[[quoteright:350:[[Franchise/MyLittlePony http://static.tvtropes.org/pmwiki/pub/images/rainbowcoolnes_2690.png]]]]
[[caption-width-right:350:[[WesternAnimation/MyLittlePonyG3 Same name]]. [[WesternAnimation/MyLittlePonyFriendshipIsMagic Different generation.]]]]

Some characters can have very long careers, and a few stretch all the way back to the silent era. Due to the simple passing of time and countless writers, older shorts can feature characters very different from their later incarnations. Sometimes it's a wardrobe or design difference, but occasionally it's their nature.

Fans will form camps as to which personality is canonical, but some companies (especially Creator/WarnerBros) are famous for treating their characters as actors playing a role. You'll still have fans commenting which incarnation they prefer best. In the case of ''WesternAnimation/LooneyTunes'' characters, this mainly affected those with prolific acting careers -- WesternAnimation/BugsBunny and WesternAnimation/DaffyDuck were originally the same kind of character, in practice. In that case, [[DependingOnTheWriter differing personalities were based on writers' choices]] that caught on.

The most obvious example of this idea is seen in 1930s character designs. With only a slight design change (and some WhiteGloves) [[WesternAnimation/BoskoTheTalkInkKid Bosko]], [[WesternAnimation/FelixTheCat Felix,]] Buddy, [[WesternAnimation/OswaldTheLuckyRabbit Oswald,]] and [[WesternAnimation/ClassicDisneyShorts Mickey]] look like relatives.

Anime seems to never do this; ArtShift gags usually refer to a completely different style, never an old one. An anime may tweak or simplify designs over the years, but you can guarantee an Creator/OsamuTezuka adaptation is going to loyally stick to the oldschool design.

See also CharacterizationMarchesOn, InterpretativeCharacter.


[[folder:Anime and Manga]]
* Benkei from the ''Manga/GetterRobo'' franchise has had a different personality in every appearance. Original Manga: pretty much Musashi. 70s Anime: A pacifist coach with stout strength. Getter Robo Armageddon anime: TeamDad and while a bad ass something of the OnlySaneMan. New Getter Robo anime: a composite with Musashi, a reformed monk that's chaotic good.
* Ash Ketchum from ''Anime/{{Pokemon}}'' has gradually changed his personality with each saga, though his heroic nature, fearlessness, and love for Pokémon remain constant. In Indigo, he was more brash and temperamental, with an impulsive streak, and frequently blew off actual training. By the end of the Orange Islands, the tendency to blow off training completely disappeared. In Johto, he greatly enjoyed training and while his impulsive, brash temperament remained, it was much less so than in Indigo. In addition, throughout the Original Series, he displayed a tendency to be a DeadpanSnarker. The ''Advanced Generation'' Ash Ketchum was much calmer and more mature, serving as an experienced mentor to May, though his stubborn streak remained. The ''Diamond & Pearl'' series Ash was very mature and experienced just as he had been in the previous saga, but also had the tendency to display angst, partly due to his rivalry with Paul, a cold and borderline abusive trainer. In both of these generations, Ash displayed great tactical ability and learned from his mistakes, though he could still be stubborn on occasion. ''Best Wishes'' Ash seemed to have a snapback to his Original Series personality, with stubbornness, immaturity, and impulsiveness, though admittedly not quite to the extent of the Original Series and thankfully it was toned down over the course of the saga. ''XY'' Ash was nearly infallible, once again, and moreso than in any other saga, serving as the wise, experienced mentor to his traveling companions, who, along with a few rivals, all idolized him. While he still retained all of his enthusiasm, he was still very calm, mature, and capable of planning ahead at times, while retaining his strength of thinking on his feet. ''SM'' Ash is zanier than ''XY'' Ash, possibly the most since the original Ash, though he retains competence of ''XY'' Ash.

