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[[quoteright:350:[[Creator/TylerPerry http://static.tvtropes.org/pmwiki/pub/images/criticaldiss_6590.jpg]]]]
[[caption-width-right:350:‘Well, ''I'' liked it.’]]

->''"If film critics could destroy a movie, Creator/MichaelBay and Creator/AdamSandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town."''
-->-- '''[[http://www.thewrap.com/movies/column-post/johnny-depp-armie-hammer-lone-ranger-jerry-bruckheimer-108756 Alonso Duralde]]''', ''[[http://www.thewrap.com The Wrap]]''

Critical Dissonance is polar opposition of public to critical opinion. Critics might love a certain work while general audiences shun it, or vice versa.

Critics may look down on a [[ItsPopularNowItSucks popular work]] on principle, denouncing it as LowestCommonDenominator garbage that’s all flash and no substance. Conversely, the public may see a work beloved by the critics as boring, [[TrueArtIsAngsty angsty]] and [[TrueArtIsIncomprehensible pretentious]] drivel engineered solely to [[OscarBait win awards]] from [[StrawCritic equally boring, angsty and pretentious Academy members]].

Sometimes later opinions can match, and then we have VindicatedByHistory (or DeaderThanDisco, as the case may be), but not always.

Some media are less affected by this than others. Since {{comedy}} relies on what an individual finds funny, this is the genre of movie most likely to spur on Critical Dissonance. One critic may find a movie hilarious while another finds it tacky. Switch out comedy for the {{horror}} genre and you get the same polarizing results. Art — all kinds, not just abstract — is notoriously subject to this. And architects get hit with it all the time.

In general, this trope has historically been uncommon with video games, partly due to the [[ReviewsAreTheGospel far greater reliance on reviews]] among gamers, and partly because the technical side (gameplay, graphics, etc.) tends to carry more weight with games than with books or TV. Additionally, good gameplay (at least in terms of, say, lacking glitches) is much more black-and-white than a good story, writing, or acting. However, video-game journalism is ''infamous'' for its frightening degree of corruption, to the point where reviewers who don’t sufficiently praise games that buy enough advertising space on their stomping grounds tend to get fired pretty quickly. When Critical Dissonance does occur with games, it is more often than not because gamers thought that the critics had been overly kind (like the FourPointScale), or had even been [[MoneyDearBoy paid upfront by the publishers as part of an advertising and/or first-look article special]].

Niche media may particularly suffer this because some or all of the critics assigned to review it aren’t members of its target demographic, or [[SmallReferencePools don’t even have a basic knowledge of the genre]]. To look at it another way, if the business model involves an audience who will actively seek it out, those people will be predisposed to enjoy it, whereas critics who see it out of professional necessity will not have that selection bias.

Telltale signs of Critical Dissonance include disagreement between a work’s revenue and its reviews, simultaneous nominations for both ‘best X’ and ‘worst Y’ awards (bonus points if X=Y), and angry comments on those review sites that have them.

That the main differences between the average audience viewer and the average critic are vocabulary, sometimes ego, and employment in the field of journalism is what makes the large contrast between viewpoints either fascinating or predictable, depending on your degree of cynicism.

See also CriticalBacklash, CriticProof, BiasSteamroller, ItsPopularNowItSucks, OpinionMyopia, EightPointEight and OscarBait. Could overlap with PopCultureIsolation and AcclaimedFlop. Contrast with CultClassic where a work tends to have neither critical acclaim nor general popularity, but is enjoyed by a few die-hard fans. Possibly the cause of MainstreamObscurity.

* CriticalDissonance/{{Film}}
* CriticalDissonance/LiveActionTV


[[folder:Anime and Manga]]
* ''Manga/BlackBird'' is one of the bestselling shoujo manga in years, yet most mainstream anime/manga reviewers have given it lukewarm to negative reviews (with some even being openly disgusted by it).
* ''Manga/HotGimmick'' has received mixed/poor reviews. Despite this, it has sold well as it had a twelve-volume run. In some circles, however, saying you’re a fan of ''Hot Gimmick'' will get you very dirty looks.
* ''Manga/{{Naruto}}'': Among casual manga/anime fans and the general public, [[CashCowFranchise it’s a merchandising juggernaut]] with a massive and rabid fanbase. On the critical side of things and amongst the more hardcore anime/manga fans, [[SoOkayItsAverage it’s generally treated as a fairly average]] and generic {{Shounen}} at best.
* ''Franchise/{{Pokemon}}'':
** The first three movies were the only ones to receive widespread release in the U.S., and all of them were critically panned. However, they are generally considered good by both audiences and ''Pokémon'' fans, and are better regarded than [[{{Sequelitis}} most of the subsequent sixteen (and counting!) sequels]].
** The anime series is often criticized for its StrictlyFormula nature ever since Takeshi Shudo left, as well as [[NotAllowedToGrowUp refusing to age the characters with each passing year]]. Yet, despite the decline in popularity it experienced in the Johto series, it still maintains high ratings in both Japan and the U.S., and has a large and devoted fanbase.
* All incarnations of ''Franchise/YuGiOh'' have been huge financial successes and run for years, but [[PeripheryHatedom many people outside the demographic]] consider them to be little more than either a commercial or [[{{Bowdlerize}} watered down garbage]]. Complaints include overreliance on gimmicks and Aesops.
* ''Anime/NeonGenesisEvangelion'' has been almost unanimously positively reviewed by professional anime/manga critics, yet it's a ''very'' divisive series within the world of anime fandom, with some finding the tone ''way'' too dark , [[DysfunctionJunction the cast having so many issues that they're under-developed or unlikable]], and [[GainaxEnding an ending that was hard for many to understand]], among others.
* The original adaptation of ''Anime/SailorMoon'' is among the most popular and recognized anime series of all time, but if you asked some critics what they thought about it, they'd likely call it nothing more than formulaic MagicalGirl fare, likely because the series suffers a big case of SeinfeldIsUnfunny.
* ''Anime/SuperSonico'' get mixed to negative reviews from Anime reviewers on the web, but the few Anime fans that have given the series a chance has been much kinder.
* ''Manga/BlackClover'' performs very well in popularity polls in ''Weekly Shonen Jump'', both the Japanese and English versions, but gets mediocre to negative reviews overall (even going as far to be deemed [[http://www.animenewsnetwork.com/interest/2016-07-25/best-and-worst-manga-of-2016-results-comic-con-international/.104673 the worst manga of 2016 at a panel at San Diego Comic-Con]]). Most likely, the reason for this is because ''Black Clover'' is highly [[StrictlyFormula formulaic]] and [[FollowTheLeader derivative]], resulting in a boring read for those who have already read a lot of manga but an exciting story for beginners who aren't familiar with the series ''Black Clover'' is imitating.

* Scottish painter Jack Vettriano's work is criticized as softcore porn. Vettriano makes more money of prints of his paintings than selling the works himself. They are popular in coffee shops and Italian restaurants. Scottish sculptor David Mach has called this attitude to Vettriano’s paintings “art world snobbery”.
* The works of the late Thomas Kinkade, “Painter of Light[[TradeSnark ™]],”[[note]]Yes, he had it trademarked.[[/note]] are so enormously successful that his distributor claims that his works can be found in one American home in twenty. Art critics lambast his SugarBowl themes and subjects while dishing out backhanded praise for his marketing savvy.
* Twentieth-century Dutch illustrator Anton Pieck is very popular for painting and drawing romantic scenes of 19th-century life and fairy tales, which have been printed on countless calendars, postcards and other merchandising. But, you guessed it, average art critics regard it as petty kitsch.
* Margaret Keane’s paintings of vulnerable angels and waifs with enormous doe-like eyes are widely reproduced and appear in a lot of households. You’ll never see her work being exhibited in a serious museum, though. In ''Film/{{Sleeper}}'', by intellectual darling Creator/WoodyAllen, it is even joked that in the future Keane will be considered one of the greatest artists in history.
* Hummel figurines are collectors’ items for many people who see them as adorable little statues. Among people who fancy actual art, these statues are dismissed as nauseatingly bad taste.
* Garden gnomes are things you will never see in the gardens of people who claim to have artistic taste. All other people in the world just see it as nice.
* The art work of Jeff Koons has tried to bridge the gap between art and kitsch, by making statues of everyday kitsch objects and exposing them in a museum. This polarized many art critics who feel it is either a postmodern subversion of kitsch, while others say it’s just the same thing.

[[folder:Comic Books]]
* ''ComicBook/AvengersArena'' and its sequel ''ComicBooks/AvengersUndercover''. Professional reviewers ''loved'' them and praised their social satire and AnyoneCanDie tone. Readers were divided at best on the former and almost entirely despised the latter, which ended up getting axed at only ten issues.
* Daniel Way’s run on ''{{SelfDemonstrating/Deadpool}}'' was disliked by most professional critics and derided as dreck aimed at the LowestCommonDenominator, but managed to sell very well and is currently one of the longest runs anyone has had on the character. Over time, however, this trope seems to be subverted; fans have started to agree more with critics and now Way’s run is widely considered ''Deadpool''’s absolute worst, its success believed to have been caused by the big publicity Deadpool had gotten in [[Film/XMenOriginsWolverine a then-recent movie]].
* Gail Simone’s ''ComicBook/TheMovement'' was critically beloved, but readers couldn’t have cared less about it, leading to it being CutShort just as its plot was kicking into high gear. Nowadays, it’s more or less forgotten outside of the tiny, niche fanbase it formed during its brief run.
* The comics of Creator/{{Moebius}} are praised as high art among comic-book aficionados, yet average comic-strip readers don’t understand them.
* ''ComicStrip/KrazyKat'' is widely praised as one of the best comic strips of the 20th century, yet average readers find it way too eccentric and don’t get what all the fuss is about.
* ''ComicStrip/{{Pogo}}'' has always been more popular with fans of good satire than regular comic fans, who would find it too pretentious.
* ''ComicBook/{{Jommeke}}'': In Flanders it’s among the most popular, best-known and top-selling comic strips, widely read among children and remembered fondly by many adults who grew up with them. Yet serious readers have always looked down upon them because it is extremely bland, formulaic, naïve and conventional. Only in the final years leading to his death did creator Jef Nys finally get some kind of serious attention and praise for his work, though the taboo still remains.
* UndergroundComics: Hugely influential on the graphic arts and fellow comic-strip artists, loved by some hippies, but apart from that most of the general audience have always looked down upon them as pure pornography or sick, twisted, female-unfriendly filth.
* ''ComicBook/CortoMaltese'' is praised as one of the most important and impressive comic strips of the 20th century, yet the general public has usually not even heard of it.
* Gary Panter is one of the most influential comic artists to have emerged since the late 1970s, but his comics don’t sell at all among regular comic book fans.
* Many comic strips based on the popularity of a TV/movie franchise will be dismissed as utter money-grabbing garbage for children. It doesn’t help that many companies just give the job to a few amateurs and tell them to stick as closely to the general plot or spirit of the original, while they know that it will sell well regardless of its quality or lack thereof.
** Many Creator/{{Disney}} comics are usually seen as pure children’s entertainment despite tight quality control of the company. The only one to get some praise by critics and audience alike is Creator/CarlBarks, whose WesternAnimation/DonaldDuck adaptations not only expanded the universe, but also enriched it with clever satire, engaging storylines, memorable characters and well-told moral life lessons.
** ''ComicBook/{{Urbanus}}'': In its early run it was a cult among the general audience in Flanders, mostly because of the fame of the comedian on which it was based, but critics absolutely despised its art which may go down as some of the ugliest art in a comic book ever this side of ''Pitch''. As time changed and the art style got better critics started to like it as well, especially because the comedian has a good grasp of what the author is doing, but is still dismissed by hipsters. Seeing as they are AcceptableTargets it’s very understandable.
** ''Series/FCDeKampioenen'': This comic strip is based on the popularity of the Flemish sitcom of the same name and the last comic strip launched in Flanders to still sell in enormous quantities. It has even survived the original sitcom which has now been cancelled in 2011. Despite being a huge bestseller critics, who consider the creator’s other works to be much better, loathe it.

* Creator/DanBrown’s books tend to get this, but none as much as ''Literature/TheDaVinciCode''. Absolutely despised by critics, but some of the most successful books out there. That being said, a study found that, in the UK, ''The Da Vinci Code'' is the book most frequently donated to charity shops. The public certainly ''bought'' many copies of it; that’s not to say they ''enjoyed'' it.
* Barbara Cartland was at one point among the most widely read authors in the world. Yet she only wrote romance novels that literary critics dismissed as shallow and formulaic.
* ''Literature/TheClique'', at least when the books first came out. Critics hated them, but they were bestsellers and beloved by their demographic. By now, however, that demographic has grown up, realized all the FridgeHorror and DudeNotFunny moments in the series, and now they’re nigh-universally despised.
* ''Literature/{{Discworld}}'' for a while — at the time when Creator/TerryPratchett was being claimed as "the most shoplifted author in Britain", most critics seemed mildly baffled by him. Eventually it went meta; by the 2000s the majority of reviews were hailing him as a genius, while claiming that ''all other critics'' were blinded by genre snobbery.
* ''Literature/FiftyShadesOfGrey'' sold remarkably well. Quite a few literature/English majors, participants in the ''actual'' world of BDSM, and critics as a whole despise it.
* The ''Literature/LeftBehind'' series of Christian apocalyptic fiction fits into this, as the critical response to the books tended to accuse them of starring dull, unlikable characters and having an IdiotPlot only made possible by an ostensibly LikeRealityUnlessNoted Earth populated with {{Flat Earth Atheist}}s.[[note]]Of course, as the series’ plot is based on a literal interpretation of [[Literature/TheBible the Book of Revelation]], such accusations are a case of ComicallyMissingThePoint, and AllThereInTheManual.[[/note]] However, it sold amazingly well, constantly enjoying ''New York Times'' bestseller status, and is regarded as one of the most influential pieces of contemporary “Christian” fiction.
* ''Literature/LesMiserables'' is listed under theatre, but the novel was also received very negatively when first published: described as “infantile” and “tasteless and inept.” However it was a commercial success, and is [[VindicatedByHistory now considered a classic of French literature]].
* The Literature/MikeHammer books by Creator/MickeySpillane were hated by critics back in the day, and to a degree they still are. On the other hand, in 1980 Spillane was responsible for seven of the top 15 bestselling books in America, and his books have been adapted into successful movies, TV shows and {{radio drama}}s. Spillane himself mocked this trope, stating that he didn’t care what critics thought so much as what his fans thought.
-->“Those big-shot writers could never dig the fact that there are more salted peanuts consumed than caviar … If the public likes you, you’re good.”
* Creator/KarlMay’s novels have always been bestsellers, but mostly among young boys who like adventure stories set in TheWildWest. It’s not considered worthy of the name ''literature'' among other people.
* A fan of the cult-classic book (and movie) ''Literature/MommieDearest'' would probably be shocked to find how much critics ''hated'' it, as well as other stars of TheGoldenAgeOfHollywood who actually had known Joan Crawford and her adopted children and wrote in their own autobiographies how off-base the book was. Faye Dunaway said she wished she hadn’t acted in that movie after it hurt her career.
* The ''Literature/{{Twilight}}'' Saga gets a mention here too. Successful as it was (in its target market, at least), many readers still avoid it like the plague years after the fad ended. What’s funny is that ''Twilight''’s original target demographic has by now outgrown the books themselves.
* ZigZaggedTrope with Creator/StephenKing who consistently gets good sales and good reviews, but with a significant number of literary elites considering him sub-literate {{Gorn}}. This attitude peaked when King won the National Book Award Medal for Distinguished Contribution, with Harold Bloom declaring the award (and American literature itself) RuinedForever.
* Creator/DanielleSteel is currently the best selling author alive and the fourth bestselling author of all time. She has been a near-permanent fixture on the New York Times hardcover and paperback bestsellers lists--in 1989, she was listed in the Guinness Book of World Records for having a book on the New York Times Bestseller List for the most consecutive weeks of any author—381 consecutive weeks at that time. Since her first book was published, every one of her novels has hit bestseller lists in paperback, and each one released in hardback has also been a hardback bestseller--novels that have been consistently dismissed by critics as "formulaic" and "fluff."

