them...then in 2001, he directed Final Fantasy: The Spirits Within. The film bombed horribly and cost Creator/Squaresoft over a hundred million dollars, bankrupted "Square Pictures", and sent the parent company into chaos. A couple years later Sakaguchi stepped down as executive vice-president of Square, and eventually founded his own gaming company, Mistwalker. While many expected great things from Mistwalker, in particular, a Final Fantasy killer, the company's initial two offerings were a pair of Xbox360 games: Blue Dragon, a Dragon Quest clone with moderate financial success and a tepid critical reaction, and Lost Odyssey, a traditional turn-based adventure met with slightly weaker sales and the general response of being either a wonderful homage to JRP Gs of the past or "It's the Same, Now It Sucks". Their third offering, ASH: Archaic Sealed Heat bombed in Japan and failed to find a distributor overseas. Blue Dragon spawned a few portable sequels and was promoted with an anime, but the lack of a console sequel left even the fans that franchise had feeling burned. Mistwalker has continued to see projects cancelled or barely make an impact, let alone the impact that the Final Fantasy series continues to have, and Sakaguchi blogs a lot, but remained relatively out of the spotlight. After that, Mistwalker and Nintendo announced a joint project for the Wii, The Last Story, which many in the press speculated was a dig at Sakaguchi's other franchise, though Sakaguchi acted perplexed that there was any similarity. The game sold reasonably well for a Wii title in Japan and was announced for a PAL release in 2012 and as such became a centerpiece of the Operation Rainfall campaign to release it in North America.
Square Enix as a whole has shifted from being a universally lauded RPG house (from the olden days before they merged) to being considered something of an industry joke and often the first negative stereotype used to describe JRP Gs by the Western press. While they can still get good reviews on some of their bigger projects and even the critically divisive Final Fantasy XIII still outsold its better-received Western competition, just saying the name Square Enix causes people to cringe. The developers of Final Fantasy XIII even openly discussed the problems of the game in industry publications and apologized for some the problems. The complete disaster that was the launch of Final Fantasy XIV has not helped, nor have the countless delays of Final Fantasy XV, nor have the numerous spin-offs with the Final Fantasy name on them, nor have the careless acquisitions of Taito and Eidos which have led to disasterous financial reports in the last several years. When you've got editorials like this one from major news outlets describing the reaction to new iterations of your biggest franchise, and people can actually make a living selling merchandise hating your stuff, it's time to admit you've hit George Lucas status. Ironically, despite all of this, Dragon Quest is probably doing the best it ever has outside Japan - critically and commercially.
Really, Dragon Quest is only one of two Square Enix franchises that continues to get consistently strong reviews, the other being Kingdom Hearts - and that series is infamous for suffering from a massive Kudzu Plot, despite the good gameplay.
You can pinpoint the exact moment Square Enix started going down the road towards becoming a Fallen Creator. It was the release of the multi-million dollar failure that is Final Fantasy: The Spirits Within, which led to the resignations for several people within Square and led to Yoichi Wada's rise to CEO of Creator/Squaresoft (and later Square Enix) in December of 2000. His tenure at the top can be, at best, described as nothing short of a complete disaster.
Richard 'Lord British' Garriot, father of the Ultima series, fell into this after the last iterations of the series felt short for many of his fans. He then spent eight years developing Tabula Rasa as his personal project, which, after released, lasted a little more than a year online before being shut down. It didn't help that, while the game was failing, he seemed more interested in spending a large chunk of his personal fortune for his space trip in Autumn 2008. Now he is dedicated to doing Poker games for Facebook.
Atari was the top video game manufacturer in The Golden Age of Video Games, with the Atari 2600 cranking out hits of arcade ports and original games. Then came the disastrous E.T. video game and the horrid port of Pac-Man, leading up to The Great Video Game Crash of 1983. Atari was never able to recover fully after that—not with the Atari 5200's wonky controller, the Atari 7800 being drowned out by the NES, and the Atari Lynx falling behind the Game Boy. It was finally the overhyped "64-bit" Atari Jaguar, and its even worse add-on, the Jaguar CD, that sent Atari to bankruptcy. A few years later, the Atari brand was bought by toy giant Hasbro, and currently the name is used by numerous companies and only for marketing: most notably, the current Atari in videogaming is in fact French company Infogrames.