[[folder:Comic Books]]
* Throughout the first year-or-so of Franchise/{{Batman}}'s existence, he's a menacing outlaw who recklessly taunts criminals, often kills them, sometimes using a handgun, and then he adopts a young boy named Dick Grayson, who joins him in the butt-kicking of evildoers... and swiftly becomes an upstanding noble hero with a code against killing (possibly before Superman) who's fully deputized by the police. By the 1950s, this characterization has become the rule, though it lets up just a bit in the mid-'60s. In the '70s, he's still basically a noble hero, but becomes more cynical and fallible. Beginning in 1983, Batman is more of a maverick, but it's the 1986/1987 reboot/retcon of DC Comics as a whole wherein Batman becomes more introverted and violent and yet also even more fallible than in the '70s. The events of 1988 (Barbara being shot and paralyzed, Jason being killed) cement this notion, as does the 1993 injury at the hands of Bane, and yet, by the end of 1996, Grant Morrison portrays him as an infallible genius--at-least in JLA stories--though still introverted and often violent (though not like "darker" anti-heroes). This has essentially been Batman's mode in the comics since that period.
** One issue of ''Superman'' (''Superman: The Man of Steel #37''), during the 1994 CrisisCrossover ''Comicbook/ZeroHour'' had a barrelful of [[Franchise/{{Batman}} Batmen]] show up, each based on a particular artist's rendition (e.g., Frank Miller, Neal Adams, Carmine Infantino, Dick Sprang, Bob Kane).
** A ''ComicBook/{{Planetary}}'' crossover had them running into various versions of Batman as they shifted between Gotham realities. Batmen they encountered were, in order - modern Batman, Creator/AdamWest Series/{{Batman}}, [[ComicBook/BatmanTheDarkKnightReturns TDKR]] Batman, Denny O'Neil Batman, original Batman and future Batman.
** So it's no surprise that his most longtime recurring villain is the same. ComicBook/TheJoker was a gangster with a gimmick, then a HarmlessVillain, then the Clown Prince of Crime we all know and love in personality but different in motive. Will you finding him robbing banks? Planning to kill a whole bunch of people ForTheEvulz? Involved in a big TakeOverTheWorld conspiracy with a coalition of villains? ...''yes.'' How dangerous he was would vary with the darkness of the era; in a grittier story he's murder incarnate. In a lighter story he's shooting acid from his lapel flower until going down in one punch. Eventually, it was decided that ''all'' versions of the Joker are equally valid: with his madness, nothing is stable about him, including what sort of villain he is. Making smiley-faced fish today, ending a talk show appearance with "I released poison gas when I came in the studio just 'cause I felt like it and the thousand or so people in the audience will drop dead in 3-2-1...!" tomorrow - ''that'' is what it means to truly be ChaoticEvil.
** One issue of the ''Fanboy'' miniseries by Creator/MarkEvanier and Creator/SergioAragones has Finster taking the role of Robin in one of his [[FantasySequence imaginary adventures]]. Along the way, Batman gradually shifts through just about every major portrayal from his original GoldenAge depiction to the ''WesternAnimation/BatmanTheAnimatedSeries'' version.
* Franchise/{{Superman}}. Early Golden Age, he had no problem sending a carload of gangsters to their deaths and was seen as an outlaw. His Kryptonian heritage is rarely referenced. Late Golden Age/Silver Age, he had a no-killing rule that extended to even the most vile of supervillains, and was a symbol of the establishment. His Kryptonian heritage was paramount to almost everything he did. The 1986 reboot established Superman as closer to the latter but more independent in his thinking. He also had a resentment toward his Kryptonian heritage. After about the turn of the century, the answers sort of blew in the wind until the Comicbook/{{New 52}} reboot in 2011.
** Creator/GrantMorrison's [[Comicbook/GrantMorrisonsActionComics take on Superman's early years]] for the New 52 relaunch is based on the earliest GoldenAge character: an anti-establishment radical who appeared in stories like "Superman In The Slums". These stories took place in the past and his "present" character is somewhat more defined, except when written by Scott Lobdell.
** Morrison's ''Comicbook/AllStarSuperman'', by contrast, is an ode to the Silver Age and Superman acts almost exactly as one would expect him to if they grew up on those comics.
* In his earliest appearances, Comicbook/{{Wolverine}} was more of a wise-guy and gradually drifted toward the savage we know him as today. This peaked at some point, and by the time ''Wolverine & the X-Men'' (the comic book series) came around, he'd become much more tame and a more strict adherent to Xavier's dream than former noble leader Cyclops.
* Alan Moore's run on the ''Comicbook/{{Supreme}}'' comic starts this way, with Supreme encountering various iterations of himself stretching back to the 1930s, at least. His arch-nemesis Darius Dax has a similar experience, including an encounter with "edgy Eighties serial killer Dax."
* Comicbook/TheQuestion big time. First created for Creator/CharltonComics by Creator/SteveDitko, he was more of a mouthpiece for his creator's Objectivism. When he joined DC and got his own series in the 80s the character become zen-like and tried to control his berserker urges. Then there's his famous expy from ''ComicBook/{{Watchmen}}'', Rorschach, who was intended to be Ditko's Question but had to be changed, dialed up closer to psychopath. The reason why Rorschach is here is because The Question's DCAU version is more like a toned down {{Cloudcuckoolander}} conspiracy theorist Rorschach. Then of course there's the second Question.
* Older readers of British comics such as ''ComicBook/TheDandy'' and ''ComicBook/TheBeano'' will point to the Golden Age of some of the long-running characters being the 1960s and 1970s, when an artist called Leo Baxendale drew and scripted the long-runners such as ''ComicStrip/DennisTheMenaceUK''. Baxendale's combination of lunatic surreal humour and way-above-average artwork is still reverenced today.
* Parodied in ''Radioactive Man'', the [[{{Defictionalisation}} defictionalised]] comic based on [[WesternAnimation/TheSimpsons Bart Simpson]]'s favourite superhero. In comics that supposedly run the whole of comicbook history, the title character is largely unchanging while his teammate Miles Mando constantly reinvents himself to fit the current trends: in UsefulNotes/TheGoldenAgeOfComicBooks he's a Comicbook/CaptainAmerica style MilitarySuperhero called Purple Heart; in UsefulNotes/TheSilverAgeOfComicBooks he's an Comicbook/IronMan style [[DeliberateValuesDissonance heroic arms-dealer]] called Brave Heart; in UsefulNotes/TheBronzeAgeOfComicBooks he's a Comicbook/GreenArrow style preachy liberal called Bleeding Heart; early in UsefulNotes/TheDarkAgeOfComicBooks he's a [[ComicBook/{{Watchmen}} Rorschach]] style ConspiracyTheorist called Heart of Darkness; and in the late Dark Age he's an Creator/ImageComics style NinetiesAntiHero called Bloody Heart.
* Betty Cooper of ''Franchise/ArchieComics'' in early comics was nothing like the modern day BettyAndVeronica type {{tomboy}} we know today. She was more {{yandere}}, was often a DumbBlonde, and often tried to break up Archie and Veronica.
* Paperinik, ComicBook/DonaldDuck's superhero/antihero alter ego, had many different interpretations:
** In the first stories Paperinik the [[NamesToRunAwayFromReallyFast Devilish Avenger]] was exactly that: an avenger of himself with devilish cunning and a sadist streak a mile wide, who'd steal from Scrooge as revenge for something he suffered as Donald and steal his money-filled mattress ''while he's sleeping on it'' because the sacks of money in the room were too easy. He's also an outright criminal and [[TheDreaded the terror of Duckburg]].
** Shortly after the early stories Paperinik became a superhero, even if still a [[TerrorHero rather terrifying]], cunning and sadistic one and liable to return to his origins if provoked. As this is the most popular version, he's currently written this way [[DependingOnTheWriter by most authors]].
** A third interpretation is that of a staightforward superhero, rather close to [[Series/{{Batman}} the 1966 Batman]] and complete with [[BatSignal Paperinik-signal featuring a bat wearing Donald's hat]].
*** This version has its own sub-versions, namely the AdventurerArchaeologist and the goofy hero (this one being rather popular with Brazilian authors).
** The fourth version is the ''ComicBook/PaperinikNewAdventures'' incarnation, mid-way between the TerrorHero and the straightforward superhero... That with time came back to the TerrorHero take.