* Music/{{Anastacia}}, a singer who has [[GermansLoveDavidHasselhoff worldwide acclaim from the music-buying public]] … [[AmericansHateTingle except in her home country, America]]. American critics love her, though.
** One explanation is that her style of music doesn’t fit the format of American radio stations. She’s considered too soulful for A/C stations, and not [[ButNotTooBlack urban enough for urban radio stations]], and not poppish enough for top 40, and not rockish enough for rock stations … PopCultureIsolation due to GenreRoulette. Essentially she’s in a self-made musical purgatory.
* The alternative rap group Music/ArrestedDevelopment’s second album was dismissed by critics but a lot of fans think it’s an overlooked masterpiece due to HypeBacklash. Fans (especially overseas fans) felt that America let an outstanding group fall through the cracks.
* Music/TheBeatles: Nowadays the band is popular with the general public, the alternative music crowd, ''and'' the critics, but this hasn’t always been the case. Before ''Music/SgtPeppersLonelyHeartsClubBand'' many music fans saw the group as nothing more than primitive pop music without any artistic depth. While ''Music/RubberSoul'' and ''Music/{{Revolver}}'' already showed signs of more favorable interest of serious music fans ''Sgt. Pepper'' convinced everybody that they were far better and more artistically interesting than regular pop acts.
** ''Music/TheWhiteAlbum'' is a good example of Critical Dissonance within the Beatle crowd. The record is far more popular and praised among musicians and music critics for being a groundbreaking GenreRoulette experimental masterpiece than among the general public who like ''Music/{{Revolver}}'', ''Music/SgtPeppersLonelyHeartsClubBand'' and/or ''Music/AbbeyRoad'' better.
* Music/TheBeeGees, both within and apart from their disco period, were one of the most successful acts of UsefulNotes/TheSeventies, but were constantly slammed by critics, especially after they fell out of style. [[VindicatedByHistory They gained more respect towards the end of their career]], even getting into the Rock & Roll Hall of Fame in 1997.
* Behemoth’s album ''The Satanist'' may be their most critically acclaimed album to date, but the fans consider it one of their worst albums.
* Music/BillyJoel may be the TropeCodifier. Throughout his career he has received mostly unfavorable or mediocre reviews from several critics. Try telling that to the fans who bought all of his multiple Gold and Platinum records.
* “Achy Breaky Heart” by Billy Ray Cyrus was one of the most hated songs of all time in ''any'' genre, but the album was one of the top-selling of all time (not to mention one of the ''very'' few country-pop crossovers between the end of the ''Film/UrbanCowboy'' era and Music/ShaniaTwain’s breakthrough in 1995). Adding insult to injury was the fact that the song was a CoverVersion, and a BlackSheepHit that didn’t well represent Cyrus’ style or body of work. And much of his success was in the country charts; “ABH” was his only true pop crossover hit.
* Music/TheB52s have an adoring and devoted fanbase who rarely have much to criticise about them. Critics on the other hand frequently give their albums middling reviews and overuse words like ‘kitsch’ and ‘campy’ that indicate they don’t really like the band. ''Magazine/RollingStone''’s praising of their debut album in their top 500 did help turn things around somewhat.
* Music/BlackEyedPeas are frequently panned by critics and a frequent target of parody and satire (especially their song "My Humps"). That doesn’t seem to affect either the buying public (they spent an unprecedented 26 straight weeks holding the number one and two top charting singles in mid-2009) or Grammy voters (six wins out of 16 nominations).
** Weirdly, before ''Elephunk'', their situation was actually ''reversed''. For their first two albums, they were known as a critically acclaimed AlternativeHipHop trio that sold very few albums. Then came Fergie … bringing UnfortunateImplications.
** Nonetheless, the HypeBacklash from their terrible Super Bowl performance effectively destroyed their popularity and ended their career; in a period of six months, they went from being one of the biggest bands in America to having to fight off rumors that they are breaking up.
* Music/BlackVeilBrides receive far, far more respect from critics than their frequent derision will lead you to believe. Most serious music fans (''especially'' metal fans) view their music as a mediocre and uninspired GuiltyPleasure at best and an abomination to music at worst. That being said, their albums receive good reviews (save for their debut, which even the critics didn’t like that much), they have a large fandom worldwide, and are one of the biggest new bands in the metal scene as well as the most popular band in the HairMetal revival movement.
* Music/BlakeShelton: Some country music fans feel that the quality of his music went downhill since at least his 2010 album ''Hillbilly Bone''. His first three albums had traditional-leaning country that won him critical acclaim but produced hit-and-miss results on the charts; ''Pure BS'' and ''Startin’ Fires'' were an awkwardly mediocre transitory period; and ''Hillbilly Bone'' onward has found him taking on a more ‘modern’ sound that has rendered him a golden boy on the airplay charts (including a white-hot streak of ''fifteen'' straight number-one hits), but at the cost of critical derision for his more generic style.
* Music/BradPaisley. His albums still get high praise from critics, even those who starkly avoid the FourPointScale (such as ''Slant'' and Allmusic). However, a glance at any country music forum will find that many think he has been extremely complacent and lacking the creativity of his earlier albums — main criticisms include severe [[VocalEvolution Vocal Decay]], failed attempts at humor, cliché ballads and unremarkable guitar work. This may be finally catching up to him, as his late-2011 single “Camouflage” was widely panned and is his first chart entry in 12 years to miss the top 10. He listened to the criticism, as his 2013 album ''Wheelhouse'' found him ditching long-time producer Frank Rogers in favor of self-production, leading to a highly varied sound that critics are split between calling great and adventurous, or overstuffed and pretentious. But those on either side agree that the Music/LLCoolJ duet “Accidental Racist” was a huge misstep.
* Music/BringMeTheHorizon has gotten considerable praise from critics and metal musicians alike. Even ''[[Music/JudasPriest Rob Halford]]'' has praised them. However, the mere mention of their name is enough to be considered SnarkBait to metal fans.
* Music/CaptainBeefheart: Praised as a genius and an innovator by critics and artists, but seen as an obscure noisemaker to most other people. He is extraordinarily influential to many AlternativeRock artists, despite still being unpopular with regular music fans.
* Music/CherLloyd’s debut single, “Swagger Jagger.” Nobody’s quite sure what it means, the song was critically panned, but shot straight to number one upon release.
* Weirdly, Music/ChildishGambino has gone through both types of this. At the beginning of his career, critics generally liked him while the musical community considered him a joke rapper for people who didn’t really take hip-hop seriously. He was even considered by some to be [[PrettyFlyForAWhiteGuy “hip hop for white people”]] (despite himself being black). Now it’s the reverse — ''because the Internet'' was the subject of huge excitement following its release, but was received with a shrug by critics.
* Downplayed: Music/{{Deadmau5}}’s ''*album title goes here*'' got even two stars by some reviews. It is one of his best-selling albums.
* Alternative rap group Digable Planets Sophomore album ''Blowout Comb'' received massive praise and was considered far beyond their debut. But the album more or less bombed when released. Some music critics believe that the Afrocentric militant tone of the second album made it less accessible and off-putting to white listeners, which was believed to be their primary listeners of their first album.
* Dirty Vegas’ sophomore album, ''One'', was outright slammed by critics. It became however greatly popular amongst the fans, and spawned some of their better known hits barring “Days Go By” (that comes from their self-titled debut album), such as “Human Love” and “Walk into the Sun.” Hell, one song from this album, “A Million Ways,” appears in ''VideoGame/ProjectGothamRacing 3''. Their first post-breakup album, ''Electric Love'', received an overall enthusiastic reception in the other hand.
* A lot of Music/EazyE’s solo work (sans EP ''It’s on 187um Killa'', and debut album ''Eazy-Duz-It'') is hated by critics and is usually criticized for being cartoonishly violent, especially the ''51/50'' album. But the fans consider ''51/50'' genuinely good.
* Indie rock band Edie Brickell & the New Bohemians’ first two albums were extensively praised by critics. Nonetheless, they never became more than a one-hit wonder with their 1988 single “What I Am.”
** A couple of years after they faded into obscurity, frontwoman Brickell married Paul Simon.
* Music/TheFaceless got hit with this ''hard'' with ''Autotheism''. Critics tended to enjoy it and saw it as a bold step forward for the band, while fans saw it as a bunch of pretentious nonsense with a really stupid concept and uninspired music that largely just ripped off Keene’s influences. Given that the band has started to shy away from playing more than a few songs off of it live, it would seem that the message has reached Keene as well.
* Dionne Farris’ debut album, ''Wild Seed—Wild Flower'', received rave reviews but measly sales, and produced her only hit, “I Know.”
* Within Music/FleetwoodMac, Lindsey Buckingham has always ({{justifi|edTrope}}ably, because of his skill and innovation) been something of a critics’ darling but never has had any really big-selling solo albums, whereas Stevie Nicks, particularly in the 1980s, regularly took a pasting from rock critics while amassing a huge fan following as a solo artist. (Over the past decade or so, though, critics have taken a more positive view of Nicks; this may partly be due to the number of new-generation artists who cite her as a favorite or an influence.)
* Music/GrandFunkRailroad could effectively be described as the Nickelback (see below) of TheSeventies. The gulf between critics and listeners was so vast, it’s even mentioned in the opening paragraph of [[http://en.wikipedia.org/wiki/Grand_Funk_Railroad their Wikipedia page]]. As explained in [[http://starling.rinet.ru/music/gfr.htm this article]], much of both the critics’ unbridled hate for GFR and the public’s love of them had to do with how they were playing [[ThreeChordsAndTheTruth simple, energetic, populist roots-rock with straightforward lyrics]] in an era where ProgressiveRock bands with elaborate instrumentation and multilayered lyrical themes -- i.e. the sort of music that [[GoodOlBoy ‘down home’ rock fans]] tend to view as [[TrueArtIsBoring pretentious, nerdy, and hard to 'rock out' to]] -- were critical darlings. Ironically, however, their very last album before their breakup, ''Good Singin', Good Playin[='=]'' in 1976[[note]]After their reunion, they recorded two more albums, ''Grand Funk Lives'' in 1981 and ''What's Funk?'' in 1983, before breaking up again. Both albums, however, were made under a new lineup that was missing half of the original members, and this first reunion is generally considered to be a DorkAge by fans.[[/note]], was done in collaboration with none other than Frank Zappa (see below). [[note]]Though Zappa's tangible influence was minimal, and the track to which he contributed the most, "Rubberneck", got cut from the album and wasn't released to the public until 2001.[[/note]]
* HURT is a modern rock band that critics generally love, and their ''Vol. II'' album is considered one of the very best albums of rock period by critics and fans. They have a devoted fanbase and sell well enough to keep making music, but they are widely obscure to the general public, so much so that they aren't known well even amongst the Internet.
* Music/IggyAzalea was one of the biggest rappers of 2014, scoring two massive hits in "Fancy" and "Black Widow", and broke the glass ceiling for white female rappers. However, she was despised by hardcore rap and music fans due to being another watered-down pop rapper and trying to be black. Critics were "eh" on her. That being said, when the media started talking about this, much of the general public turned on her, [[DeaderThanDisco and her popularity fell at a speed not seen since Milli Vanilli]].
* While adored by fans, Music/ImagineDragons’ ''Night Visions'' and ''Smoke + Mirrors'' were critically lukewarm.
* Music/JanetJackson’s ''Damita Jo'' album: Fans think it could have done well, while critics bashed it post-Super Bowl controversy.
* Music/JanelleMonae gets rave reviews from critics but the general public knows nothing about her. Her albums have all mostly been {{Hitless Hit Album}}s.
* Music/{{Jewel}}, even during her heyday in the mid- to late ’90s, generally garnered lukewarm reviews from professional critics, with many deeming her music naïve and overly simple. Yet that didn’t stop her debut album ''Pieces of You'' from reaching Diamond certification in the U.S. (and, later, being listed by the Rock and Roll Hall of Fame as one of the “Definitive 200”). Her 1998 album ''Spirit'' also went on to achieve Triple Platinum status, despite an equally unenthusiastic critical reaction, and is seen as a defining pop album of the late ’90s.
* Although Music/JohannSebastianBach was esteemed as a performer, his music was considered, in its day, to be old-fashioned and not of much interest, with Bach’s sons Carl Philipp Emanuel Bach and Johann Christian Bach being much more highly regarded as composers. Today, J.S. Bach is considered one of the greatest (if not ''the'' greatest) composer of all time, and while his sons’ music is still played it’s definitely not considered to be in the same league.
* Unsurprisingly, Music/TheJonasBrothers. Boyband first, ‘legitimate musicians’ second to critics, while their fanbase (even non-teenyboppers) love them. (Notable exception being their NewSoundAlbum ''Lines, Vines and Trying Times'', but even the critics hated that one.)
* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet in general is a ''massive understatement''. In fact, his {{Hatedom}} tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.
* Music/KendrickLamar’s breakthrough album, ''Music/GoodKidMAADCity'', got rave reviews from critics, and while it was a hit, it was still far from the smashes that the likes of Music/LilWayne and Music/{{Drake}} had. He ultimately escaped this with his next album ''To Pimp a Butterfly'', which firmly established him as a top-tier act (plus it got even better reviews than its predecessor).
* Music/KidzBop is very popular with, well, kids, but critical opinion of the franchise has been pretty negative -- and that's not even going into how badly casual music fans think of them.
* King’s X are regularly named as one of the best rock groups of the ’90s and have a very strong fanbase of seemingly just a few hundred people.
* For both Music/LedZeppelin and Music/BlackSabbath, their first few albums were critically panned originally (though in both cases most critics retroactively praised their early stuff).
** This is actually true of many of the acts made popular in the 1970s. The albums and concerts of Music/{{Queen}}, Music/{{Journey}}, Music/PaulMcCartney and Music/{{Wings}}, Music/EltonJohn (at least after he wore outrageous costumes), and a lot of the ArenaRock and ProgressiveRock supergroups had poor (or only grudgingly favorable) reviews, but sold millions, while critical darlings such as Music/TheVelvetUnderground were largely ignored by the record-buying public. This may have connections to [[ItsPopularNowItSucks professional jealousy]], [[TheyChangedItNowItSucks changes in style]], [[ItsTheSameNowItSucks burnout]], [[FollowTheLeader hang-ups with keeping up with the next big thing]] (punk, bar bands, synth-pop, new wave, indie rock) or perhaps it needed to be VindicatedByHistory. Granted, some records may have simply been [[{{Filler}} substandard]], but often the bad reviews came [[CausticCritic regardless of the quality of their work]]. The phenomenon was lampshaded in a 1971 ''Magazine/RollingStone'' column by Lester Bangs:
--->“Three or four years ago, rock reviewing was less problematic than it is today. For one thing, you knew what to write about. The Byrds, the Animals, the Dead, the Airplane, and Beach Boys were fit subjects for comment; Gerry and the Pacemakers, Dave Clark and Freddie and the Dreamers were not. The Beatles, the Stones, and Dylan were the first inductees to rock’s (as opposed to rock and roll’s) pantheon; after that, everyone bowed in the direction of San Francisco and underground British groups until the appearance of Led Zeppelin.\\
“Zeppelin forced a revival of the distinction between popularity and quality. As long as the bands most admired aesthetically were also the bands most successful commercially (Cream, for instance) the distinction was irrelevant. But Zeppelin’s enormous commercial success, in spite of critical opposition, revealed the deep division in what was once thought to be a homogeneous audience.\\
“That division has now evolved into a clearly defined mass taste and a clearly defined elitist taste. Critics may write pages and pages about elitist favorite Captain Beefheart, but it was sons of Grand Funk — namely Black Sabbath — who were the first new band in months to sell out the Fillmore East in advance […] Critics write paeans to Van Morrison and ''New Morning'', but these days it is Stephen Stills who sells the records — in far greater quantity (on a per album basis) than Dylan and Morrison.”
* The Levellers’ album ''Hello Pig'' was regarded by many critics to be the band’s breakthrough that was going to catapult them to the mainstream, deviating from their formula. Of course, the fans hated it.
* Music/LimpBizkit were absolutely hated by critics for a long time, but their albums all sold like gangbusters, even their most negatively reviewed album ''Results May Vary'' managed to go platinum. Though once the band released their comeback album ''Golden Cobra'' both fans and critics alike seemed to enjoy it.
* Music/LinkinPark’s ''Minutes to Midnight'', [[NewSoundAlbum with a new sound]] resembling generic alt- and arena rock rather than nu-metal, got generally positive reviews (including a rare four stars from ''Rolling Stone'') but was ''trashed'' by the band's fanbase.
* Swedish electro-soul group Little Dragon are critical darlings, but their record sales are very stagnant.
* Music/MarvinGaye’s ''Here, My Dear'' album. It later became VindicatedByHistory.
* Music/{{Megadeth}}’s 1997 album ''Cryptic Writings'' was praised by critics, with some even calling it the band’s best album since ''Rust in Peace''. Many fans thought that the band had taken in too many poppy influences. The 2004 Remaster restores a lot of metal elements and the album has been reappraised by many since.
* The Music/{{Metallica}} album ''St. Anger'' actually got pretty decent reviews from critics upon release, but you wouldn’t know it from the insane amount of criticism it got from fans. Enough that [[CreatorBacklash the band themselves have removed the album almost entirely from their live set list]] (despite this, they considered the album necessary, because working around the CreatorBreakdown kept them together). Granted, the initial backlash was directed mostly [[XPacHeat at the band itself]] (who had mined its reputation with an overhaul [[ItsPopularNowItSucks that popularized them]] [[TheyChangedItNowItSucks but irritated the original fans]] and [[DigitalPiracyIsEvil a lawsuit on Napster]]) and it seems to have subsided a bit, but not nearly enough for it to be VindicatedByHistory.
** ''St. Anger''’s slim chance of ever becoming VindicatedByHistory has been pretty well-confirmed. Quite a few publications (both metal-focused and mainstream) ran ten-year retrospectives of the album to see if it may have been a misunderstood masterpiece. Sure enough, the overall consensus was that, in spite of the well-documented CreatorBreakdown that led to it turning out the way it did, the album did not improve with age.
* In probably the most extreme case, Music/MichaelBolton managed to sell 50 million records worldwide despite being ''savaged'' by critics. Strangely, he still sells despite even the public’s backlash against him.
* Music/MichaelJackson’s first post-''Music/{{Thriller}}'' album, ''Music/{{Bad}}'', was acclaimed by critics and sold extremely well, but by the time ''Magazine/RollingStone''’s Readers’ Poll for 1988 was taken, there was enough of an audience backlash against Jackson that he swept the ‘Worst’ categories. Its reputation with ''both'' camps has improved with time. By comparison 1991’s ''Music/{{Dangerous}}'' was generally liked by both critics and general audiences. From ''Music/HistoryPastPresentAndFutureBookI'' onward both groups, at least in the U.S., gave up on him (his decision to center so much of ''[=HIStory=]'' around his ''highly'' alienating legal issues/personal life was, in hindsight, misguided); the best he could get from the former was SoOkayItsAverage notices, and only his diehard fanbase kept him selling [[DeadArtistsAreBetter until his death]]. Even his death hasn’t been able to boost the reputation of his post-''Dangerous'' work as yet.
* Music/MilliVanilli. Even before the lip-syncing scandal broke, they were dismissed by critics as garbage bubblegum pop. That didn't stop them from enjoying a year under the sun.
* Like Anastacia and King’s X, Mother’s Finest was a heavily critically acclaimed funk-rock band of the mid- to late ’70s. Because their music was either insufficiently rock or insufficiently funk/soul/R&B, however, they never really broke out.
* Music/{{Muse}}’s ''The 2nd Law'' is a strange example. While getting generally positive reviews from critics, the album was divisive among its fans: many criticized the album’s new sound, particularly criticizing the experimentation with dubstep and love ballads, even placing the album among their worst albums of 2012; but at the same time, their supporting concert tour became their highest-selling tour to date.
* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that [[{{Hatedom}} you have no taste in music]] and are a part of what’s killing rock and roll — [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this LoveItOrHateIt reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] of their album ''No Fixed Address'' argues that much of Nickelback’s hatedom came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable.
* Music/NineInchNails’ album ''The Fragile'' was rated very high by critics (it was ''Rolling Stone''’s album of the year when it came out), but didn’t sell all that well — it went to number one in October 1999, but then proceeded to have the largest decline in the ''Billboard'' chart’s history. Considering the band’s later success, VindicatedByHistory comes into play.
** The decline from number one should have been expected, since the rabid fans had waited five years for a new album and were going to buy anything Trent put out on Day One, but the album failed to produce a hit single for the casual fans to grab onto (“Starfuckers, Inc.” came closest). And while it wasn’t a bad album, most of those songs were pretty rare to hear live after the ''Fragility'' tour, with only “The Wretched” and its instrumental lead-in, “The Frail,” becoming live staples.
* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged a PeripheryHatedom that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like they do to Bieber).
* Music/{{Opeth}}’s 2011 album ''Heritage'' got very positive reviews from critics, averaging a 72 on Metacritic. However, at the very least half the fanbase doesn’t like it at all, mainly because they are afraid the band won’t make another album in their SignatureStyle, as frontman Mikael Akerfeldt said he was “bored with metal”.
* Believe it or not The Pharcyde’s debut and sophomore album got lukewarm to mixed reviews from critics. But high critical acclaim from hip-hop fans. They would later become VindicatedByHistory.
* Music/{{Pitbull}} is widely derided on the Internet and by many music fans. That hasn't stopped him from being one of the biggest rappers of the 2010s. His contemporary Music/FloRida gets the same reaction.
* Michigan-based post grunge band Pop Evil are one of the biggest names on rock radio in the 2010s. Much like Nickelback and Grand Funk, however, they're largely seen by critics as another bland and mediocre "corporate rock" band.
* Music/{{Queen}} suffered from negative press in the 1970s and 1980s, even though they were hugely successful (especially in the UK) and are now considered to be one of the greatest rock bands of all time. Indeed, [[http://www.youtube.com/watch?v=e63sQ8Jz57s upon being inducted into the Rock Hall of Fame in 2001]], their drummer, Roger Taylor, cheekily said of the honour, “It means actually more than all the Grammys we never got.”
* Music/QueenLatifah’s ''Black Reign'' album. Mixed reviews from critics but most hip-hoppers and hip hop publications see it as a classic Hip-Hop album that produced one of the most iconic rap songs “U.N.I.T.Y.” Some even say the song “Just Another Day.”
* Raphael Saadiq’s solo albums have had consistent critical acclaim but was never able to cross over fully for some reason. Interestingly enough his old band, Tony! Toni! Toné!, was pretty huge in [[UsefulNotes/TheNineties the early to mid-’90s]].
* The output of Music/RascalFlatts after switching to producer Dann Huff (namely the albums ''Me and My Gang'', ''Still Feels Good'', and ''Unstoppable'') was generally considered mediocre to dreadful by most music critics. Main points of criticism included bombastic production, overwrought vocals, and bland lyrics. However, their streaks of Top Five country hits and multi-platinum sales were unharmed, and their first single with Huff (“What Hurts the Most”) was their most successful crossover. The group generally won back critical acclaim by returning to a less bombastic, more substantial sound after they moved to Big Machine Records following the closure of their previous label, Lyric Street. Starting with 2014’s ''Rewind'', they finally ditched Huff entirely.
* While the average person knows and respects Music/LouReed, it’s usually more for ''Music/{{Transformer}}'' and the LiveAlbum ''Rock ’N’ Roll Animal'', not his later, more experimental stuff. Nevertheless most rock critics praise him as one of the most important innovators in his field.
* Music/TheResidents are praised for making a NewSoundAlbum every year, but if an ordinary music fan would listen to their records he wants to clear the room in about two minutes.
* During the same time frame of the aforementioned Amel, and Res there was Rhian Benson. Another critical darling that was ignored by the public and mainstream radio.
* “[=MacArthur=] Park” by Richard Harris has often been called the worst song ever by critics, but was a commercial success in 1968 and has been hailed by the public as a classic. It’s not hard to see why; the music and Harris’ beautiful singing voice more than makes up for any silly lyrics it may have.
* Music/{{Rush}} have rarely or never gotten good reviews, particularly in the ’70s, but their album sales have almost always been strong, and they have a hardcore, devoted following (and plenty of respect from musicians’ publications for their virtuoso playing), and a status as national heroes in [[CanadaEh their homeland]] … and, finally, induction into the Rock and Roll Hall of Fame! After years of being ignored (something [[AwardSnub fans didn’t take lightly]]).
* Music/{{Sepultura}}’s sixth album ''Music/{{Roots}}'' received almost unanimously positive reviews, and proved to be one of the most influential albums in the early-2000s NuMetal scene. Fans of the band, however, consider it to be their JumpingTheShark moment and don’t like it as much.
* DeathMetal band Music/SixFeetUnder has been well-liked by critics since their formation, even earning critical acclaim for their album ''Undead'', released in 2012. However, many death metal fans absolutely despise them. Most of the criticism comes from their simplistic music and Chris Barnes’ weakened vocals, but the [[CattleDecapitation Travis Ryan]] incident has led many people to believe the rumors that Barnes is an asshole. However, some haters tend to enjoy their two latest albums, the aforementioned ''Undead'' and ''Unborn''.
* Music/SonicYouth have been praised by rock critics and fans of AlternativeRock for being innovative. Many expected them to break to the mainstream when Music/{{Nirvana}} became huge in 1991, but to this day they never left the underground or struck a chord with the general public.
* Music/StoneTemplePilots, throughout TheNineties, was pummelled by music critics, with the main criticism being that they were little more than a third-rate knockoff of Music/PearlJam and Music/AliceInChains. Yet negative press didn’t stop them from becoming one of the most popular and influential rock bands of the ’90s.
** A perfect example of how dissonant fan and critical reaction to the band was: they were simultaneously voted “Best New Band” by ''Magazine/RollingStone'' readers and “Worst New Band” by the same magazine’s critics in January 1994.
* Music/{{Supertramp}}: One of the best-selling bands of the 1970s, but lambasted by critics.
* Most of Terence Trent D’arby’s later music.
* Theory of a Deadman have a very large hatedom amongst critics and fans of "pure" rock, as they are seen as an "X-rated post-grunge trash" act a la Hinder. That hasn't stopped them from dominating rock charts. Fortunately, their 2014 album ''Savages'' was praised as a move away from that sound (although songs like "Blow" still echo that sentiment of their past sound). It helps that they moved away from Kara [=DioGuardi=], who is primarily a pop songwriter.
* Music/ThreeEleven’s 1997 album ''Transistor'' wasn’t received very well by critics, but it’s generally beloved by fans.
* Music/ToriAmos’ 1996 album ''Boys for Pele'' was bashed by critics when it was released. Nevertheless, it’s a fan favorite that is considered to be among her best work.
** The album has found itself VindicatedByHistory, as by the late 2000s many music critics and experts have also come to acknowledge it as being one of the best from its genre and time period. It has been theorized that the album’s poor response at the time was due to its sound being such a dramatic departure from Amos’ first two albums.
** Music/KateBush’s 1982 album ''The Dreaming'' suffered this too.
* Some of Music/TupacShakur’s posthumous releases are this. Critics dismiss them as cheap cash-ins. But some of the earlier ones are seen as genuinely good albums, specifically ''R U Still Down? (Remember Me)'', and ''Still I Rise''.
* 65daysofstatic’s ''[[NewSoundAlbum We Were Exploding Anyway]]'' was perhaps their most critically well-reviewed album. Yet on user-driven sites such as [[http://www.rateyourmusic.com Rate Your Music]], it is one of their lowest-rated albums.
* Music/WasNotWas: To the critics, an imaginative experimental funk outfit bolstered by tight playing and high-quality production. To the mainstream public, a bunch of goofballs who did an annoying song about dinosaurs.
* Of course, we can’t forget the treatment the album ''Music/{{Pinkerton}}'' by Music/{{Weezer}} originally got. Critics reacted so negatively to an album widely considered Weezer’s most personal that lead singer/songwriter Rivers Cuomo had a legitimate CreatorBreakdown, calling himself a “shitty songwriter” and saying it was a “hideous record […] a hugely painful mistake that […] just won’t go away”. Needless to say, the fans considered it (and still do) Weezer’s best album to date, and a masterpiece on the part of Cuomo. Luckily, all these years later, Cuomo as well as the critics have changed their tune and tend to agree. It might be the TropeMaker for VindicatedByHistory, as the album currently has a solid '''100''' rating on Metacritic.
* Music/KanyeWest has gotten generally positive to universal critical acclaim for all of his albums, and most of the time that was reflected with the public. Although his fourth album, ''808s & Heartbreak'', was controversial for its electropop sound and heavily autotuned vocals, it still debuted at number one on the ''Billboard'' Top 200 and produced two hit singles. His next album was better received by the public as a whole, but his sixth album, ''Yeezus'', is a prime example. Kanye’s second NewSoundAlbum is very experimental, with a variety of influences like IndustrialMetal, Electro, and Noise music. It was released to widespread critical acclaim and topped many critics' year-end lists, but, despite debuting at number one, it had the lowest debut sales for any of Kanye’s albums and is the only one not to sell at least one million copies (the album having very little promotion also didn’t help). Many older fans were indifferent or put off by the album’s non-traditional sound, and the public majority seemed tired of Kanye’s antics. Only one song, “Bound 2,” received decent airplay, helped by the fact that it sounds like his earlier work.
* Music/{{Yes}}: Critics have always hated this band, but the general listeners bought their records by the score.
* Music/FrankZappa is widely praised by critics for being one of the most important composers of all time, having an original, authentic sound that changes [[GenreRoulette many styles]] and being far more complex and experimental than most rock songs. His political activism and satirical songwriting have also been praised. Yet he has never been popular with the general audience and still is nothing more than a cult artist.
* Music/JohnZorn: Similarly to Zappa Zorn is a critic’s darling for his GenreRoulette style, but literally obscure to the general public.
* Boys bands!and girl groups will often be gigantic bestsellers among young females, but will not receive any good press from critics, even female ones.
* Many Canadian acts, largely due to record companies [[ExecutiveMeddling mishandling or poorly marketing]] critically acclaimed groups or artists:
** If you were to judge The Rheostatics (a now-defunct Canadian rock group) solely by the opinions you find of them online, you would think they’re one of the most important Canadian bands of the past century, and more critically acclaimed than even most current Canadian artists (to the point that two of their albums, ''Melville'' and ''Whale Music'', are consistently ranked as one of the top ten Canadian albums of all time). In actuality, they only one minor hit (“Claire” in 1994) and never sold that many records commercially, even at their peak in the ’90s.
** Poor, poor Fefe Dobson. All of her albums have been critically acclaimed, but still tanked. One critic from ''NOW'' magazine blamed this on the fact that the industry didn’t know how to market a black rocker chick from [[CanadaEh Scarborough, Ontario]].
** Esthero was an indie queen who received tons of critical accolades for her three studio albums, as well as her collaborations with various artists (including [[Music/BlackEyedPeas Will.i.am]] on the “Yes We Can” track from 2008 and co-writing songs for Music/KanyeWest’s ''808’s and Heartbreak'' and Timbaland’s ''Shock Value II''), but all her solo work has failed to generate sales, and she’s still mostly unknown in Canada and the States.
* There are a number of Classic Rock-era albums that earned high marks from critics, and often appear on ‘greatest ever’ lists, but have gone mostly unnoticed by the public, including Love’s ''Music/ForeverChanges'', the Zombies’ ''Music/OdesseyAndOracle'', and the Pretty Things’ ''Parachute'' (which was ''Magazine/RollingStone''’s album of the year for 1970).
* ClassicalMusic and {{Jazz}} tend to be more praised by critics, intellectuals and the like for being beautiful works of artistic expression. To most plain folks it’s just a nice tune to play in the background, but not too long before they put on a pop music record again. The fact that many people still call these compositions ‘songs’ despite the fact that many are instrumentals also shows the gap in appreciation.
** More divisive still is avant-garde classical music and jazz. While critics praise people like Music/IgorStravinsky, Music/BelaBartok, Music/ArnoldSchoenberg, Music/EdgardVarese, Music/KarlheinzStockhausen, Music/OlivierMessiaen, Music/CharlesMingus, Music/EricDolphy, Music/JohnColtrane, Music/TheloniousMonk, Music/SunRa, and Music/OrnetteColeman, most average music fans see this music as loud and obnoxious.
* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity has no country music radio stations at all. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking NASCAR, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus limiting interaction with fans of other genres (other than maybe classic rock). However, simply based on numbers country music could be considered the most popular genre of music in America. And within the genre itself …
* The crops of country hitmakers in UsefulNotes/TheNewTens are usually rock-influenced acts (often known as “bro-country”) like Music/LukeBryan, Music/JasonAldean, Music/BrantleyGilbert, and Music/FloridaGeorgiaLine, who are all criticized for their heavy rock influence, overreliance on party jams, and Bryan’s preference of sex appeal over musical integrity. Despite heavy criticism, their albums and singles are among the bestselling in the genre.
** Other acts are criticized for singing way too many songs about being a country boy. Doesn’t stop them from constantly hitting the Top 10.
* Music critic J. Eric Smith decided to see [[http://web.archive.org/web/20090609160649/http://jericsmith.com/sacredcows.htm which albums get more praise from critics than copies sold.]]
* In the late 1970s and early 1980s, most music critics dismissed the entire HeavyMetal genre as being loud, stupid, monotone and offensive. Mainstream publications like ''Magazine/RollingStone'' ignored metal entirely. But within a few years Heavy Metal would become one of the biggest music genres on the planet, with metal bands selling millions of albums and filling arenas. And it’s still this way for the most part.
* Almost every VH1 ''You Oughta Know'' and MTV ''BUZZ'' artist counts. Critics gush over these artists (usually for good reasons), [[HypeAversion but the general public seems to be indifferent]].
** Bumblebeez: Critics said they were gonna be huge and be the Australian version of the Neptunes.
** Leela James, and almost every other Neo-Soul artist. D’Angelo, Music/AliciaKeys, and Maxwell are the only ones that ever had huge success, and only Alicia has been able to maintain it (although, to be fair, Alicia tweaked her sound around this time, less soul and more power ballads). It also probably had something to do with the evolution of the term “neo-soul” itself. In the ’90s, it was ExactlyWhatItSaysOnTheTin: a new wave of artists who approached their music with the same philosophy as classic soul musicians. But as these artists found mainstream success around the turn of the millennium, “neo-soul” came to be applied to any black singer who appealed to people over 25. Because of this, many fans who took the term to heart [[CompletelyMissingThePoint failed to see what the big deal was]] and gave up on the genre altogether.
*** This is a problem with [[MusicIsPolitics labeling and the industry in general]]. There’s the top 40 pop music targeting teens and young adults. And then there’s...''[[MyFriendsAndZoidberg everything/everyone else]]''.
** Hip-Hop act Little Brother, possibly derailed by ThePowersThatBe, depending on whom you ask. It didn’t really help that the group went on hiatus around the time they were getting hyped.
** Ditto for rap group Dead Prez had huge buzz leading up to their debut album. When the album dropped critics ate it up, but the public mostly ignored it.
** Critics claimed that the unassuming neo-psychedelia act The Mooney Suzuki were supposed to be the band that changed AlternativeRock in the 2000s. Then Music/TheStrokes and Music/TheWhiteStripes happened. Critics later turned their backs on the group, as their last two albums were received poorly, despite the fact that the title track from their third album (''Alive & Amplified'') finally became the minor hit that had long eluded them.
** Indie rockers The Brian Jonestown Massacre are loved by critics but seem to intentionally sabotage themselves every time another wave of hype and potential commercial breakthrough comes their way.
** Many music critics were expecting big things from PowerPop band The Lemonheads, who were supposed to be the next Music/{{Nirvana}}, or at least the New Important Alternative Band of the ’90s. The band never found a breakthrough single and just sort of disintegrated, although at least today they maintain a cult following.
** Most of MTV’s ''Buzz'' artists didn’t pan out. With a few notable exceptions (Music/{{Garbage}}, Music/FooFighters, Music/{{Beck}}), the bands featured became [[CultClassic cult favorites]] at best and OneHitWonder flameouts at worst (anyone remember Jimmie’s Chicken Shack?).
*** Many of BET’s ''Next'' artists didn’t pan out either — so much so they don’t even attempt to break buzzworthy artists anymore. In fact they ignore them and stick to the more accessible artists.
** Enigmatic R&B singer Res is a solid example of this trope, critically acclaimed but her career just fizzled out.
** And before Res there was Davina (remember her!?).
** Nikka Costa: critics were saying she would be huge … well.
** Grace Potter & the Nocturnals. They had no hits, but Grace herself has been an AdvertisedExtra on ''two'' Music/KennyChesney songs.
** Before Res but after Davina there was also Amel Larrieux. A critical darling who got rave reviews but was shunned by both the public and music networks.
* Seventies progressive rock as a genre has never really gotten much respect from mainstream rock critics, who consider it insufferably pretentious, yet bands like Music/{{Yes}}, Music/JethroTull and Music/EmersonLakeAndPalmer were hugely popular and still have devoted followings.
* {{Exotica}}, bubblegum pop, novelty music, easy listening music, SpaceRock, Muzak are still seen as the lowest of the lowest music, but did get a bit more serious interest in the 1990s.
** Many band leaders and musicians who sold millions by merely covering popular music and playing it in easy listening arrangements have never received any artistic recognition: Music/LawrenceWelk, Music/{{Liberace}}, Mitch Miller, James Last, Herb Alpert, Leroy Anderson, Bert Kaempfert, Mantovani, Richard Claydermann, Ray Conniff, André Rieu, Helmut Zacharias, Hugo Montenegro, Pat Boone …
* Music videos. For many young people they are the major reason to like and buy a song, album or a certain artist. But most critics seldom discuss or hail the merits of these videos whom they dismiss as cheap publicity tools that distract attention away from the actual music by focusing more on cool dance moves, fashions, hairstyles, special effects and storylines. Sometimes inverted, such as is the case with [[Music/MichaelJackson the music video for Thriller]], which gets critical acclaim for its horror allusions, but which sometimes gets dismissed by the general public for being NightmareFuel.
* Classical crossover tenor Music/AndreaBocelli is far more popular with the music consuming public than with critics, who are prone to insist that he simply doesn't have a particularly good voice.
* Enya got her first three albums released to massive critical acclaim, then critics got cold, with the other albums getting mixed reviews. Of course, being that she's known worldwide and the first name that pops into people's heads when they think of celtic/relaxing music, every album she's ever released has been a massive success among the listeners.