David Crane was one of the first game developers to become a household name, largely thanks to being the lead developer behind a number of well-loved Atari 2600 games, most notably the smash hit Pitfall. After he left Activision however, Crane's career suffered its own pitfall. He and other former Activision employees formed Absolute Entertainment but, with few exceptions (most notably A Boy and His Blob), the company churned out a series of bad and/or licensed games, mostly based on The Simpsons, along with David Crane's Amazing Tennis (which most critics agreed was only amazing in how bad it was); he also collaborated to the infamous Night Trap. Absolute collapsed in 1995 and, while he has never left the game industry (he has made a rather successful career out of advergaming), Crane has been under the radar since then.
Eric Chahi, after making his Magnum OpusAnother World in 1991, steadily fell from grace. Much like John Romero, overzealous perfectionism killed Heart Of Darkness (released in 1998, it actually sold very well - around 1.5 million copies - but long development led to bankruptcy) and his career as a game artist. He left the game industry for several years but came back in 2006 with the digitally distributed Updated Re-release of Another World, and managed to have Ubisoft produce a project which has concretized in From Dust.
This happened with Tetris of all things. Henk Rogers, the man originally responsible for exporting Tetris out from the former Soviet Union, decided sometime around late 2005 to standardize Tetris games in what originally seemed to be an attempt to avoid Damn You, Muscle Memory in future releases via Executive Meddling. Unfortunately, the resulting revised Tetris Guideline was based entirely on Tetris Worlds, a version that wasn't all that popular (or good) to begin with, and was so overly restrictive that it basically forced future games to be snowclones of Worlds. In addition, The Tetris Company has a tendency to send out cease-and-desist letters for anything unlicensed even vaguely resembling Tetris, even for game elements which the US Supreme Court has ruled cannot be covered by copyright (Lotus v. Borland), while the Tetris Guideline was a licensing requirement, which meant the only games which dared to defy the Tetris Guideline were Fan Remakes and frequently hit by C&D's. This quickly resulted in a Porting Disaster of Tetris: The Grand Master ACE because the staff had to rewrite a ton of stuff to match the behavior of Tetris Worlds (and replacing various staples of the Tetris: The Grand Master series in the process). The Tetris Company and Rogers have been declining on the PR front ever since. It doesn't help that Rogers loves to brag about how rich he's gotten from Tetris basically every time he makes a media appearance, accidentally furthering his own image as a Corrupt Corporate Executive.
Data Design Interactive has had a very, very, very bad reputation over the course of the years, with crap-tacular shovelware titles like Ninja Bread Man, Anubis II, and Action Girlz Racing. All of them use the same engine, are plagued with atrocious controls, and are very generic and uncreative. However, what most people don't realize is one of their older titles has a small cult following to it - Lego Rock Raiders. It was a real-time strategy game that had you searching through many caverns to find things like ore, energy crystals, and lost rock raiders. Despite looking fairly rushed, the game did reasonably well and even has its own fan-forum. It's amazing to think it was made by the same people who brought us masterpieces like the ones mentioned above.
Sega is probably the shining example of the fall of a modern console maker. With the Mega Drive (the Genesis in the US), Sega experienced its golden age and proved to be a powerful competitor to Nintendo, and the system held up well even against the Super NES. However, the first signs of its fall started with the release of the Sega Saturn. Due to numerous boneheaded marketing decisions such as releasing the system four months earlier than scheduled, and alienating third party developers and major retailers, the system flopped against the Nintendo64 and Sony Playstation. Sega's true fall wouldn't come until the release of the Dreamcast, however. While the launch was hugely successfull, sales dropped quickly and the release of the PS2 killed the Dreamcast (it was discontinued in early 2001, just 18 months after the American launch) and any hopes of anybody taking a Sega console seriously again. Since then Sega has not made a new console system and has been relegated as a third party game developer. It now produces games and franchises that were once Sega exclusives for its former competitors, Sony and Nintendo.