* In the 1951 film ''Film/SupermanAndTheMoleMen'', Superman is a rough & tumble crusader. In the 1978 film ''Film/SupermanTheMovie'' and its sequels, Superman is a noble figurehead of the establishment.
* In the 1966 film, ''Film/BatmanTheMovie'', Batman is a noble figurehead of the establishment. In the 1989 film ''Film/{{Batman}}'' and its [[Film/BatmanReturns immediate sequel]], he's a rough & tumble crusader.
* Film/JamesBond and the world around him change via decade, along with expectations of what a spy character should be like. Naturally, the Daniel Craig version's got a little [[Film/TheBourneSeries Jason Bourne]] in him.
* For his first decade on the screen, Franchise/{{Godzilla}} was a fearsome force of nature meant to be a physical incarnation of the atom bomb. The later Showa films of TheSixties and TheSeventies portrayed him as a protector of humanity who was grumpy at worst. With his reintroduction in ''Film/TheReturnOfGodzilla'' and through the subsequent Heisei era films in TheEighties and TheNineties, he was once again a fearsome creature hostile to humans, albeit one that often saved humanity by accident in his battles with other {{Kaiju}}. This portrayal continued into the TurnOfTheMillennium, with the exclusion of ''Film/GodzillaMothraKingGhidorahGiantMonstersAllOutAttack'', where he is a being of pure evil. ''Film/{{Godzilla 2014}}'' once again makes him the terrifying force of nature he was in his earliest films but also continues the Heisei/Millennium portrayal of him being an unintentional defender of humans from other monsters.'' Film/{{Shin Godzilla}}'' Shows Godzilla closer to his original portrayal as a malevolent monster out to destroy humanity.

* Kim Newman's superhero pastiche, "Coastal City", which is all about what it would actually be like to live in ComicBookTime, has this with Chief Riordan's assistant, Ginger. In UsefulNotes/TheGoldenAgeOfComicBooks she was a SassySecretary who looked like Creator/GingerRogers, by the seventies she'd become a StrawFeminist, and today, she's a hard-edged senior officer who looks like Creator/SharonStone.