* Creator/WilliamsElectronics’ pinball games of UsefulNotes/TheEighties and UsefulNotes/TheNineties are consistently regarded as the best games ever in the field; the top ten list of modern pinball tables at the [[http://www.ipdb.org Internet Pinball Database]], Pinside, and other fansites are regularly dominated almost entirely by games from Williams and their subsidiary Bally. Even so, the company eventually left arcade gaming all together, as [[ExecutiveMeddling shareholders abandoned arcades]] for the more lucrative field of casino gaming (''read'': slot machines).
* Creator/SternPinball was getting this from fans in the start of the UsefulNotes/TurnOfTheMillennium, when they were the only major manufacturer of pinball tables remaining. Games like ''Pinball/TheLordOfTheRings'', ''Pinball/TheSimpsonsPinballParty'', and ''Pinball/{{Indiana Jones|Stern}}'' enjoyed decent sales, but were largely loathed by pinball enthusiasts and often gathered a LoveItOrHateIt reaction. Things have been improving of late, with more polished designs from long-time designers like Creator/SteveRitchie and Creator/JohnTrudeau winning back the enthusiasts.

[[folder:Professional Wrestling]]
* There can often be a huge dissonance between what the wrestling SmartMark fans and critics are praising and what the fans are cheering for in the arenas. Some examples:
** Wrestling/JohnCena is despised by smarks, so his matches tend to get voted down - or at least they did during the PG era when his {{Hatedom}} was at its strongest. Since Cena was dropped down to the midcard in early 2015, most critics rate his matches fairly enough and find him to be a solid wrestler and smarks have warmed up to him a lot since he gained a ReplacementScrappy in Wrestling/RomanReigns.
** Reigns was hugely popular when he was introduced as the "silent but deadly" warrior of Wrestling/TheShield. Once the stable broke up and began being pushed as the second coming of Cena, fans' opinions of him quickly soured. Reigns is widely seen as as a mediocre wrestler with poor mic skills who is only being put in the spot he's in because of his family background [[note]]He's a member of the Anoa'i WrestlingFamily, which produced [[Wrestling/DwayneJohnson The Rock]][[/note]]. He still gets good reactions from more casual audiences (although not as much as Cena), despite being vehemently loathed by smarks.
** Too Cool were especially loathed by critics during the Attitude Era, but got great reactions. Fans who aren't {{Smart Mark}}s tend to remember them as a good tag team with a fun gimmick.
** Wrestling/SantinoMarella was pretty over in his time, but critics never rated his matches very high. Smarks consider him an embarrassment.
** {{Wrestling/Paige}} gets good reactions from fans in the arenas but is an extreme BaseBreaker with critics and internet fans.
** Wrestling/KellyKelly was insanely over in the PG Era, and even ''Diva Dirt'' writers warmed up to her. Anyone outside the Diva-fan demographic utterly hated her guts.
** Wrestling/NatalyaNeidhart is one of the favourites on ''Diva Dirt'' but smarks tend to be indifferent to her. Likewise with Wrestling/AliciaFox.
** The Wrestling/BellaTwins, especially Nikki (mainly due to having John Cena as her partner rather than Daniel Bryan), have a very vocal internet Hatedom. However, critics began praising them for their improvement by the end of 2015 and they get decent reactions from most casual audiences.
** Wrestling/KevinNash is one of the most hated wrestlers among critics and internet fans, but was insanely over in the 1990s and nearly always gets good reactions when he appears on TV these days.
** Wrestling/HulkHogan is probably the single most unpopular wrestler on the internet, but always gets a standing ovation in arenas.
** Wrestling/{{Melina}} became massively over in 2008 after a HeelFaceTurn and was praised for being one of the better workers of that era. However, she's a BaseBreaker within the smark community, mostly stemming from her reputation for being obnoxious and a slut in the locker room during her early years in the company.
** Wrestling/SummerRae. The casual audiences couldn't give less of a fuck about her, as she's little more than a heel {{Jobber}} who occasionally gets fluke wins, and that's not even getting into the near-universally panned love quadrilateral storyline with [[Wrestling/RusevAndLana Rusev, Lana]] and Wrestling/DolphZiggler during 2015. However, smarks, particularly those who saw her work in NXT consider her an underrated talent with much potential being dealt a bad hand on the main roster. Critics seem indifferent to her however.
** Wrestling/{{Jacqueline}} was also a smark favorite, but wasn't really able to connect with audiences.
** Wrestling/MariaKanellis (at least during her WWE tenure). ''Diva Dirt'' writers didn't like her at all, and expressed shock at the great reactions she got from fans in the arenas.
** Wrestling/RandyOrton. Casual fans like him, but he's a BaseBreaker among critics and smarks.
* Not a wrestler, but a storyline. In October of 2009 EnsembleDarkhorse Wrestling/MickieJames had been moved from Raw to [=SmackDown=]. Wrestling/LayCool (the {{Heel}} duo of Wrestling/MichelleMcCool and Wrestling/{{Layla}}, both of whom were stick-thin) began making fun of her and calling her "Piggy James" for [[HollywoodPudgy supposedly being overweight]], which initially drove Mickie to tears before she started fighting back. Despite winning her fifth and final Women's Championship from [=McCool=], Mickie ultimately lost the feud and was subsequently released from WWE. Numerous critics and smart marks hated it (though ''Diva Dirt'' were more sympathetic to it) claiming that the opinions of LayCool reflected those of WWE's management (since they used to focus on HollywoodThin supermodel-type women) and LayCool received a fair amount of XPacHeat because of it. Mickie listed it as one of the better feuds she had done during her time in WWE. Other fans pointed out that the commentators and other women made it perfectly clear that they didn't think Mickie was fat at all, that it was the first real storyline the Divas had in a while, and that many who criticized the angle were being hypocritical, since numerous smarks had been calling Mickie fat for ages.
* ''Wrestling/{{WWENXT}}'' is a SacredCow among critics and smarks. Casual fans are mixed about it and many don't even watch it.

