Franchise Original Sin

"To me, all the fatal flaws fanboys bitched about in regards to the [Star Wars] prequels -— stiff dialogue, wooden performances, a convoluted plot, and mindless spectacle divorced from human emotion -— were there from the very beginning."

A Franchise Original Sin is a flaw that in earlier, good installments was kept under control to the point of not really being a flaw, but goes out of hand and becomes apparent in later installments.

Franchise Original Sins may be exacerbated by Protection from Editors resulting in Filibuster Freefall, or a result of a Creator Breakdown or other form of Troubled Production. It is possible for a story to recover from its sins if the writer experiences a Creator Recovery — or you might be looking at the point where the fans invoke Fanon Discontinuity. Or it might be regression to the mean; the work in question was popular because the early installments were above the quality the creators could normally produce, and when they returned to baseline, it was over for them.

It's possible to engage in Jumping the Shark without having an Original Sin. Take, for example, Moonlighting, which couldn't keep up the Will They or Won't They? any longer, and the point at which they did was the moment all dramatic tension deflated from the series. There was no Original Sin there, besides the Will They or Won't They?, which was part of what made the series work, so it doesn't qualify here.

Expect to hear a lot of statements like "It was all right when it only happened occasionally, but..." if this trope is brought up in conversation. Sometimes, these elements might have actually been embraced initially, only for fan opinion to turn against them once they became problematic to the work at large.

Rule of thumb: if you can imagine a reboot or spiritual successor without the element in question, then it qualifies. If you can't, then it isn't a Franchise Original Sin. Secondary rule of thumb: If it wasn't visible in previous good episodes, it's an Ass Pull or a Retool gone bad, not a Franchise Original Sin. Compare with First Installment Wins. Often goes along with Sequelitis. Also compare with Overused Running Gag and Discredited Meme, a more specific variety of this trope where a joke gets used so often that everyone gets sick of it. Contrast "Seinfeld" Is Unfunny, when overexposure makes the original seem less good in hindsight.

Please be careful you aren't Complaining About Shows You Don't Like.