[[folder:Live Action TV]]
* ''Series/DoctorWho'':
** In the case of the Doctor, the show provides a notable justified version of this trope. Thanks to the regeneration plot device, Time Lords are in fact ''expected'' to change their personality [[TheNthDoctor whenever they're recast]].
** Some Doctors even change personality while still being the same Doctor thanks to different showrunners and fanbase preferences -
*** The First Doctor is totally different in his original comics line, and in his merchandising line again, shows up in two Dalek films played in a totally different way by Peter Cushing, shows up with a completely different appearance and personality in "The Five Doctors" and gets another totally different characterisation in a lot of his ExpandedUniverse stuff (especially the 50th Anniversary ebook ''A Big Hand For The Doctor'', which WordOfGod has said was intentionally written out-of-character to represent how he'd imagined the first Doctor as a child from reading Target novels). Even in the show itself, he gets a different characterisation starting from John Wiles's tenure as showrunner, mostly making him more of a central character but more emotionally vulnerable and fallible.
*** The Fourth Doctor has three different personalities to go with his three different showrunners, between their conscious attempts to dictate the show's tone to the writers (first GothicHorror BlackComedy, then witty {{Camp}}y comedy, and finally very serious mystical science fiction) and the actor reinterpreting his performance to fit those. In the first, he's cheerful and amiable but has a dark, brooding side; in the second, he's off-the-wall bug-eyed crazy; in the final, he's more solemn and introspective. See also his characterisation in the ''Magazine/DoctorWhoMagazine'' comic strips compared to his personality on the show - he [[LighterAndSofter loses virtually all of his dark side]] and is more sugary, childish and crazy than he ever gets to be on-screen.
*** The Sixth Doctor has a totally different personality in the 80s comics featuring him because they switched to using him before his on-screen characterisation was known, had to invent a personality for him out of educated guesswork, and decided to keep running with that personality even after it was {{Jossed}}.
*** The Seventh Doctor is goofy and bumbling in his first season (1987), then becomes increasingly serious, introspective and manipulative but still quite cheerful, well-intentioned and light-hearted (1988-1989), and in the Literature/DoctorWhoNewAdventures (early-to-mid 1990s) he's a ruthless, tormented [[TheChessmaster chess-master]] AntiHero who at times even borders on a VillainProtagonist.
*** The Eighth Doctor is probably the most extreme case, as due to the limited amount of television featuring him, his characterisation is flexible enough that he can be used as a sort of 'generic Doctor' with lots of DependingOnTheWriter scope, and so tens of different arms of the EU developed him in tens of wildly different ways.
*** The Twelfth Doctor is extremely dark in his first series, to really hammer home that we're RevisitingTheRoots with an old, more morally ambiguous, asexual NightmareFetishist Doctor. This didn't go down too well with general audiences, so, for his second series, he's rearranged into a lovesick, hyperactive, sunglasses-wearing, guitar-playing rock-dad. His character arc through this series sees him going through major tragedy and coming to terms with it, and so in his final series, he is a more foreboding SternTeacher who is better at reading human nature (when his inability to do this had been a running joke in his previous two series), and tends to repress his fears and weaknesses rather than asking for help (when he'd rhapsodised on the power of his own fear in his first season).
** Even setting incarnations aside, the Doctor can be loosely split up into decades:
*** 60s: Short, twinkly, AmbiguouslyHuman, the source of his powers is a RiddleForTheAges, generally grandpaternalistic or avuncular, and often content to remain in the background coming up with answers while the companions or guest characters handle the bulk of the plot. Usually takes a small gaggle of companions, usually a mixed-gender team. Usually apolitical - he'll break out lectures and he'll protect humans but he won't stick around to fix their long-term social problems. The heavy implication is that he's on the run from something, and stopping, or drawing too much attention to himself, would mean his doom - he stops to help people who are suffering because that's just what a gentleman should do. Occasionally untrustworthy due to his mercurial nature and mysterious motives.
*** 70s: Tall, [[TheCharmer dazzling]] and [[{{Swashbuckler}} dramatic]], a bit HotterAndSexier and much more likely to be portrayed as a leading man or action hero. Tends to take just one attractive female ImpliedLoveInterest companion and tends towards VitriolicBestBuds towards the male ones. Explicitly an alien with BizarreAlienBiology (two hearts, telepathic powers, etcetera), a variety of NewPowersAsThePlotDemands, a home planet in the form of Gallifrey and a friendly EvilCounterpart in the form of the Master. Unlike his fallibility in the previous and succeeding decade he's so brilliant at everything he borders on TheAce or an InvincibleHero. Has a much more political bent and is greatly concerned with fairness, equality and freedom - but at the same time it's clear he does what he does because [[NightmareFetishist it's fun]] and [[AttentionWhore he loves showing off]]. Occasionally scary due to his lack of connection with Earth and his emotional inhumanity.
*** 80s: Deconstruction of the Doctor's moral code, mental instability and bizarre lifestyle. The Doctor becomes much more emotional and vulnerable and is much more often shown [[DirtyBusiness making bad decisions]] or being physically helpless. Soap opera influenced relationships with companions begin, but [[NoHuggingNoKissing aggressively asexual]] ones; the Doctor also steps back from the in-your-face lead role of the 70s in order to allow companions to take focus more often. He dispenses with the spirituality of the 70s and his main moral concern is justice, to which he will go to some very dark extents to achieve. By now, he does what he does because he's a mystical, legendary force of justice, with a couple of incarnations (the 80s version of the Fourth and the Seventh) dipping heavily into WizardClassic symbolism.
*** 00s: A HurtingHero who destroyed his entire race in order to kill the Daleks. ''Much'' HotterAndSexier, most companions being explicit love interests to some degree. MessianicArchetype symbolism abounds but so does internal criticism of this. The Doctor is now a 'big' character who often goes on epic, blockbuster adventures (unlike his smaller-scale predecessors).
** The Daleks, like many popular monsters, reflect popular anxiety of the time.
*** In 1963, the height of the UsefulNotes/ColdWar, they were a NuclearNasty.
*** The nuclear radiation concept was soon dropped to focus on a string of SpaceOpera stories where they tended to be shouting, imperialist 'space-Nazi'-like characters - playing up the PuttingOnTheReich elements of the Daleks to put a transparent [[ANaziByAnyOtherName allegory for the Battle of Britain]] in "The Dalek Invasion of Earth", ThoseWackyNazis in "The Chase" and cunning political machinators using networks of spies and trying to complete an allegory for a nuke in "The Daleks' Master Plan".
*** "Power of the Daleks" switches to a RedScare allegory with an apparently harmless Dalek 'worker' that makes humans see things its way and subverts the political structure of the entire colony. "Evil of the Daleks" carries on in this vein - the Daleks discover how to 'Dalekise' humans and make them think like them.
*** The revival series saw them retooled as religious fanatics with a distinctly PostNineElevenTerrorismMovie vibe under RTD's tenure as showrunner.
*** Moffat made them more into shifty politicians exploiting recession fears - under him Daleks have a complicated parliamentary democracy, find hatred beautiful, and claim to care about their people but beg for personal mercy. Notably, the WWII allegory is subverted by having WWII-era Daleks fighting on the side of the ''British'' (albeit as part of a larger scheme).
** The Cybermen are TranshumanAliens whose lack of emotion has made them almost enlightened in "The Tenth Planet", RedScare BodyHorror from "The Moonbase" onwards through the rest of the 60s, killer robots with a gold allergy in the 70s, and rather emotional gun-toting baddies in the 80s so allergic to gold that they die if they get hit with gold coins. The 90s [[WhatCouldHaveBeen almost saw]] skeletal, ''Franchise/{{Terminator}}''-esque Cybers, and the new series rebooted them with a new origin story as TheVirus, with a marching, zombie-like vibe, so emotionless that they die if they feel emotion and are often defeated by the PowerOfLove.
* The evolution of ''Franchise/StarTrek''[='s=] Captain Kirk:
** [[Series/StarTrekTheOriginalSeries 1966 - 1979]]: Nearly infallible paragon, though he will break Starfleet orders if a ToBeLawfulOrGood conflict arises.
** [[Film/StarTrekIITheWrathOfKhan 1982]] - [[Film/StarTrekVITheUndiscoveredCountry 1994]]: More fallible and a bit of a MilitaryMaverick type.
** [[Film/StarTrek 2009 - present]]: Arrogant young hot shot.
** The Federation and Star Fleet itself shows changes over time:
*** ''The Original Series'' The Federation is rarely a significant factor in any plots, but basically comes across as more of a United Nations and not a unitary government. Star Fleet is pretty clearly good and noble, with individuals going rogue.
*** ''The Next Generation'': The Federation is a post-scarcity utopian society, with a clearly more unitary government, although political discussions are initially somewhat rare. Star Fleet is shown occasionally getting their hands dirty, but are generally upstanding people, with again the odd exception.
*** ''Deep Space Nine'': Politics play a significant role, and the Federation is often seen from an outside perspective as not being as utopian or morally pure as they like to think they are, a viewpoint confirmed with the revelation of Section 31, the Federation/Star Fleet's black ops agency who are willing to do things as extreme as genocide to protect the Federation. Star Fleet is shown to be composed of people who can be flawed enough to contemplate actions like a military coup or condone all sorts of crimes for what they perceive as the greater good.