* One review of ''Theatre/RomeoAndJuliet''’s [[OlderThanSteam premiere]] described it as “a mawkish melodrama which, [[ItWillNeverCatchOn god willing, will see no second performance]].”
* ''Theatre/LesMiserables'', which has been running nonstop for thirty-plus years in London and played to over 60 million people worldwide, was derided when it first opened, being accused of being glum and mawkish. [[Film/LesMiserables2012 The 2012 movie adaptation]] received a similar reception but was a box-office smash to the point that ''USA Today'' did a feature story about the dissonance.
* Disney’s ''Disney/BeautyAndTheBeast'' was seen as little more than a glorified theme park show when it opened on Broadway in 1994 (''Entertainment Weekly'': “It belongs OnIce, not on Broadway”), but managed a decade-plus run and tons of professional and amateur productions. Since then ''many'' other grandiose family-friendly musicals have come down the pike — all adapted from well-known stories, and many outright {{Screen to Stage Adaptation}}s as ''Beauty'' was. Most see only a few raves among seas of notices that are SoOkayItsAverage at best and ''Beauty''-level pans at worst (only ''Theatre/TheLionKing'' and ''Theatre/{{Matilda}}'' are truly embraced by critics) but some soldier on to win the hearts of audiences anyway: ''Theatre/CharlieAndTheChocolateFactory'', ''Film/AChristmasStory'', and ''Film/MaryPoppins'' are all success stories. Part of this dissonance owes to the fact that while critics and many ‘serious’ musical-theatre fans prefer more sophisticated fare like Creator/StephenSondheim shows, ''Theatre/TheBookOfMormon'' or ''Theatre/NextToNormal'', those shows aren’t exactly suitable for ''families''.
* ''Theatre/MammaMia'' — this fluffy JukeboxMusical is a symbol of the LowestCommonDenominator to hardcore musical-theatre lovers, and its [[Film/MammaMia 2008 movie adaptation]] didn’t wow film critics, but it’s sort of the LighterAndSofter ''Les Miserables'' when one looks at its global popularity.
* ''Theatre/ThePhantomOfTheOpera'' received a lot of pans in its initial stagings in UsefulNotes/{{London}}, New York, and UsefulNotes/{{Toronto}}, but to say it rode those reviews out is an understatement — it recently celebrated its thirtieth anniversary in London and is likely to reach that milestone in New York as well. Not to mention the myriad of foreign and touring productions as well.
* ''Theatre/WeWillRockYou'' was panned when it opened in London, but word of mouth kept it alive, turning it into a sellout show that ran for over a decade and launched several sister productions elsewhere.
* ''Theatre/{{Wicked}}'' fared poorly in reviews from critics when it initially opened. The show became wildly popular and beloved among theatregoers. Subsequent productions elsewhere have received similar lukewarm critical responses, but the New York production is currently the eleventh-longest-running show in Broadway history (having celebrated its tenth anniversary in 2013) and the foreign and touring productions have seen comparable success.