Notable, however, is the fact that the Dreamcast and Saturn are fondly remembered despite their failure and Sega has never been known to actively insult their fans like many of the creators here. Gamers are still glad they're around — they just don't expect anything particularly groundbreaking from them anymore.
Trip Hawkins was the founder and CEO of what would become a giant in the video game industry, and contributed heavily to some of their most succesful early games such as M.U.L.E. and the first edition of John Madden Football. In 1991, he left Electronic Arts to form The 3DO Company, which would create the console of the same name. After the console bombed due to its ridiculous pricing, the company went third party and had some early success with the Army Men series, BattleTanx and the acquisition of the lucrative Might and Magic IP. However, 3DO's habit of releasing buggy and unfinished products and churning out bad sequels and spin-offs at an insanely fast rate long with numerous other bad decisions led them to crash and burn spectacularly, ending with the company filling for bankruptcy in 2003. After that, he founded the Casual Video Game developer Digital Chocolate and while it is doing decently well, it's still a far cry from EA's dominance and he owes the Federal Bank more than 20 millions dollars due to avoiding paying taxes after the fall of 3DO.
Those of us from the mid-90s DOS gaming scene are likely familiar with Abuse as a brilliantly simple and fast platform shooter with a then-innovative control scheme (keyboard+mouse). After that, though, developer Crack Dot Com sat down to produce the sequel, Golgotha, which was intended to be an RTS with the ability to jump into vehicles on the fly. Development costs spiraled, dot.com era spending ran rampant, deadlines were missed, and internal tension led to the project and the company collapsing in 1998, just two years after Abuse was released.
THQ was once a fairly respectable second tier publisher, with ownership of respected developers like Volition and Relic that gave us hits like Red Faction, Company of Heroes, Homeworld, and more. Creator/THQ also made a very healthy profit developing licensed children's games. However, in order to emulate publishing giants Activision and EA, Creator/THQ began buying up huge numbers of licenses and game developers without giving a second thought to how profitable their investments would actually be. Also, several high profile flops like Red Faction Armageddon, Homefront (not to be confused with the aforementioned Homeworld), and the ill-advised HD version of the uDraw tablet device bit into the company's dwindling cash reserves. Creator/THQ filed for Chapter 11 bankruptcy on December 9, 2012, and sold off its remaining properties a month later.
While we're on the subject of video game publishers, we have (EA) which publishes noteworthy titles such as EA Sports, Battlefield, The Sims, Medal of Honor, Command & Conquer, Dead Space, Mass Effect, and Dragon Age. However, they later came under fire from several sources after buying Bioware and releasing Dragon Age II, which many hated for its linearity (everything you do makes things worse) and divergence from the gameplay structure of the first game. EA's guilt in this? Certain implications that they rushed the game while it was on early beta. This was made worse with draconian DRM, including the Origin service, which lacks the features available on Steam, runs poorly, and periodically scans the user's hard drive as well as removing all future EA games from it, forcing you to use the service. The capper was Mass Effect 3's Gainax Ending. Ever since people started reaching the end, accusations have been flying about EA rushing Bioware, leading to a incomprehensible, plothole-ridden, and just depressing ending. This has cause stock prices for EA to drop and the company to recieve the "2012 Worst Company in America Golden Poo Award". And that was after they were previously known for killing off Pandemic, Bullfrog, Westwood and Maxis completely.