[[folder:Multiple Media]]
* With its constant reboots and a need to always stay fresh, it's a given that this would ''heavily'' affect ''Franchise/{{Transformers}}''. Although most of the recurring characters are more akin to simple [[InNameOnly nameslaps]], even the "actual" returning characters can be radically different depending on the series, movie, video game, etc.
** Optimus Prime: [[WesternAnimation/TheTransformers an almost infallible, respected but friendly leader]], [[Film/TransformersFilmSeries a violent veteran who kills opponents without mercy and hesitation]], [[WesternAnimation/TransformersAnimated an up-and-coming but often disrespected leader in the making]], or [[WesternAnimation/TransformersPrime a legendary leader but a distant stoic]]?
** Starscream: [[WesternAnimation/TheTransformers a backstabbing coward who wants to claim Megatron's power]], [[Anime/TransformersArmada a more honorable fighter who only wants to earn Megatron's respect]], [[Film/TransformersFilmSeries a sniveling but snarky buffoon who nonetheless stays loyal to Megatron]], or [[WesternAnimation/TransformersPrime an incompetent dirty backstabber who gradually learns that his goals are totally misplaced]]?
** There are of course far more extreme examples. Is Wheeljack [[WesternAnimation/TheTransformers a crazy scientist whose gadgets always blow up in his face]] or [[WesternAnimation/TransformersPrime a tough-as-nails action hero]]? Bumblebee likes fun, but [[WesternAnimation/TheTransformers would he avoid danger and play things safe]] or [[WesternAnimation/TransformersAnimated jump headfirst into action and behave like a brat]]? [[Film/TransformersFilmSeries Maybe he's even an awesome but brutal fighter]], or [[WesternAnimation/TransformersPrime someone who patiently waits until it's time for him to become one]]. Red Alert -- [[WesternAnimation/TheTransformers crazily nervous and paranoid]] or [[Anime/TransformersArmada a stoic]]? Hound -- [[WesternAnimation/TheTransformers a mild-mannered pacifist]] or [[Film/TransformersFilmSeries a gun-toting loudmouth killing machine]]? Wheelie -- [[WesternAnimation/TheTransformers a rascally kid]] or [[Film/TransformersFilmSeries a foul-mouthed pervert]]? A comprehensive list would be as long as this entire page.
* ''Toys/{{Bionicle}}'':
** Pohatu was originally the friendliest and most social of the Toa, with a bright outlook on things and a jocular attitude. [[Toys/{{Bionicle2015}} In the reboot]], he is the polar opposite: brooding, antisocial, at times outright rude and fiercely stubborn. Though we also learn he [[HiddenHeartOfGold secretly cares for puppies]] and [[CharacterDevelopment his gradual growth makes him the most developed]] out of his team, whereas his original incarnation was more of a StaticCharacter.
** Other returning characters from the two generations have minor differences. Mainly, Kopaka's G2 version is a lot more outspoken and has somewhat comical moments, while the defining personality traits of his G1 self have seemingly been handed over to G2 Pohatu. G2 Tahu is also a tad less reckless, and can act infantile or level-headed depending on the scene. One thing he inherited from his G1 self is his fierce competitiveness. In both generations, Kopaka and Tahu start out hating each other.
* The bratty kids from ''Franchise/CharlieAndTheChocolateFactory'' often have differing personalities depending on the adaptation. Violet Beauregard and Mike Teevee's traits are changed to reflect raised their children in that time period:
** In the [[Literature/CharlieAndTheChocolateFactory 1964 novel]], Violet is a GenkiGirl who finds gum chewing comforting. Her only major signs of being bratty are yelling at her mother, sticking used gum on elevator buttons, and stubbornly ignoring Wonka's warnings not to try the experimental three-course-meal gum. In her song, the moral of the Oompa Loompas' song for her is how disgusting chewing gum all the time looks. In the end she blows up like a blueberry and is escorted to the Juicing Room. While she's back to her normal size, she's still purple. The [[Film/WillyWonkaAndTheChocolateFactory 1971 film]] ups her rudeness: she beat her friend's gum chewing world record and rubs it in her face during her interview, screeches at Veruca to shut up when the latter starts complaining, and [[ArsonMurderAndJaywalking picks her nose while saying "Spitting's a dirty habit."]] Her fate after blowing up to a blueberry is unknown. The [[Film/CharlieAndTheChocolateFactory 2005 film]] depicts her as a [[GoGetterGirl girl who's fixated on winning; if she sets her mind to something, she's gonna do it]]. After she's sent to the Juicing Room, she's not only purple, but also flexible, able to contort her body like an Olympic gymnast. The 2005 musical ''Willy Wonka Jr.'' has her as a ditzy Georgia gum-obsessed girl who's greatest wish is to chew a piece of gum all her life. This is the first Violet to actually pop! It's implied she's okay, but Wonka states that she'll "probably" be a blueberry for the rest of her life. The 2013 musical depicts her as an [[RaceLift African-American]] [[AttentionWhore fame-hungry]] "celebrity" who's famous for her gum chewing world record, to the point where her father turned her into a franchise, with boutiques, a perfume line, and even a TV Show. After taking the gum she explodes, though Wonka assures that she'll be back to normal ("or, you know, near enough") before she ''ferments''!