[[folder:Video Games]]
* ''VideoGame/AlphaProtocol'' was absolutely savaged by reviewers who claimed it to have a broken combat and stealth system as well as a seemingly endless supply of {{Game Breaking Bug}}s … but players ''loved'' it, quickly elevating it to CultClassic levels.
* The ''VideoGame/ArmyOfTwo'' series is one of the few video games to achieve commercial success while still getting mixed/poor reviews.
* ''VideoGame/AsurasWrath'' seems to be having quite a bit of this. It’s had relatively mixed reviews, but the game is adored by the many regular non-reviewers who have played it, especially fans of {{anime}}. [[http://www.gametrailers.com/game/asuras-wrath/13829 Here’s an example from GameTrailers.]]
* ''Videogame/BatmanArkhamKnight'': Critics gave it positive reviews (higher than ''[[Videogame/BatmanArkhamOrigins Origins]]'', but lower than ''[[Videogame/BatmanArkhamAsylum Asylum]]'' and ''[[Videogame/BatmanArkhamCity City]]'' and none of the reviewers listed on it's Wikipedia page rated it below a 7/10), but it is seen as LoveItOrHateIt among fans. Even players who like the game generally consider it to be the weakest installment in the ''Arkham'' franchise due to it's questionable plot-hole ridden story, overuse of the Batmobile in gameplay, mediocre boss battles CaptainObviousReveal of the title antagonist, overpriced DLC and broken PC port. Even though the critics agreed with some of these points, they were more forgiving of them than actual players were.
* ''{{VideoGame/Battlezone|1998}}'' was loved by critics when it was released in 1998, gaining scores above 80% in gaming magazines and winning several innovation awards. It flopped in the market though, supposedly because consumers didn’t know what to make of the Real-Time Strategy/Tank Simulation/First-Person Shooter genre mix. The sequel received mixed reviews courtesy of its [[TechDemoGame cutting-edge graphics killing performance]] and a [[ObviousBeta plethora of bugs]] at release, but it likewise became a CultClassic, enjoying a large GameMod and competitive multiplayer scene.
* According to some of the analysts from ''[=GameTrailers=]'', they believe the ''VideoGame/BioShock'' franchise is heading this way, calling it a critical darling with middling sales.
* The 'god game' ''VideoGame/BlackAndWhite'' might just be the king of this trope video game-wise. It was released to unanimous critical acclaim in 2001, earning nines and tens across the board and being immediately declared one of the greatest games of all time by many publications. The general public, on the other hand, was less enthusiastic about the final game, with many complaining about its slow pace, unforgiving gameplay, and [[ObviousBeta numerous game-breaking bugs]] (plus, good luck getting the game to run on anything more recent than Windows ME). The backlash was, in fact, so great that many critics later reconsidered their initial assessments of the game. It was number one on [=GameSpy=]’s [[http://web.archive.org/web/20040818131306/http://archive.gamespy.com/articles/september03/25overrated/index26.shtml “25 Most Overrated Games of All Time” list]] and now [seen as little more than a footnote in video game history. Part of the reaction was also HypeBacklash to Creator/PeterMolyneux, who had (as he often does) promised a lot more for the game than it actually ended up being.
* ''VideoGame/BladeKitten'' was loathed by critics, but its player base has been much kinder.
* ''VideoGame/CelDamage'' received fives and sixes from critics, and its Metacritic ratings are 67 (GCN) and 65 (Xbox). None of this has stopped it from becoming a huge CultClassic, or from getting an HD rerelease for all current Sony systems.
* ''VideoGame/ChronoCross'' has a fairly minor but notable version of this. Audience: very popular (was a Greatest Hits game) but [[ContestedSequel incredibly divisive]] among ''VideoGame/ChronoTrigger'' fans. Critics: unanimous praise (is one of a handful of games to get a perfect 10 from ''[=GameSpot=]'', for instance).
* ''VideoGame/{{Civilization}} V'' received good reviews from the gaming press, but something of a backlash from a certain subfraction of hardcore Civ players, who felt that the game was excessively simple and "dumbed down". The critics were right; Civilization V ended up being an enduringly and overwhelmingly popular game.
* ''VideoGame/CodeOfPrincess'' recieved mixed to positive reviews from critics, but sold [[http://www.polygon.com/2013/6/21/4453412/code-of-princess-performs-surprisingly-well-in-us-sparks-talk-of surprisingly well]] in North America. Ironically, the game performed so-so in its native Japan. The producer, Yasuo Nakajima, said he would like to do a sequel for the UsefulNotes/{{PlayStation 4}} or UsefulNotes/XboxOne because of the game’s success in North America.
* The ''VideoGame/DeadIsland'' games has gotten lukewarm to completely negative reviews. Many game players think it’s completely awesome. Strangely enough, a lot of game reviewers would give the game praise while still giving average to terrible scores — saying they understand why people like it, but also saying it’s still not a good game (particularly [=Rev3Games=]).
* ''VideoGame/DeadlyPremonition'' played with this. While fans gave it good reviews (the Metacritic user score is 8.3 at the time of writing), critics were all over the place, with the lowest score being a 2 and the highest being a 10. The game ended up winning awards for being so critically polarizing.
* In a similar situation, ''VideoGame/DeadSpace3'' has been, for the most part, well-received by critics. In terms of fan reception, however, the reaction has been very mixed. While some considered it a well-made action game, others felt that it lacked the horror the other two games had.
* ''VideoGame/DeusExInvisibleWar'' got decent ratings from reviewers. Fans were less kind.
** ''Invisible War'' is interesting because most fans of the original will be the first ones to say that it’s a decent game in its own right, [[ToughActToFollow but it just doesn’t hold up to the original]].
* ''VideoGame/DmCDevilMayCry'' was a textbook case of this trope both before and after the game was even released. Critics praised it, giving the game scores mostly around eights and nines. The user response, though, especially from fans of the original ''VideoGame/DevilMayCry'' games, was more negative overall, bashing on how the writing is immature, [[TheScrappy the characters are unlikeable]], the gameplay is watered down and [[ItsEasySoitSucks easy]], etc. As of this writing, the averages for critic scores and user scores on Metacritic are 86 and 44 respectively. Also, it was a top game in January sale charts, but only because there were no other major releases at that time, selling only roughly 600,000 out of expected 2 million (now 1.2 million after revising the sales projections) as of this writing, with global sales dropping sharply after the first week.
** ''Vergil DLC'': Critics bash it for going back to the stone age of earlier ''DMC'' games, while the gamers admit that even if it is not good as the previous games, it is a step in the right direction.
* ''Donkey Kong Barrel Blast'', a racing game with controversial drumstick-like controls. Players generally consider it mediocre or good. Professional critics generally consider it mediocre or bad.
* ''VideoGame/{{Driver}} 2'' was disliked and considered inferior to the original by most critics, but the majority of the ''Driver'' fandom loved it and many consider it to be the best ''Driver'' game released.
* ''VideoGame/DynastyWarriors'' and its spinoffs are practically ‘Critical Dissonance: The Game Series’, particularly in its later installments: critics pan the games for [[ItsTheSameSoItSucks the fact that the gameplay has remained the same throughout all entries]] while fans love it for its simple, chaotic action, as well as the sheer CatharsisFactor.
* An unexpected [[DownplayedTrope downplayed example]] is in the third (outside Japan) instalment of the ''VideoGame/WarriorsOrochi'' crossover which, while still suffering the same criticisms the last games did, many critics actually praised it for its GottaCatchEmAll approach to obtaining the characters and its more complex story. And of course the long-time fans liked it even more.
* ''Creator/WayForward'' has invoked this a few times:
** The [=PS2=] [[http://www.metacritic.com/game/playstation-2/spy-vs-spy adaptation]] of ''Spy vs. Spy'' has a critic score of 38 on Metacritic. Ironically, this time around it were the critics who got disappointed with the fact that a lot of the stuff that made the original comic-book series so great was not kept into the [=PS2=] adaptation (keep in mind that the critics that reviewed it were indeed fans of the comic book). This did however not stop it from having a user score of 71% and people regarding it as one of the hidden gems on the [=PS2=]. It seems that the game is suddenly very playable once you get over the fact that it’s unfaithful to its source material.
** '' VideoGame/DuckTales Remastered'': While quite a few reviewers have found the game’s archaic mechanics (minimal save points, [[NintendoHard NES difficulty gameplay]], and overall lack of innovation) grating, this hasn’t stopped fans from gushing over it. Video reviews are extremely positive about the game and viewer ratings tend to be much, much higher than critic ratings.
** ''VideoGame/DoubleDragon Neon'': Most gamers seem to love this game and have a ton of fun playing it, especially co-op, but a few critics, notably IGN, hate this game, citing clunky gameplay, and sometimes not enjoying the ’80s-style GenreThrowback elements. Most can agree the soundtrack is great though.
* ''VideoGame/EarthBound'': Criticism from test audiences and the bizarre marketing slogan of “This Game Stinks” made it quite a hated game by critics. After a brief bit of VindicatedByHistory, it is now regarded as one of the best comedy games of all time, as well as an above-average RPG. For a while it seemed that it would never see a rerelease, but its cult status got it released for the Wii U’s Virtual Console.
* ''Franchise/FinalFantasy'':
** ''VideoGame/FinalFantasyII'': One of the only English reviews of the game was positive due to the story. Everyone else [[ScrappyMechanic hates the gameplay with a passion]].
** ''VideoGame/FinalFantasyV'': Fans mainly call it mediocre for having a much lighter tone than ''[[VideoGame/FinalFantasyIV IV]]'' and ''[[VideoGame/FinalFantasyVI VI]]'', critics like the [[BreatherEpisode non-serious tone]] and [[JobSystem class system]]. Doesn’t help that it was localized ages after ''II'' and ''[[VideoGame/FinalFantasyIII III]]'', so it had no nostalgia factor to protect it from comparison with the [=PS1=] games.
** ''VideoGame/FinalFantasyVII'': Critics love this game, fans are a BrokenBase ranging from ‘one of the best of the series/all time’ to ‘not all that great’ to even calling it ‘the worst thing ever to happen to [=RPGs=]!!!’
** ''VideoGame/FinalFantasyVIII'': Most critics lauded the game upon release, while fan reaction to its gameplay and story/characters was very polarized.
** ''VideoGame/FinalFantasyXIII'': While reviews were mostly positive, it received major backlash from the fanbase because of its linearity. Despite that, it had enough of a fanbase to get a direct sequel.
** ''VideoGame/FinalFantasyXIII2'': Western critics gave it throwaway ‘average’ scores to ‘punish’ Creator/SquareEnix for ''XIII'' being what it was and also for the debacle surrounding ''VideoGame/FinalFantasyXIV''; certain fans found it to be a significant improvement.
* VideoGame/FireEmblem:
** ''[[VideoGame/FireEmblemAkaneia Fire Emblem: Shadow Dragon]]'' actually got hit with this so badly that some fans were convinced it received bad reviews, sold poorly and was the reason the next game didn’t get localized. All completely untrue, it actually got a respectable Metacritic average of 81 and sold reasonably well (a more likely reason for ''New Mystery of the Emblem''’s non-localization is that it had the misfortune to be released when the DS was all but dead in the West, and any serious localization would be seen as a gamble Nintendo wasn’t willing to take). Fans weren’t nearly as kind, mostly due to suffering a major case of SeinfeldIsUnfunny, and the [[ScrappyMechanic controversial side quest requirements]].
** ''VideoGame/FireEmblemAwakening'' is by far the most critically-acclaimed game in the series and one of the most critically-acclaimed games on the 3DS. Within the Fire Emblem fandom it's a major case of LoveItOrHateIt, with the "hate it" crowd being extremely vocal. Common criticisms include more one-dimensional characters than previous games, a poorly-paced story that tries to stuff every cliche from past games into one plot, badly-balanced mechanics and difficulty, basic map design with overly-simplified objectives, [[SturgeonsLaw widely fluctuating quality in support conversations due to there being so many]]. Playing the (previously well-recieved) marriage system of ''Geneology of the Holy War'' in a more DatingSim style has been extremely contentious among fans [[RuleOfCautiousEditingJudgement and it's best to leave it at that.]]
** ''Videogame/FireEmblemFates'', if you looked at social media that is, was an even bigger {{Macekre}} than the original English dub of ''Anime/NausicaaOfTheValleyOftheWind'', with calls to boycott the game. This did not stop it from a rather warm critical reception (Even the [[EightPointEight controversial review of Conquest]] was still positive) or from being the best selling entry of its series in the west. Most reviewers praised the game's story, while fans generally consider [[PlayTheGameSkipTheStory the story to be the weakest part of the game by far.]]
* ''VideoGame/FiveNightsAtFreddysWorld'' is probably the biggest and sharpest example of this. Many reviews are negative yet managed to get 87% on Steam. The reviews are so negative that Scott decides to improve the game and re-release it FOR FREE.
* ''VideoGame/GoneHome'' received high praise from critics regarding the story and gameplay mechanics, while gamer response has been a BrokenBase in regards to the quality of both.
* ''VideoGame/GotchaForce'': Critics were mixed about this game, but mostly had lower reviews for it. On the other hand, its score is a solid 2.1 points higher among users on ''[[http://www.gamespot.com/gamecube/action/gotchaforce/review.html GameSpot]]''. It’s still got something of a cult following, due to the insane level of ReplayValue, [[SoBadItsGood comically bad dialogue]], and lots of [[GottaCatchEmAll borgs]] to choose from.
* ''VideoGame/{{Homefront}}'' got a fairly middling reception from critics, due to a combination of ItsShortSoItSucks and not breaking out of the bounds of the ‘military FPS’ formula. Hasn’t stopped it from selling over a million units.
* ''VideoGame/HogsOfWar'' was not looked kindly upon by critics, but it remains a CultClassic amongst gamers for its great humour, excellent voice acting, awesome music and overall being a great party game. As such, its fanbase is small, but fiercely devoted.
* ''VideoGame/HyperdimensionNeptunia'': This game caters heavily towards otaku who love other Nippon Ichi games. Almost everyone outside of that group (including reviewers) hated it. There’s a whopping 34-point difference between its [[http://www.metacritic.com/game/playstation-3/hyperdimension-neptunia professional and user reviews on Metacritic]]. All but two reviewers didn’t give it a positive review. All but one user didn’t give it a negative review, outside of the way [[ScrappyMechanic healing worked]].
** Though the reviews on [[http://www.gamefaqs.com/ps3/995177-hyperdimension-neptunia/reviews gamefaqs]] show its mixed reception.
** This applies to [[VideoGame/HyperdimensionNeptuniaMk2 the second game in the series]] as well.
* Another such game is ''VideoGame/JawsUnleashed'', which sold over 250,000 copies on the Xbox alone despite having a ''Game Rankings'' score of 54%. ''[=GameSpot=]'' later gave the game the “Worst Game Everyone Played of 2006” award accompanied by a video where Alex Navarro expresses his outrage at this game having outsold ''VideoGame/{{Psychonauts}}'' five times.
* ''VideoGame/JetSetRadio'', despite having gotten excellent reviews for its original release, got very mediocre reviews for the HD rerelease, citing its ‘dated’ gameplay and graphics, and horrible camera angles (however, the HD version lets you adjust the camera with the mouse or right analog stick, which adds to much better camera control than in the original version). Sega fans, on the other hand, loved it and thanked Sega for bringing back one of their favorite games from them.
* Every new installment of the ''Series/KingdomHearts'' series appeals to critics just a little bit less. The fanbase remains as rabid as ever, especially in the wake of the HD rerelease, but the series's tendency to focus more and more on original characters as opposed to Disney characters leaves a lot of critics feeling cold towards the whole thing.
* ''VideoGame/KirbyAirRide'' is in a similar situation to ''Gotcha Force'', with a lot of critics panning it for the one-button mechanics and the lack of depth while it received much higher user scores due to the major multiplayer focus and City Trial.
* ''VideoGame/Left4Dead2'' is praised by critics for adding new elements to the game and having maps better than the ones from the original game. Fan opinion is very mixed because it has a zombie outbreak taking place in the daylight, melee weapons, and characters that aren’t as memorable as the original survivors.
* ''VideoGame/TheLegendOfDragoon'' received mediocre scores across the board. Players, on the other hand loved the game.
* ''VideoGame/TheLegendOfSpyro'' trilogy. Critics tended to give them mediocre to outright bad reviews, with a few exceptions (like the PolishedPort of the second game available on the GameBoyAdvance). However, they managed to get fans (though not necessarily classic ''Spyro'' fans), and even spawned their own unique fanbase.
** Speaking of which, the next ''Spyro'' reboot, ''VideoGame/{{Skylanders}}''. Positive reviews from critics, and as made evident by impressive sales, a huge hit with the kids; but the reboot is out-and-out loathed by fans of the previous entries of the franchise, with the [[VocalMinority few fans]] who have positive opinion [[FanHater suffering from harassment by these fans]].
* ''VideoGame/LostOdyssey'' received middling reviews from Western critics for being a ClicheStorm of the JRPG genre. Its fans thought it was more {{Troperrific}}.
* ''VideoGame/LostPlanet 2'' got mixed reviews from critics but the public seems to think more highly of it.
* ''VideoGame/MaddenNFL ’13'' and ''[[VideoGame/NHLHockey NHL ’13]]'' have been praised by many critics for their new features and heavily revamped gameplay. The response to both games among fans, however, has been far more polarizing (as the Amazon.com review pages for both games demonstrates).
* The ''VideoGame/MarioParty'' series is usually met with scorn from critics who constantly cite how the series’ graphics are dated and that [[ItsTheSameSoItSucks the series never seems to add anything new]]. Fans, on the other hand, like the collection of mini-games to play and the gimmicks used on every board. ''Mario Party 9'' had both camps do a complete turnaround where the critics gave the game some praise for actually trying something different while the fans blasted the game for [[TheyChangedItNowItSucks trying something different]].
* ''VideoGame/MassEffect3'' has the average player review on Metacritic being 22% and the average critic review being 95%. This can be traced to the [[DisappointingLastLevel unsatisfactory endings]] (which were so polarizing that Creator/BioWare launched another version with an epilogue), a possible raid by 4chan’s /v/, and some hate for ''VideoGame/DragonAgeII'' that seeped into hate for ''[=ME3=]''. Also worth noting is that the PC version, which requires use of EA’s extremely unpopular Origin service and caused some people installation problems, has a much lower player review score than the console versions. Many people were up in arms about the day-one DLC, ‘forced’ multiplayer (before the Extended Cut, it wasn’t possible to get enough EMS to unlock all endings from single-player alone).
* Really common within the ''Franchise/MetalGear'' franchise. On Metacritic and other sites ''VideoGame/MetalGearSolid2SonsOfLiberty'' ranks as the best ''Metal Gear'' game but several fans dislike it for Raiden coming out of left field, its convoluted story, Raiden having no real point to the story, overuse of cut scenes, and Raiden not nearly being as Badass 'or' interesting as Snake. ''VideoGame/MetalGearSolid3SnakeEater'' stands as the most popular game in the franchise by fans and creator Hideo Kojima himself but sites rank it lower due to a lack of a 3D camera (for its original release anyway). ''VideoGame/MetalGearSolid4GunsOfThePatriots'' took a bigger spot but fans tend to dislike it due to its excessively long cutscenes and [[spoiler:everything explained by nanomachines]]. Another case happens with the spinoff sequel ''VideoGame/MetalGearRisingRevengeance'' which is reflected in Metacritic and [=GameRankings=] whose user review score is considerably higher than the ones from the critics, despite Raiden being the main character like in [=MGS2=] but has been RescuedFromTheScrappyHeap.
* ''VideoGame/MetroidOtherM'': Seemed to get mixed, but generally favorable reviews from critics. Fans, on the other hand, were much more divisive.
** In contrast, ''VideoGame/MetroidFusion'' received very good reviews from critics (and is considered one of the best games on the GBA). However, many fans rank it much lower due to its linearity and contrast with the series theme exploration.
* ''VideoGame/MortalKombat3''. Critics find it to be one of the highest points of the MK series, while fans feel that it was the game that caused the series to go downhill for over a decade until ''VideoGame/MortalKombat9'' came out.
* ''VideoGame/NewSuperMarioBros'' for the UsefulNotes/NintendoDS received a 96% from The Official Creator/{{Nintendo}} Magazine, but its relatively easy gameplay has made it unpopular with many fans of the Mario games, with many people agreeing that ''VideoGame/NewSuperMarioBrosWii'' is the superior game. This is likely due to the Wii version being the first 2D platforming Mario game to have simultaneous multiplayer, as well as being significantly more difficult, and hilarious to watch when four players are playing simultaneously.
* ''VideoGame/{{NieR}}'': Initially panned by critics for subpar graphics and too many fetch quests, loved by users for the deep, engaging story and killer soundtrack. Doubles somewhat as VindicatedByHistory.
* ''VideoGame/OperationDarkness'' has a Metacritic critic score of 46 and a user score of 7.1. Professional critics cited problems such as poor camera control, dull graphics, and a lack of in-game tutorial while fans enjoy it for its unique gameplay elements and positively absurd storyline.