PoorDon Bluth. He began his career as an animator at Walt Disney Animation. Disgusted with the wretched state of the company after the death of Walt Disney, he and a group of other animators departed to form their own studio with the intent of creating quality animated films that celebrated the golden age of Disney animation. Throughout The Eighties, his studio became distinguished for its amazing films (like The Secret of NIMH and An American Tail), as well as the groundbreaking Dragon's Lair arcade game. Then The Eighties ended and Bluth fizzled out right after All Dogs Go to Heaven. He opened The Nineties with Rock-A-Doodle, a notorious flop, and then declared bankruptcy. His next three films were released by a distributor, and met with progressively worse results. He also had to compete both with himself, because he did not maintain sequel rights over his older works (such as The Land Before Time and An American Tail sequels), and with his old boss Disney, who had recovered its former glory and started an animation Renaissance (and ironically, many of the "new blood" of animators trained under Bluth had moved to Disney when Bluth moved his operations to Ireland). Roger Ebert's review of Rock-A-Doodle noted the irony. After a brief return to form with Anastasia (well, he made money anyway), he followed it up with the disastrous Titan A.E., which bankrupted Fox Animation (though it has been Vindicated by Cable). An attempt to revive Dragon's Lair also flopped. Bluth has never really recovered his success, though he occasionally surfaces to do small efforts and still has plans for a Dragon's Lair film.
One of the most infamous, tragic, and maybe even somewhat bizzaro examples of this is Richard Williams. The Canadian-born animator is considered one of the most influential visionaries in his medium, and has done a lot of work such as the animation aspect of Who Framed Roger Rabbit. The infamy however regards the film The Thief and the Cobbler, which Williams wanted to be his magnum opus. Completely grass roots financed, the film's production was started in 1964, and would go on to one of the longest productions times of any film in general in the history of contemporary media, since by the late 1980's...they still weren't finished! It was around that time that Warner Bros. approached him with the offer to fully finance the completion of the film. However, as the film was almost devoid of dialog, singing, and other such copycat desires Warner Brothers desired to have the film compete with The Little Mermaid, the deal fell through. The Completion Bond Company helped to finish the film, with distribution by Majestic Films. However, before completion, Williams was actually taken off the project and the film was re-edited with improvised voicing, additional animation to show this, song numbers, and a number of edits to the overall narrative of the story. After the film's initial release in Australia (where it flopped), Miramax decided to make their own version of the film and release it in the United States. The end result was a disaster. Not only was the film a financial bomb, which considering its limited release...could be seen as expected, but the film was critically panned as incoherent and horribly edited. The end of a movie that took a little over 20 years to make was a nonsensical flop. It shouldn't take much imagination to guess at just how that must have felt for Williams, as the disenfranchised animator has absolutely refused to evenacknowledge the film's existence ever since then. One of the most diabolical examples of Executive Meddling in film today.
Later, a dedicated animation fan miraculously tracked down various pieces of the film; unfinished pencil tests, rough animation, and direct input from people who worked on the film. He then stitched all his findings together with bits of the theatrical release, took out the voices, and even put in bits of atmospheric music that was originally going to be scored for the film in order to make a massive fan-edit of the film to be as close to the original vision as possible: The Re-cobbled Cut. The results have been generally praised as a far superior movie, but sadly Williams himself still (allegedly) refuses to acknowledge the film.
John Kricfalusi was regarded as influential in animation, with The Ren & Stimpy Show being his breakout work. Unfortunately, his ideas are often all too crazy for the execs to tolerate. He got fired from Nickelodeon because of his late work, and his show was handed to another studio only to crash after season 5. When he got the chance to do the show again, it was from Spike TV, whose executives asked for the content to be "more adult", so it could stand next to South Park or Family Guy. Despite good ratings and reception, it was cancelled after a month due to John K managing to complete only 3 out of the 9 requested episodes on time. Nowadays, he currently posts on his blog about his influences, as well as his studies on animation and tutorials for fans wanting to learn how to do animation. And while he doesn't have much of anything kind to say about modern animation or modern stuff in general, he has his reasons for doing so (for the most part, anyways).
Earl Duvall was one of two directors - the other being Friz Freleng - that helped get the Warner Bros.. cartoon studio back up and running after original directors Harman And Ising defected to MGM. He directed some pretty decent cartoons and was given the honor of directing the studio's first color cartoon. These days however, Freleng is widely regarded as one of the Godfathers of animation, while Duvall's name is just a footnote in animation history books, and the reason for this is that Duvall one day decided it'd be a great idea to get extremely drunk and demand that his pay packet be doubled. Needless to say, it wasn't - Duvall was instantly fired and never worked in the animation industry again.