* Music/MarilynManson's discography can be broken up into eras by album, with each album bringing a new look, sound and on-stage mannerisms.
* Music/TheBeatles went through this over the course of their career. If you look at a photo of them from the early 1960s next to one from the late 1960s, you might almost be forgiven for thinking you were looking at two different bands. Roughly, it goes something like this:
** 1957-1960: basically your average 1950s garage 'skiffle' band.
** 1960-1962: the "Hamburg/Cavern Club" years; after cutting their teeth in the red-light district of Hamburg, they kind of had a proto-punk rock thing going on. Long hair, leather jackets and lots of anarchic leaping about the stage. Drug of choice: amphetimines (to help with the long gigs).
** 1962-1964: the "lovable mop-top" years; Brian Epstein comes along, becomes their manager, and cleans up their act into the "Fab Four". They wear nice matching suits, the long hair settles into the distinctive 'Beatle-cut' style, and their music has a very poppy vibe. Drug of choice: weed (at least, from 1964 onwards).
** 1965-1966: the "Fab Four" look starts becoming a bit rougher around the edges to correspond with the band getting increasingly frustrated and isolated with their image and the constraints put on them by their act. Their music is still quite poppy but starts getting a more experimental art-rock feel as well. Drug of choice: still weed, but they're beginning to experiment with LSD. They stop touring towards the end of 1966 and become a studio band, leading to...
** 1967: ''Music/SgtPeppersLonelyHeartsClubBand''/''[[Film/MagicalMysteryTour Magical]] [[Music/MagicalMysteryTour Mystery Tour]]''; the hippy period. Love is all you need. Everything's psychedelic and trippy. Drug of choice: still LSD, but they're also dabbling in Eastern spiritualism[[note]]which, yes, isn't actually a drug, but just run with it[[/note]]. Sadly, Brian Epstein passes away towards the end of the year, gradually leading to...
** 1968-1970: Everything gradually falls apart. The band grows distant from each other (reflected in their increasingly divergent personal and musical styles and [[BeardOfSorrow facial hair]]) and gradually split up. Drug of choice is varied, but Music/JohnLennon falls into heroin addiction.


[[folder:Professional Wrestling]]
* Wrestling/{{WCW}} once did this when Wrestling/{{Sting}}, a veteran wrestler who had drastically changed his look several times over the years, was attacked during a match by a series of assailants, each of whom wore a different-era Sting costume.
* Another wrestling example might be Wrestling/WrestlingSocietyX's [[Wrestling/ColtCabana Matt Classic]], a wrestler who was "in a coma for 40 years" and therefore uses moves, mannerisms, and phrases from 1960s pro wrestling.
* Wrestling/TheUndertaker has had several different "eras" with his persona, such as his original zombie gimmick, his Wrestling/MinistryOfDarkness persona, and his biker gimmick.

[[folder: Toys]]
* Franchise/{{Barbie}} characters personalities have changed with the decades. For example, in 2011 they revamped her teenage sister Skipper as a "techie" GamerGirl and PhoneaholicTeenager. Prior to that she was just awfully similar to Barbie.