* ''VideoGame/{{Pathologic}}'' is a bit of a special example, due to it being a [[GenreBusting really bizarre game]]. Some reviews (even positive ones) don’t even call it a game. Many critics disliked ''Pathologic'' and warned against playing it, saying that it wasn’t fun at all and was far too bleak. Most fans of the game ''completely agree'' with this, but love the game’s plot and atmosphere nonetheless.
* ''VideoGame/PAYDAY2'' was widely praised by critics for vastly improving mechanics from the first game and adding many new elements to make the game feel new and stand out. Fans, however, blast the game for RNG loot drops, level grinding, and the large amount of DLC being released.
* ''VideoGame/{{Pokemon}}'':
** ''VideoGame/PokemonRubyAndSapphire'' received good reviews from critics, but at this time, much of the fandom from the past two Gens was losing interest in the series after the first two Gens, and the feeling of a reboot (completely separate region with about two-thirds of the old Pokemon missing) did nothing to change their minds. However, the games gradually gained more favor until Game Freak responded to the many requests for remakes with ''Omega Ruby and Alpha Sapphire'', and the infamous [[MemeticMutation "Too much water"]] complaint from [=IGN=]'s review is viewed as a joke more than a legitimate complaint.
** ''VideoGame/PokemonDiamondAndPearl'' also received good reviews and sold higher than any game from Gen III. However, a good chunk of the fanbase views the games as the series' nadir. Common complaints include signs of being an ObviousBeta ([[LoadsAndLoadsOfLoading a slow frame rate and long saving times after looking into the [=PC=]]]), and a regional Pokedex not only filled with [[NostalgiaFilter evolutions to older Pokemon]] and [[UniquenessDecay Legendaries]] but also questionably organized (the dearth of Fire-types is a particular point of ire). Several people gained a better opinion of the Gen with the UpdatedReRelease ''Platinum'', which had a better frame rate, a more expansive regional Pokedex, a bit more depth to the storyline, and more postgame content, but even it still garners controversy from the fanbase despite continued praise from critics.
* ''VideoGame/ResidentEvil6'' is a weird example as it not only split the fans but the critics as well. At best you could possibly make the argument that the fans had mixed opinions but still ''leaned'' positive, but the critical reception was all over the place. It seems that the people who enjoyed it the most were those who preferred the more action-heavy ''RE'' games (''4'' and ''5'') over the earlier survival horror ones.
* ''VideoGame/SilentHill4: The Room'' holds an average score of 76 on Metacritic. Many fans of the series are far less kind, citing multiple frustrating gameplay elements and having to go through each area of the game twice.
* ''VideoGame/SimCity'' ([[RecycledTitle 2013 release]]), much like ''[[VideoGame/DMCDevilMayCry DMC]]'' and ''VideoGame/DeadSpace3'', is also suffering the same exact thing, as evidenced by its poor user reviews on Metacritic. Much of this can be attributed to the critics reviewing it in a controlled environment where the network connectivity served to give some minor enhancements to gameplay. However, when released there was a connectivity fiasco which almost completely broke the game. In EA's rush to fix the issue, many features had to be disabled or dialed down, resulting in the players getting a much worse game experience after they buy it than the reviewers had before it came out.
* There is an increasing disconnect between fans of the ''Franchise/SonicTheHedgehog'' franchise and professional reviewers, from both directions. It does not help that ''Sonic'' fans tend to be abnormally rabid in defense of their icon of devotion. It has gotten to the point that many fans of the series outright dismiss reviews from certain outfits due to this dissonance, considering the reviewer/site untrustworthy due to the critic’s past mistakes. For instance:
** ''VideoGame/SonicChronicles'' received relatively decent reviews but was not well-liked by fans, mainly due to a mostly forgettable story, and gameplay.
** Both episodes of ''VideoGame/SonicTheHedgehog4'' received this treatment, though fans were much kinder to Part 2.
** This can even happen when fans and critics ''agree'' on a game’s merits (or lack thereof). ''VideoGame/{{Sonic the Hedgehog|2006}}'' (2006) was universally reviled, but fans were angry because they considered the official critical scores (averaging around 6.5) ''insufficiently'' low. It is more divisive now, randing from 'terrible', to 'not that bad', to even 'actually pretty good.'
** ''VideoGame/SonicUnleashed'' had the dissonance happen from the opposite direction. The game received mixed-to-negative reviews from critics (IGN rated it ''worse'' than ''Sonic ’06''), but fans — while admitting it was nowhere near perfect — thought it was a huge step in the right direction for the series. Though nobody much liked the [[ScrappyMechanic Werehog]].
** [[VideoGame/SonicColors The Colors]] [[VideoGame/SonicGenerations era games]] have been praised as a return to form for the series. Fans, however, are LoveItOrHateIt, and the hate side is surprisingly vocal. Criticisms include watered-down gameplay, its immature humor-focused story, cartoonish art direction, cartoonish music, and being [[ItsEasySoItSucks easy]] (This is far from universal, so '''don't take it as fact'''). In fact, a stereotype came from these games, that most fans are idiotic manchildren who need to grow up, and\or {{Nintendo}} fans in disguise.
** [[VideoGame/SonicAdventure The Adventure]] [[VideoGame/SonicAdventure2 era]] [[VideoGame/SonicHeroes games]] are also polarizing, despite praise. Criticisms include PolygonCeiling, [[FlatCharacter boring characters]], boring story, and dated voice acting. Some people have even compared it to 06, and some fans are acussed of being edgelords.
** ''VideoGame/SonicBoom: Shattered Crystal'' got this treatment in contrast to ''Rise of Lyric'' which is universally reviled by fans and critics alike (many calling it ''worse than Sonic ’06''!). Most critics despise it as much as they despise ''Rise of Lyric'' while fans give it a SoOkayItsAverage, the general consensus being that while it has its share of faults, it ''is'' a step up from ''Rise of Lyric'' due to it being free of technical glitches and at least attempting to feel like a true ''Sonic'' game.
* ''VideoGame/SpecOpsTheLine''. Critics, by and large, were impressed with the game's story and themes (if generally finding the gameplay decidedly lacklustre - neither noticeably good nor bad), but it sold very poorly. Players who did pick up the game [[BrokenBase were divided]] - one camp thinks it's brilliant for opening questions that many other games conspicuously fail to acknowledge about simulated violence, power fantasies, morality, and other assumptions that come part and parcel with the genre, in the frame of an affecting and stark character study - [[https://gumroad.com/l/fsdz enough that a critical examination supportive of the game was written]]. A second finds it pretentious, hypocritical, self-righteous about imaginary violence, and too flawed in itself to be making any criticisms (especially in the way the game itself pushes violence on the player, with the [[spoiler: White Phosphorus incident]] being the most extreme example). It was enough to spawn two games mocking Spec Ops' morality play: [[http://tinysubversions.com/videogamemoralityplay/ Video Game Morality Play]] and [[http://tinysubversions.com/game/ywhtwt/ You Were Hallucinating The Whole Time]]. A third camp didn't care about the story and dismissed it as yet another shooter set in the tired modern military genre, with mediocre cover-based gameplay.
* Similarity, the 2010 ''VideoGame/{{Splatterhouse}}'' remake was mostly panned by critics whose complaints ranged from [[CameraScrew a wonky camera]] to an overreliance on gore. Player feedback, however, was generally much more positive.
* ''VideoGame/StarControl 3'' was a critics' darling when it was released, reviewers praising its simulation aspects and story, as well as treating the [[{{Narm}} now-infamous]] puppets and CG effects as quite high-tech for their time. Fans, however, have not been so kind to it, calling it an affront to the series' original creators, who similarly don't treat it as canon in any way, and it's clear that its special effects have not aged well in the slightest.
* ''VideoGame/StreetFighterXTekken''. It received eights and nines from mainstream review sites, but was heavily mixed in the fandom. For more casual fans it did okay, being a relatively simple entry without a need for a lot of commitment, and giving a colorful reinterpretation of Tekken characters. However, it faced serious backlash from the fighting game community for a number of reasons (mostly due to [[ScrappyMechanic the gem system, the Pandora mechanic]], the immense watering-down of the ''Tekken'' characters, and the various [[http://www.eurogamer.net/articles/2012-03-07-street-fighter-x-tekken-on-xbox-360-does-not-support-local-co-op-when-online shady]] [[http://www.destructoid.com/full-dlc-characters-found-on-street-fighter-x-tekken-disc-223138.phtml business]] [[http://www.complex.com/video-games/2012/07/sony-exclusive-street-fighter-x-tekken-characters-pac-man-and-mega-man-not-coming-to-xbox-360 practices]] involved in its development). It doesn’t help that the game was put out at a time when [[http://www.superphillipcentral.com/2012/08/five-reasons-why-capcom-leaves-bad.html Capcom’s reputation was being tarnished game after game]], with ''SF X: TK'' being the breaking point for many. It was also pulled from most official competitions not long after release and is generally considered the weakest entry in the [[VideoGame/CapcomVsWhatever Capcom crossover series]].
* ''VideoGame/WatchDogs'' received a fair amount of acclaim upon release. However, on Metacritic and Steam, the game hasn’t been received very well, citing the graphics [[NeverTrustATrailer which look nothing like what was shown on the trailers]], screwy physics, horrible driving mechanics, bland narrative, and the ‘innovative’ hacking mechanic being nothing more than ‘walk up to a terminal and press X to hack.’ The fact that the PC port requires [=UPlay=] regardless of where it’s purchased, and will not run on setups that don’t have NVidia hardware, also doesn’t help.
* ''VideoGame/ZombiU'' got positive reviews from critics and the public, but wasn’t a huge seller and consequently the game is far from making any profit for its developer Creator/{{Ubisoft}}. The leading theory is that gamers have become accustomed to zombie games being akin to ''VideoGame/ResidentEvil''-style action shooters, and were turned off by ''[=ZombiU=]''’s slower pacing and greater emphasis on horror.
* Many acclaimed and best-selling sequels might earn this, going mostly by the Metacritic review/audience comparison. Being [[TheyChangedItNowItSucks too different]] ([[MissionPackSequel or too similar]]) and having technical problems — particularly regarding online play — can lead to a flood of negative comments.
** ''Call of Duty: VideoGame/ModernWarfare 3'' [[http://www.metacritic.com/game/xbox-360/call-of-duty-modern-warfare-3 boasts a robust 89 critics’ score and a paltry 3.3 users’ score]], with over two thousand negative reviews (mostly complaining that it’s ‘''VideoGame/CallOfDutyBlackOps'' with a paint job’ or that it’s not as technically impressive as the previous games).
** ''VideoGame/CallOfDuty'', post-''Modern Warfare'', is this trope in ''general'' — each entry has been critically acclaimed and favorably reviewed but the series seems to have a memetic status among large parts of the gamer community as a symbol of everything wrong with video gaming and video-game journalism.
** ''VideoGame/DragonAgeII'': 82% critical acclaim, while the average player review is 42%. Most critics liked it very much for its good graphics, interesting characters, and GreyAndGreyMorality. On the other hand, many fans of the first game hated it for [[TheyChangedItNowItSucks diverging from the gameplay of the original]] and the [[NoSidepathsNoExplorationNoFreedom far less open environments]] ([[CutAndPasteEnvironments particularly as they were often re-used]]), as well as the significantly reduced effect your choices have on the world. The [[DarkerAndEdgier grit]] of the first game was even more prevalent, only instead of being able to [[EarnYourHappyEnding improve the country of Ferelden]] in one or two very meaningful ways (that the player chooses), [[PlayerPunch the player’s attempts to do anything]] in [[WretchedHive Kirkwall]] are often thwarted. This was typified by the [[ShaggyDogStory ending]], which some players despised.
** ''VideoGame/DragonAgeInquisition'' managed to avert this, pleasing both fans of ''VideoGame/DragonAgeII'' and ''VideoGame/MassEffect3'' and detractors...but only in the eighth-generation consoles. This is played straight in [[PortingDisaster the PC and last gen Ports due to flaky graphics and framerate and unintuitive controls]]. Compare the user reviews for the game on the [=PS4=] with the PC on Metacritic: there’s a marked difference.
* ''VideoGame/DiabloIII'' has an average critic review of 87%, while the playbase ranks it as 35%. Through this is due to requirement of being online at all times, the subsequent server problems from overloading (the “Error 37” message even earned MemeticMutation status), the controversial Auction Houses, severe lag spikes as well as many GameBreaking and server-crashing bugs that came with launch. Luckily most of these bugs were fixed in the first few days, but it was too little, too late in the eyes of many gamers.
** This seems to have changed with the release of patch 2.0 and the first expansion, ''Reaper of Souls''. While critic scores seem about the same, general consensus among fans seems to be that it is a welcome improvement.
* Many games from Platinum Games:
** ''VideoGame/{{Madworld}}''’s spinoff, ''Max Anarchy'' (aka ''VideoGame/AnarchyReigns'') was considered average by critics. General gamers, on the other hand, while not enjoying it as much as ''Madworld'', enjoyed it a lot more than the critics did.
** ''VideoGame/MetalGearRisingRevengeance'' was loved by critics, but general gamers, while not considering it a ''bad'' game by any means, usually consider it to be Platinum’s weakest effort (that is, until ''TMNT: Mutants in Manhattan'' was released, which is so far unanimously considered by both critics ''and'' gamers to be their worst game '''by far'''), as well as one of the weaker efforts in the ''Franchise/MetalGear'' series.
** ''VideoGame/TheWonderful101'' has been received ''far'' better by general gamers than critics. Critics liked it, but found it way too hard and overwhelming, whereas general gamers love it ''because'' it’s hard, and doesn’t hold your hand like most modern games do. Most gamers have even went so far as to saying that it ranks with ''VideoGame/{{Bayonetta 2}}'' as the best game on the UsefulNotes/WiiU. However, despite all of this praise, it did not sell very well retail-wise, with the price being cut in half mere months after release, as Nintendo released it ''the same week'' as ''VideoGame/GrandTheftAutoV'', and because they gave it lots of Internet advertising but ''no'' television advertising whatsoever (outside of Japan, anyway), and all of its Internet advertising has been pushing people to buy it on the Nintendo eShop rather than at retail.
** ''VideoGame/TheLegendOfKorra''. Its dissonance is the exact opposite of how [[WesternAnimation/TheLegendOfKorra the TV show]] started. Most critics despise it with mixed to negative reviews all around. Fans, on the other hand, are generally more forgiving with the general consensus being that while the game is one of Platinum's weakest games, it is, at the least, considered [[SoOkayItsAverage a decent try]].
** ''VideoGame/StarFoxZero''. Thanks to controls with a high-end learning curve, the game wasn't too well-received from critics, but gamers that took the time to learn it loved the game and praise it highly.
* ''VideoGame/{{Metro 2033}}'' got a rather flat reaction from critics. Players, on the other hand, apart from those who complained that it wasn’t ''VideoGame/{{Fallout 3}}'' or ''S.T.A.L.K.E.R.'', fell in love with it, driving sales of the game into the millions. And then ''VideoGame/MetroLastLight'' came around and managed to surpass those sales within its first week … while garnering critical acclaim. The release of ''[[UpdatedReRelease Metro 2033 Redux]]'' vindicated the first game, as it too has garnered critical acclaim.
* While Sony’s [[UsefulNotes/PlayStation3 PlayStation Move]] has been more critically acclaimed, it hasn’t captured the public imagination as much as the UsefulNotes/{{Wii}}mote and the UsefulNotes/{{Kinect}} has. [[http://tompreston.deviantart.com/art/Hypocrisy-157038537?q=1&qo=1 Some have even argued that]] the real problem is marketing. Sony barely marketed the Move while Microsoft poured millions into marketing the Kinect. Even today, Sony still treats the Move as an afterthought (which makes the fact that it’s sold nine million units ''very'' surprising) while Microsoft has even developed alternate uses for the Kinect (such as use in science classes and medical colleges).
* Roguelikes in general tend to get the shaft from professional reviewers. ''VideoGame/PokemonMysteryDungeon'', ''VideoGame/ShirenTheWanderer'' and ''Izuna'' all received incredibly vitriolic reviews from critics, but to the userbase, they’re some of the best games on the DS.
* The majority of the games made by [=SUDA51=]:
** ''VideoGame/ShadowsOfTheDamned'' was critically acclaimed, getting eights and nines across the board. Suda fans usually consider this to be his worst game, due to it missing the trademark bizarreness and craziness of his other works, for being too slow-paced, and for being a third-person shooter rather than a hack-and-slash.
** ''VideoGame/LollipopChainsaw'' got a mixed to average reception from Western critics. Gamers and Japanese critics, on the other hand, found the game to be very good, and a much-needed return-to-form, but found it to be too short. It became [=SUDA51=]’s top-selling game of all time, selling 700,000 copies a mere ''two months'' after release. In addition, view counts for most Website/YouTube videos of it usually range from 300,000 to four million, and there are far more cosplayers of the ''Lollipop Chainsaw'' characters than there are cosplayers of characters from other Suda games.
** ''VideoGame/KillerIsDead'' got mixed reviews from critics. Half of them trashed its combat for not being like ''VideoGame/DevilMayCry'' or ''VideoGame/MetalGearRisingRevengeance'', and criticized the story for being all over the place. Also, the game’s Gigolo Mode has caused controversy among professional critics as well. A lot of them calling it ‘perverted’ and some saying the game would kill Suda’s career. Fan reaction was a lot more positive towards the gameplay, and some feeling it’s a good spiritual successor to ''Killer 7'' themes, and ''No More Heroes'' play style. As for gigolo mode, most fans did not find it offensive (in fact, many found the controversy overblown), but they didn’t think it was all that special either, feeling the mode was boring and the least interesting part of the game. The only thing gamers, fans, and critics can agree on is that the game is short. Also a case of ValuesDissonance, as the game has received higher ratings in Japan, some of which is because of the controversy.
* ''VideoGame/StarCraftII'' received unanimously positive reviews from critics, but reaction from fans and the e-sports community was more mixed. Criticisms focused on whether the game was superior to the original, perceived balance issues, and accusations that the storyline was clichéd and predictable.
* The Nintendo UsefulNotes/{{Wii}}, as well as many of its games. The dissonance goes both ways. This can likely be explained (in a few cases) by the critic falling outside the target demographic.
* Numerous games in the ''VideoGame/TonyHawksProSkater'' series (specifically ''Underground 2'') are loved by fans yet the critics’ scores imply they are average. The only ones people can agree on are ''Shred'' and ''Ride'', which of course [[GameBreakingBug hardly anyone could get to work]].
* ''VideoGame/GunsOfIcarusOnline'' got a Metacritic score of 64, but a user score of 8.8. Part of this dissonance is because the reviewers played a pre-release version of the game that was still somewhat buggy and rated it down for said bugs, despite being told that it was a pre-release version and, thus, not fully finished. Some reviewers also blamed bad experiences on the gameplay, when the real cause was their crewmates.
* ''VideoGame/{{Evolve}}'' got reviews ranging from good to great, but it was thrashed by audiences. Though they acknowledged the game was fun enough, they found the game’s pricing model ($60 starting, day-one DLC adding ''$130'' more) to be a [[CrackIsCheaper ridiculously bad one]] for a multiplayer-only game, with many opining that the $190 ‘complete’ game was comparable to those a tenth of its asking price.
* ''Super Back To The Future Part 2'' is hailed as the video-game adaptation of ''Film/BackToTheFuture'' that is so good that it should have gotten a release outside of Japan. Plenty of people who played it [[http://www.gamefaqs.com/snes/563055-super-back-to-the-future-2 gave it decent reviews on gamefaqs]]. Many people might not know, however, that the only contemporaneous video-game critic of the time (a French critic) who reviewed it, [[http://download.abandonware.org/magazines/Joypad/joypad_numero023/Joypad%2023%20Septembre%201993%20page127.jpg gave it a 40%]].
* ''VideoGame/PokemonMysteryDungeon'' recieved very lukewarm reviews by critics, who disliked the repetitive gameplay and felt that the roguelike style was unsuited for Pokemon. Players disagreed, and there's a common consensus among the Pokemon fanbase that the games have the [[CrowningMusicofAwesome best soundtracks]] and [[DarkerAndEdgier stories of the entire franchise]]. Even more amusingly, ''Gates to Infinity'', the third installment which was generally disdained by players, received slightly better reviews than its predecessors.
* ''VideoGame/YokaiWatch 2'' has been getting mixed reviews by critics to the point of it getting a lower score than the first one on Metacritic (Currently 70 to the first game's 76), but player and fan feedback has been generally much more positive, with them considering it a huge improvement over the first game.
* ''VideoGame/TheLegendOfZeldaSkywardSword'' is one of the most critically-acclaimed games of all time, with perfect 10 scores from multiple publications. Among Zelda fans, it's a ''major'' ContestedSequel, with some going so far as to call it an outright terrible game. Part of this might be due to HypeBacklash, however. Complaints include controversial motion controls, increased linearity, the limited inventory and ItemCrafting system and debate over the quality of the story and characterizations. Fans also can't seem to make up their minds as to whether it's [[TheyChangedItNowItSucks too different]] or [[ItsTheSameSoItSucks too similar]] to earlier games.