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     Anime and Manga 
  • In Naruto, even in early episodes you could already see that Sasuke was going to be really important and tips about how the Uchiha clan's Myth Arc is key were dropped. Then Sasuke became really important, and the Uchiha clan's Myth Arc swallowed the plot. It's a sore spot between fans whether this is a good thing, a bad thing, or something in between.
  • Bleach:
    • Many of the criticisms during the Arrancar saga first showed in the Soul Society arc. The decreased focus on Ichigo and his friends (much of the arc revolves around the intrigue among the Shinigami as opposed to Ichigo's mission to rescue Rukia, Chad is taken out easily by Captain Kyoraku, and Ishida and Orihime disappear for a large part of the story), the feeling of Arc Fatigue, and Aizen's improbable level of planning and his ability to easily take out anyone in his way are all things that would become much worse in later arcs.
    • Numerous plot twists are a trend that also dates back to the end of the Soul Society arc. It's revealed that the real reason Rukia's execution was arranged was so Aizen could get a powerful object called the Hogyoku that was implanted in her body. The Hogyoku itself didn't really get much build up beyond a vague mention in a letter, but because the story was still in its early stages and because it was important to the main villain's plans, most viewers didn't have a problem with it. Aizen himself was introduced as a kind hearted captain that was brutally murdered, before revealing that he had faked his death and was behind everything in the story to that point, a development that was widely praised at the time. Since then, the number of 'shocking' plot twists in the story has become perhaps the most common criticism about Bleach after Arc Fatigue, and every new twist tends to cause massive arguments in the fanbase about whether they make sense or not. This is most prominent during the Deicide arc, where Aizen becomes embroiled in a Gambit Roulette so ludicrous people stopped taking him seriously.
    • When Kubo kicked off the Soul Society arc, he more or less ditched the majority of the prior cast, and introduced around forty new characters, all of whom had distinct designs, powersets, and backstories. This worked extremely well, as it showcased Kubo's impressive skill as a character designer and a writer of Establishing Character Moments, with pretty much every new person to show up becoming extremely popular right off the bat. However, it resulted in the prior cast either not appearing or not getting that much development outside of one or two fight scenes. Fans waited for the Soul Society characters to get their dues... but then Kubo began the Arrancar arc, introduced another thirty or so characters, and gave them all distinct designs, powers, and backstories, while the Soul Society cast largely went into the background, only showing up to maybe get one fight scene. Then Hueco Mundo introduced another couple dozen characters, then Fullbringer, then Blood War... and by the end of the series, there were hundreds and hundreds of characters, and maybe ten of them had gone through any decisive Character Development. Thus the weakness was revealed: Kubo excels at creating characters, but he gets bored whenever he has to do anything with them.
  • Sailor Moon:
    • The much reviled fourth season, SuperS, was founded on many of the elements people hated most about this arc: fairy tale inspired mythology, campy villains, a destined love between Official Couple Usagi and Mamoru, and spotlights on characters other than Usagi herself (namely Chibiusa). While all these elements worked wonderfully in previous seasons, by the time the fourth arc rolled around they just felt stale. The fifth season attempted to fight the Seasonal Rot by immediately sending Chibiusa back to the future, returning the series to magical sci-fi, introducing new characters for a fresh Love Triangle story, and making the Big Bad far more lethal than any previous season.
    • In the first two seasons, the villains's tasks were mostly resource gathering and direct invasion. The third season introduced plots revolving around minions targeting single random victims looking for a specific object. It worked fairly well in the third season, as potentially anyone with a heart pure enough could be hosting the Talismans, and in the fourth season, as anyone with beautiful dreams could be hosting Pegasus. Come the fifth season, however, this formula was carried on intact making the plot look idiotic: with Earth being the last unconquered planet in the whole galaxy, all the members of Shadow Galactica should have known a true star seed would only be carried by a Sailor Senshi. One would wonder why attacing random civillians rather than going after the Senshi when they showed up to fight. This renders much of the arc completely pointless and illogical until the final episodes.
  • In the El-Hazard: The Magnificent World OVA, Makoto's a Chick Magnet from day one, with three girls initially attracted to him, but it isn't really a Harem Series at that point. Makoto chooses his girlfriend fairly early on, and Nanami and Shayla-Shayla's attraction is a side plot occasionally tapped for humor and fanservice. But when they reach the third series, El Hazard: The Alternative World, the writers seem to have run out of ideas, and Makoto's girlfriend is on a bus anyway, so they have the girls fighting over Makoto every episode and insert a Third-Option Love Interest to spice things up. As a result, The Alternative World was widely seen as inferior to the first and second OVA series, and was Cut Short, with only 13 out of 26 episodes completed.
  • One Piece:
    • The elements that made the 4Kids Entertainment English dub so hated were mostly present in earlier, far more successful shows like PokémonCut-and-Paste Translation, baffling Bowdlerization, Viewers Are Morons, and so on. However, this was sort of okay then because Pokémon skewed towards a much younger audience, and 4Kids had demonstrated that they knew not to use this strategy all the time, as seen in Shaman King or Teenage Mutant Ninja Turtles (2003). It was only when complaints about those two shows led them to try to apply it to One Piece that the whole thing fell apart... and it didn't help that the Cut-and-Paste Translation technique was falling out of favor at around the same time.