[[folder:Video Games]]
* In a later self-reference, the "Timeless River" subworld in ''VideoGame/KingdomHeartsII'' takes place in the past, where the Disney Castle counterparts are depicted in [[WesternAnimation/ClassicDisneyShorts their original incarnations]] (specifically, those of the 1928 short ''Steamboat Willie''). Sora specifically mentions Mickey and Black Pete looking and acting strange. And even the anime-influenced Sora himself is affected designwise, as he wears a simpler version of his first-game outfit and looks more akin to anime art done by Creator/OsamuTezuka in the Timeless River.
* In earlier plans for ''VideoGame/EpicMickey'', which way you went on the KarmaMeter would determine which incarnation of Mickey you played: the scrappy fighter of his [[WesternAnimation/ClassicDisneyShorts original appearances]], the straight man of the late 1930s, or the more modern 'hero' Mickey.
* Kusanagi, a clone of Kyo Kusanagi from ''VideoGame/TheKingOfFighters 2002'' and ''2003'' is essentially Kyo's older version from the previous games, as he has Kyo's old appearance, quotes, and movelist.
** Not entirely. If his demeanor and appearance are to be taken into account, Kusanagi is quite possibly an AxCrazy {{Pyromaniac}} BloodKnight who is even more HotBlooded than the real Kyo ever was. However, some of this was done to [[DivergentCharacterEvolution diversify]] him from not only Kyo, but also Kyo-1 and Kyo-2, the ''other'' clones of Kyo who appeared in ''KOF '99''. Kyo-1 is serious and somewhat mellow (like Kyo was in the later chapters of the Orochi Saga and beyond), whereas Kyo-2 is cocky and arrogant to the point of underestimating his opponents (much like how Kyo acted in ''[='94=]'' and ''[='95=]''). Ironically, Kyo-1 uses Kyo's ''[='94=]''-''[='95=]'' moveset, whereas Kyo-2 adopts Kyo's moves from ''[='96=]''-''[='98=]''.
* Lara Croft of ''Franchise/TombRaider'' has had six wildly different personalities.
* Franchise/SonicTheHedgehog has gotten fan backlash over the years for not quite having the attitude he had back in the 16-bit days, though this is mostly in America where he was marketed that way. ''VideoGame/SonicGenerations'' places the Genesis-era Sonic and (post-)Dreamcast-era Sonic side-by-side, freely inviting comparisons between the two. "Modern" Sonic isn't exactly "Dreamcast" Sonic. ''VideoGame/SonicColors'' had already made a point of circling back to his sarcastic and [[DeadpanSnarker snarky]] MascotWithAttitude status from the Genesis games and ''Generations'' doesn't detract too much from that. The big contrasts are mostly visual changes and the fact that [[HeroicMime the younger Sonic can't speak]].
* ''Franchise/TheLegendOfZelda'': Ganon(dorf) existed as a somewhat [[IncrediblyLamePun hammy]] [[EvilIsHammy villain]] up through ''VideoGame/TheLegendOfZeldaOcarinaOfTime'', at least in supplementary material. As the games started adding more depth to their stories beyond "grab this sword and save Hyrule", the character gained more subtle nuance as a result of always being the same person ([[{{Reincarnation}} unlike Link and Zelda]]). However, whether he is a TragicVillain, an EvilOverlord, or [[WasOnceAMan has completely lost all humanity]] depends on if you're in the [[VideoGame/TheLegendOfZeldaTheWindWaker Adult]], [[VideoGame/TheLegendOfZeldaTwilightPrincess Child]], or [[VideoGame/TheLegendOfZeldaI Downfall]] timeline, respectively.

[[folder:Web Original]]
* ''WebAnimation/HomestarRunner''
** The "Old Timey" universe is an AffectionateParody of cartoon designs and tropes from UsefulNotes/TheGoldenAgeOfAnimation.
** Also, the Chapmans [[SelfDeprecation parody their own]] [[EarlyInstallmentWeirdness earlier style]] in a few cartoons: the WebAnimation/StrongBadEmail "flashback" parodies the style of the children's book that predates the website, and "lady...ing" parodies the very first Homestar Runner web cartoon, "Marshmallow's Last Stand".
* The trope is also used in the ''VideoGame/MegaMan'' centric sprite comic ''Webcomic/BobAndGeorge''. The time frame is measured by bittage: 8 bit is the past, 16 bit is the present, and 32 bit is the future.
* ''WebVideo/ImAMarvelAndImADC'':
** At one point in "After Hours", Superman, Batman, and Spider-Man go back in time to shortly before Creator/MarvelComics was founded. Superman and Batman briefly revert to their [[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]] personalities, which was signified by the use of older action figures. When they revert to their modern personalities, Superman remarks that he'd forgotten how nice Batman [[DarkerAndEdgier used to be]].
** Lampshaded again in the "movie tournament" series. Captain America faces off against ''50s'' Superman, who tells him to look up {{Superdickery}}.
* WebAnimation/FourSwordsMisadventures does this to an extent. In the manga based on VideoGame/TheLegendOfZeldaFourSwordsAdventures, Green is virtuous and heroic, Red is a WideEyedIdealist, Blue is aggressive and overconfident, and Vio is TheStrategist. In this series, though they don't start out with much of a consistent personality at first, they eventually do get personalities similar to the manga, but three fourths of the Links get the personalities swapped around. Green Link is kept the same, while Misadventures!Red becomes more like Manga!Blue in personality, Blue is more like Vio, and Purple is more like Red.