[[folder:Web Originals]]
* Lots of the stuff reviewed on [[TheWikiRule The Bad Webcomics Wiki]] is this.
* [[VideoReviewShow Internet Reviewers]], like WebVideo/TheNostalgiaCritic, try their best to avert this. If they don't do their research on movies that are based on TV shows, comics, or any other media the work is based on before reviewing them, [[HePannedItNowHeSucks they get torn apart by the viewers.]] He later discussed this very trope in [[https://www.youtube.com/watch?v=CSonz-GfgHs When Are Critics Wrong?]]
* WebVideo/TheCinemaSnob was made as a response to this trope. Creator/BradJones created his snob-persona to Series/{{MST}} {{Exploitation Film}}s because he felt it was weird that film critics panned those films for lacking qualities they weren’t supposed to have.
* Creator/BobChipman addressed this trope in [[FilmsDiscussedByMoviebob his reviews]] of ''Film/TheEagle'' and ''Film/KnightAndDay''. He feels that the reason for the disconnect between critics and the ‘average’ moviegoer is because critics watch and pick apart hundreds of movies per year as part of their job and have learned how to spot every trope and plot twist from a mile away, making them much more receptive to original, offbeat movies that go against their expectations. Meanwhile, people who don’t see more than one movie a week (i.e. most non-critics) can better appreciate films that are {{cliche|Storm}}d but well-made on the technical side, and find arthouse films that [[GenreBusting challenge "traditional" genre boundaries]] to be off-putting.
* Chipman [[http://screenrant.com/critics-superheroes-reviews-batman-superman/ returned to the subject]] after ''Film/BatmanVSupermanDawnOfJustice'' came out to negative reviews but massive box-office, discussing how the idea of critics being out-of-touch with what the people want is a perennial concept that is as old as creative expression itself. He notes that, sometimes, time can [[VindicatedByHistory vindicate the masses]], using the ''[[Film/TheFastAndTheFurious Fast & the Furious]]'' films as an example; while critics previously dismissed them as dumb car chase flicks, they're now generally praised as one of the most progressive franchises in Hollywood and damn good action movies on top of it. In the case of superhero films, however, he feels that the idea of CriticalDissonance applying to the genre as a whole is mostly a fanboy myth, noting that critics' and fans' opinions have tended to line up more often than not -- critics have long been friendly to superhero movies that were actually good (like ''Film/SupermanTheMovie'', ''Film/TheDarkKnight'', ''Film/GuardiansOfTheGalaxy'', and ''Film/{{Deadpool}}''), while the ones they tend to dislike (such as ''Film/BatmanAndRobin'', ''Film/XMenOriginsWolverine'', ''Film/GreenLantern'', and ''Film/TheAmazingSpiderMan2'') were generally hated by fans and moviegoers as well.
* A recurring theme in ''Podcast/HouseToAstonish'' is comics that are praised to the skies, but nobody actually reads, and which are therefore doomed to be cancelled after six issues, no matter how good they might be. However, rather than suggest there's a dichotomy between what comics critics like and what the public like, Al and Paul reckon that comics readers have been ''trained'' to believe that anything outside the norm (which is what critics tend to like) isn't worth picking up because it won't affect the DC/Marvel MetaPlot and [[SelfFulfillingProphecy will probably be cancelled after six issues anyway]].
* Discussed in [[http://www.escapistmagazine.com/articles/view/video-games/columns/experienced-points/12193-Games-Journalists-Views-and-Tastes-Tend-to-Change-With-Age-and-M this article]] by Shamus Young on ''Website/TheEscapist'', which asks why critics are so frequently enamored of ‘art games’ like ''VideoGame/TheStanleyParable'' and ''VideoGame/GoneHome'' that are usually {{Cult Classic}}s at best and LoveItOrHateIt at worst. Much like Bob Chipman above, he argues that merely being a professional critic changes a person’s outlook on, and taste in, games or movies away from that of their audience. While mainstream moviegoers or gamers won’t complain about an overused trope or cliché if it’s done well, critics will roll their eyes at the mere sight of it.
* The ''Zagat’s Guides'' are a series of books rating numerous venues (restaurants, shops, etc.) in over 70 cities. Following the alphabetical index, places are grouped into categories, one of which is ‘CriticProof’ — places that consistently do good business despite mediocre food/service/merchandise. Even when the patrons themselves attest to the mediocrity.

