Art Shifted Sequel

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Whether it's because of some significant change in the series (like being released on a new console, or in an Alternate Universe), or just the designers wanting something different, occasionally the art style of a series may change for a sequel. Then, in some cases, the new art style may become the default art style.

This trope is for when the previously used art style in a series is switched in a sequel. This can invoke They Changed It, Now It Sucks!, if the change of style is unwelcome by fans of the original work. Note, that if a series continues to use one style for too long, some fans might complain that It's the Same, Now It Sucks!.

A Sister Trope of Art Shift, which is a change of visual style within a work. Compare Video Game 3D Leap, when a franchise's visuals change from 2D to 3D.

Video game sequels and remakes being made for games on older console generations would most likely get an Art Shift to take advantage of the new hardware, although there are exceptions.

Examples

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     Anime and Manga 
  • The first season of Beyblade was animated by Madhouse, while the next two and the movie were done by Nihon Animedia in a style closer to the manga. The franchise would retain this style into Metal Fight Beyblade, where animation was handed off to Tatsunoko and SynergySP, along with the Nelvana-commissioned BeyWarriors series.
  • Lupin III: With four series to date, and dozens of TV specials, it is inevitable that this work would become an example of this trope.
    • Lupin III (Green Jacket) has thick lines, and a dark colour palette with high saturation.
    • Lupin III (Red Jacket) used thinner lines, and rounder shapes. The colour palette was much lighter this time, with lower saturation, and character designs closer to the then-current manga series.
    • Lupin III (Pink Jacket) was somewhere between the two in terms of saturation, using a mix of bright and medium colours. The shapes were often very curvy, especially in the first few episodes. The characters look even closer to the manga, before starting to get looser and cruder as the show goes on. Except for one movie, the animation style used here is never repeated.
    • For most of the 90s, the Lupin III Yearly Specials would have different character designs depending on who directed. At The Turn Of The Millenium, the style settled down into something closer to the "Red Jacket" series, with updated colour palettes and techniques, every year.
    • The release of Lupin III: The Woman Called Fujiko Mine brought the franchise to a new style, one inspired by not only the original manga series, but gothic art, with darker colors, multiple Art Shifts, and a tendency for more lines, as well. The art style returned in Gravestone of Daisuke Jigen and The Bloodspray of Goemon Ishikawa, but without the gothic influence, and a "smoother" look overall.
    • Lupin III The Italian Adventure has character designs inspired by the "Green Jacket" series, but with a brighter palette, thinner lines, and a more modern aesthetic overall.
  • Sailor Moon Crystal sees a shift from its 1992 predecessor not only due to improvements in technology allowing better animation than 1992, but as a result of deliberate effort to more closely resemble the manga. All the characters look taller and thinner than their 1990s anime versions.
  • Megazone 23 Part II replaced the previous film's character designer Toshiki Hirano with Yasuomi Umetsu, who redesigned all the returning characters with more realistic appearances.
  • The first season of the anime adaptation of My Teen Romantic Comedy SNAFU was originally animated by the studio Brain's Base, whose animations were, while not bad, were mediocre at best. Come second season, the reins of adapting the rest of the light novel were given to Studio Feel, whose designs for the characters were closer to the original light novel's artwork. There was a huge improvement in the animations too.
  • Iron Man: Rise of Technovore was followed up by Avengers Confidential: Black Widow & Punisher, yet many of the male characters have more lines on their faces. One of the special features even points out the Punisher, wanting a more comic-accurate version for the latter film, hence the burly design with mostly slicked-back hair compared to the thinner design with messy hair in Technovore.

     Film - Animated 
  • The traditionally animated Hungarian film Vuk the Little Fox got a 3D CGI sequel called The Fox's Tale several decades later. The poor animation was one of the many reasons the sequel was universally disliked.
  • Similarly, The Swan Princess got several sequels starting with The Swan Princess Christmas, 14 years after the traditionally animated original trilogy in rather low-quality CGI animation.
  • Superman/Batman: Public Enemies tried to emulate the art syle of Ed McGuinness, who drew the comic version of PE. Its sequel, Superman/Batman: Apocalypse, has an art style trying to emulate the late Michael Turner, who drew "The Supergirl from Krypton".
  • The first Monster High DTV film, as well as early webtoons, were animated in Flash. Starting with the second film, the series shifted to CGI.

    Video Games 

    Web Video 
  • The third video in the Animator vs. Animation uses a noticeably different art style, subsequent videos return to the original style.

    Western Animation 


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