[[folder:Western Animation]]
* ''WesternAnimation/ClassicDisneyShorts'':
** Both WesternAnimation/DonaldDuck and WesternAnimation/MickeyMouse were much more mischievous and aggressive in their earlier appearances.
*** Referenced in a ''WesternAnimation/QuackPack'' episode where DonaldDuck was being age-regressed. Instead of getting younger ''looking'', he started reverting to older character designs and became more of a troublemaker (at first; eventually, he actually ''did'' become younger-looking).
** Daisy Duck has changed a lot throughout the years. Originally she was literally a genderswapped Donald with the same temper however afterwards she became his straightman and more of a voice of reason. ''WesternAnimation/QuackPack'' has her as a sarcastic DeadpanSnarker while ''WesternAnimation/HouseOfMouse'' upped her [[TheDitz ditzyness]] and made her more outgoing. Currently she's written in her ''House of Mouse'' persona.
* The Warners from ''WesternAnimation/{{Animaniacs}}'' are deliberate throwbacks to 1920s- and 1930s-era designs, per their BackStory.
* The ''WesternAnimation/BatmanTheAnimatedSeries'' episode "Legends of the Dark Knight" featured children speculating about what Batman's really like; their interpretations are pretty much directly lifted from the '60s Batman series (and the '70s cartoons based on it, as well as Dick Sprang's work in the comics), Frank Miller's graphic novel ''ComicBook/BatmanTheDarkKnightReturns'', and Joel Schumacher's much-maligned "Batman in a tight rubber suit" movies. (The kids themselves are Classic Dick Grayson, Carrie Kelly and, er, a kid version of Joel Schumacher.)
* When WesternAnimation/WoodyWoodpecker was revived in the 1990s, they used the wilder, more irreverent 1940s version, rather than the softer 1950s version that had been used until then.
* In the WesternAnimation/LooneyTunes shorts, WesternAnimation/DaffyDuck went from being a wacky trickster to cowardly and non-too-bright to being rather serene and positive, and from there on became cunning and greedy, to be used as a {{foil}} to WesternAnimation/BugsBunny.
* ''Franchise/ScoobyDoo''
** Shaggy was stripped of all his hippie during the 80s, but got it back in the 90s.
** Velma's also gotten [[DeadpanSnarker snarkier]] as time went on.
** The 90s-and-later incarnations of the franchise are generally more self-aware and willing to play with the series tropes, where the originals played it all straight.
** Daphne's portrayal is inconsistent. For decades she was basically the DistressedDamsel and TheChick of the group however in the late 1990s TookALevelInBadass and began leaning towards being an ActionGirl. Ever since then she's been flip-flopping between portrayals. ''WesternAnimation/BeCoolScoobyDoo'' adds a new layer as she is DenserAndWackier than before by far.
** Fred's been portrayed in many ways over the devades. His original incarnation was a [[TheGenericGuy considerably generic]] [[ClassyCravat TV version of 1960s preppy]] and ill-defined. In ''WesternAnimation/APupNamedScoobyDoo'' he became a ConspiracyTheorist. In ''WesternAnimation/WhatsNewScoobyDoo'' Fred is presented as a lovable idiot who bumbles his way through his leadership role. In [[Film/ScoobyDoo the live action movies]] interpret him as a self-absorbed jerk whose leader status is purely self-appointed. ''WesternAnimation/ScoobyDooMysteryIncorporated'' has him as an oblivious teenager with an obsession for traps.
* Homer Simpson of ''WesternAnimation/TheSimpsons'' got this treatment on a meta level. The era where Mike Scully was the showrunner was known as the "Jerkass Homer years," with Homer being at the height of his callousness and stupidity. Around season 13, the writers actually made a conscious effort to tone both of these down without sacrificing his basic character, to great success.
* When ''WesternAnimation/BettyBoop'' first appeared in the early 30's, she was portrayed as a teenage (sometimes young-adult) flapper-girl with an outgoing personality and loads of sexuality. After UsefulNotes/TheHaysCode of the mid-30's however, Betty was aged up to her mid-twenties, wore long, conservative dresses and became more passive and less wild. However, as she experienced a re-birth in popularity after the 50's, she reverted back to her sexy, Jazz Baby persona in most portrayals and is remembered by these images and behaviours mostly today.
* Parodied in ''WesternAnimation/TheFairlyOddParents'' episode "The Crimson Chin meets Mighty Mom and Dyno Dad"- The Crimson Chin has wildly different Era-specific personalities, from the [[UsefulNotes/TheGoldenAgeOfComicBooks 30s pulp-fiction Chin]], to the [[DarkerAndEdgier "super-edgy"]] [[UsefulNotes/TheDarkAgeOfComicBooks 1985]] [[DarkerAndEdgier Chin, who got cancelled for swearing.]]
* The ''Franchise/MyLittlePony'' franchise tends to do this with reoccurring ponies. Most of the characters in the current series ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' who were carried over from the earlier G3-series have personalities that are completely different from the ones they had in G3. This is because, while those ''Friendship is Magic'' characters do have the names and color schemes of characters from G3, their personalities are actually based on characters from G1, the original ''My Little Pony'' version from the 1980's.
** A curious special case is the character of Applejack, a ''Friendship is Magic'' character who has the name and color scheme of a G1 pony, but a completely different personality.
** The page image is Rainbow Dash. In G3, she was a fashionista (though she liked riding rainbows as well) and spoke with a British accent, until G3.5 removed the British accent and emphasised her GirlyGirl aspects. G4 Rainbow Dash is an athletic TomboyWithAGirlyStreak whose main defining aspects are her competitiveness, love of speed, ego and immense loyalty to her friends; G3 Rainbow Dash's girlishness, love of fashion, and British accent seem to have been transferred to G4 Rarity.
** The ''MLP'' franchise is hit with this hard. In, say, ''Franchise/{{Transformers}},'' Hasbro's foremost ''boys''' franchise, the different series have their own styles, but basic characterization sticks -- Optimus is a paragon of good, either Ratchet or Red Alert is TheMedic and often has a RedOniBlueOni relationship with the KidAppealCharacter, Megatron is the BigBad, Starscream isn't [[TheStarscream known for his loyalty]], etc. In ''My Little Pony,'' characters may share nothing but the names with past incarnations. Even the association with G1 characters is less than many who haven't actually seen G1 think: Twilight Sparkle is a magic prodigy, {{Adorkable}}, and has more than a touch of OCD, and has teleportation among her many spells. G1 Twilight... teleported a couple of times in the cartoon, is level headed, and is associated in other media with the ''stars'' rather than magic (thus her MeaningfulName). Most characters are less "same character, updated for the new decade" and more "new character entirely, with a name we already had trademarked".
* ''WesternAnimation/ThomasTheTankEngine'' went through various changes throughout the evolution of the original ''Literature/TheRailwaySeries'' novels and the TV series. In the earliest of Rev W Awdry's books, Thomas was established as a "cheeky" BrattyHalfPint, then as more engines were introduced he developed into a more mature but highly arrogant hard worker. Both Christopher Awdry's books and early stages of the show referted to both interpretations when fitting, though as the series became more iconic, Thomas was mellowed into a more altrustic and gentle protagonist. Hit Entertainment's LighterAndSofter tenure makes something of a compromise of the former and latter, turning Thomas into a well intentioned {{Keet}}.