[[folder:Western Animation]]
* ''WesternAnimation/AlmostNakedAnimals'' ''really'' hasn’t gone over well with fans (ratings from TV.com and Website/IMDb have hovered in the 2.0 to 3.0 range), but the few mainstream reviewers who did pay any attention to the show found it decent. It was also nominated for a Gemini Award, sold lots of merchandise, and been green-lit for a third season — things that do not usually happen to shows ranking ''that'' low with viewers.
* ''WesternAnimation/{{Breadwinners}}'', despite being popular with its target audience and being greenlit for a second season, has almost universally been panned by Website/YouTube critics and adult viewers. Even general audiences think Season 2 was worse however.
* ''WesternAnimation/SanjayAndCraig'' is another example of being popular with children, but hated by critics and adults. Unlike the aforementioned ''Breadwinners'', though, [[GrowingTheBeard people warmed up to it somewhat from its second season onward]] instead of hating it even more.
* ''WesternAnimation/SonicBoom'' is a hugely popular show amongst children and critics. The consensus among most Sonic fans is that it's mediocre at best, insultingly dumb at worst.
* Creator/HannaBarbera has a library running on this trope. On critical pieces they are the leaders of UsefulNotes/TheDarkAgeOfAnimation. Most classic animation critics only like the original ''WesternAnimation/TomAndJerry'' cartoons (1940–58) and feel that as soon as the studio made the move to TV animation their work became awful. These people must be flustered year after year when Creator/WarnerBros throws so many bones to home video releases and promoting them than the more critically hailed parts of the library. Then again, it's odd that after ''40 years'' of popularity, there are still some critics who have nothing but disdain for ''WesternAnimation/ScoobyDoo''.
* ''WesternAnimation/PinkyElmyraAndTheBrain'' is typically seen as an unneeded {{retool}} of a series that was already doing fine, not to mention the entire concept was simply lit by ExecutiveMeddling, to the point that it went unmentioned when the original ''WesternAnimation/PinkyAndTheBrain'' series was released on DVD. Critics loved it, though, and it won several awards (including an Emmy) during its really short run.
* The G3 ''Franchise/MyLittlePony'' specials are not well-liked by the general public, but several specials score around six or seven on Website/IMDb.
* The animated pilot ''WesternAnimation/TheGroovenians'' was panned by both audiences and reviewers, yet was nominated for an Annie Award.
* ''WesternAnimation/DrawnTogether'' was ''despised'' by critics (to the point where the show made an episode about it after ''Entertainment Weekly'' gave the show an F), yet it managed to gain a cult following during its relatively short run.
* The first half of season 1 of ''WesternAnimation/BoJackHorseman'' had a critical response that could be summed up as SoOkayItsAverage. It’s currently rated by Metacritic users at an 8.3. It’s subverted as critics eventually came around once the show [[GrowingTheBeard grew the beard in the season's second half]], with Season 2 earning a 100% on Rotten Tomatoes.
* ''WesternAnimation/{{Duckman}}'' received great reviews from TV critics, intellectuals and people who liked its satirical bite. But the general public didn’t catch on to it and after four seasons it was cancelled.
* ''WesternAnimation/FamilyGuy'': Extraordinarily popular with regular viewers, and some critics, but other critics feel it’s very lowbrow, formulaic and just [[ReferenceOverdosed rips off other franchises under the moniker ‘parody’ while much of it just feels more like ‘plagiarism’]], especially in the [[SeasonalRot later seasons]].
* ''WesternAnimation/{{Brickleberry}}'' was disparaged as a wannabe ''Family Guy'' clone in a time where Family Guy isn't seen a much better in hindsight, yet the Internet Movie Database gives the show a 6.2 score, meaning it’s SoOkayItsAverage.
* ''WesternAnimation/TeenTitansGo'' is hated by purists of the original series who feel this show is an [[TheyChangedItNowItSucks insult to the original]] and a ReplacementScrappy for ''WesternAnimation/YoungJustice''. However, critics have given it mixed to positive reviews and it is Cartoon Network's highest rated show. General audience opinion ranges from good to bad.
* ''WesternAnimation/TheLegendOfKorra'' has been well-recieved by critics with positive reviews all around. Fans, on the other hand, have more mixed reception, feeling that it's a ContestedSequel to ''WesternAnimation/AvatarTheLastAirbender''. This changed starting with season 3, when the series [[WinBackTheCrowd won back the crowd]] after its polarizing second season; now it's just as loved by fans as it is with critics.
* Season 6 of ''WesternAnimation/AdventureTime'' received praise for its newfound [[GoingCosmic cosmic]], ContemplateOurNavels nature, citing it as an example of the show's growing maturation. However, Season 6 is considered to be LoveItOrHateIt by fans for the same reasons. Many were put off by the show's newfound philosophizing and considered the new direction pretentious, ridiculous and [[AntiClimax Anti-climactic]], complete with the stereotype that after Pen stepped down, the writers were getting [[ProtectionFromEditors more than a little self-indulgent.]]

* Nearly all design enthusiasts loathe the fonts Comic Sans and Papyrus, yet lots of ordinary people love them. They even turn up on signs for local businesses, and provide PaintingTheMedium moments for Sans and Papyrus in ''VideoGame/{{Undertale}}''.
* Mosin-Nagant rifles. You’d be hard-pressed to find a professional reviewer who would have much nice to say about them while complaining about the sights, the straight bolt handle, the action, and the rimmed cartridge. People who shoot Mosins, however, tend to say that all the flaws found within the rifles are what give them character. Both sides can agree on two things though: Mosin-Nagant rifles have literally more than a century of history in them (designed before the turn of the 20th century, and some still in service to this very day!), and they are [[MadeOfIron absolutely indestructible]].
* UsefulNotes/{{Pornography}} and Erotica. Sought out and bought by many adults and a very popular genre. But the eternal ItsNotPornItsArt discussion proves that many of these works are still seen as nothing more but cheap arousal and gratification. Even people who frequently check it out will not attribute any artistic quality, depth or longevity to it. Some classic erotic novels (''Literature/KamaSutra'', ''Literature/LadyChatterleysLover''), erotic paintings, photographs and graphic art (Félicien Rops, Thomas Rowlandson, Creator/TomOfFinland), erotic comics (Creator/MiloManara) and a few films (''Film/InTheRealmOfTheSenses'') have received critical praise, but aren’t seen as exactly ‘titillating’ — crossing with ValuesDissonance, a work that was shocking and explicit when it came out is now considered tame in the light of a culture when sexual imagery is much more the norm.
* The famous Zagat's Restaurant Guide has a section specifically devoted to places deemed "critic proof", that despite mediocre food and/or reviews, consistently do good business.