    • In the original version, problems that affected later parts of the series started showing up early on. Pacing problems were present since Skypeia, and the plot having way too many characters started in Enies Lobby. The Dressrosa Arc later became the pinnacle of both of these issues, with Oda attempting to cram too many new developments into one arc that resulted in: 2 and a half years in real life spent on the same island, about 10 extended flashbacks, a little over 50 named new characters, the reintroduction of several old characters, and 101 chapters of content.
  • Dragon Ball:
    • Fans of the 1986 anime forget that the flaws they often attack in Z (using the titular Dragon Balls as a reset button to undo the villains' murderous rampage, lots of filler and padding to the fights and stories to keep from catching up to the manga, storylines taking way too long to resolve themselves, etc.) were all present, to one degree or another, from the start. They just hadn't yet been done to death. Even funnier, the Namek/Frieza Saga, which is often used as an example of padding and filler going out of control, actually has the least amount of it compared to the other sagas. The anime version of the Namek/Frieza Saga is only a little longer compared to the manga.
    • The criticism of the series' treatment of Yamcha in particular. He was hardly a serious threat when he started out as an antagonist, and he went down to several humiliating defeats throughout the original Dragon Ball. Perhaps what turns off fans from him in Z isn't the fact that he loses, but that he loses in particularly brutal ways that come across as mean-spirited in comparison to the more light-hearted original series. Where in the original, he might get his ass kicked in a comical way, in Z, he was horribly killed twice and maimed a third time.
    • As pointed out by Team Four Star, the Saiyan Saga of Dragon Ball Z, despite setting the tone for the remainder of the series, also introduced many staples the franchise would be criticized for: Power Levels, Power Levels turning out to be useless, Beam-O-Wars, extremely over-the-top and drawn-out fights, and everybody getting killed while waiting for Goku (Gohan in one instance) and his new powerup to save the day. This was all excusable in that it was new, but it got old as each new saga came out.
    • Dragon Ball Super has been criticized a fair bit in the fandom for its tendency to introduce inexplicably overpowered characters, give characters inexplicably giant power boosts, or make rather dubious judgments in terms of Power Levels. This was more or less true of the original, too; it's just that by the time Super came out, the fandom had managed to Fan Wank out ways for the the bizarre treatment of power levels to make sense, and Super just made it even more obvious that, no, power levels in the franchise really were completely arbitrary nonsense. Compounding the problem further was just how stupidly high the powerscale in Super had become, making it bizarre that the characters were still managing to encounter foes able to battle literal universe-smashing gods.
    • One of the biggest complaints about later arcs, particularly the films, GT, and Super, is how much they focus on Goku and make him too overpowered. This was, if anything, more obvious as far back as the original Dragon Ball, where Goku was a Comically Invincible Hero for the first few arcs, and by far the strongest of the protagonists at every point (bar maybe Roshi, but not for long). This worked better then because the series was still an action-comedy, meaning they could still contribute, and Goku himself went through a fair bit of Character Development as he grew up. Then, during the Namek and Android Sagas, widely regarded as the most popular parts of the series, Goku was largely Out of Focus, and most of the story was told with the other characters, who quickly grew into their own. By the Buu Saga, Goku's arc was over, and the supporting cast had more than proven they could carry the story without him - but if anything, he only became more central from that point on, despite having too much power and nowhere to go as a character. After that, most fans resigned themselves to Goku showing up, being blandly heroic, and flattening the villain after they're done with killing all the more interesting people.
    • Plague of Gripes traces the problems with Power Levels all the way back to the Mercenary Tao arc of the original Dragon Ball. Prior to that time, Goku generally defeated people who could match him in a fight by learning new techniques, finding weaknesses in their fighting style, or getting help - but in the Tao arc, when Goku faces Tao again after going through Training from Hell, he doesn't demonstrate any new techniques or noticeably change up his fighting style; he just does everything he did before, looking exactly the same as before, but now it's arbitrarily enough to win because it's "stronger" now. It was a formula that worked out alright in that arc, partly because it was fairly satisfying and partly because it was new. But over the course of the franchise, the problem of Power Levels being used to arbitrarily raise the stakes or resolve the conflict became overused to the point of comedy, and unlike the Tao arc, they would often be obtained through plot devices such as the zenkai boost or Super Saiyan rather than actual effort. This also began the recurring issue of higher Power Levels being completely indistinguishable from lower ones aside from getting different results, but it wasn't as bad because the powerscale wasn't as stupidly high as it would eventually become, leading to the situation where fighters are intended to be trillions of times stronger, but seem to be on the same scale as King Piccolo most of the time.
    • A common gripe about the Buu Saga and Super was the complete devaluing of the Super Saiyan transformation, turning it from a destined unique affair only obtained after the peak of the race goes through emotional hell, that even Goku feared would push him beyond the pale, into a generic powerup that seemingly every Saiyan has at least one form of. In point of fact, this started all the way back at the very second Super Saiyan in the series - Trunks, who, in the manga, learned the transformation entirely offscreen. Similarly, Vegeta and Gohan just come back from offscreen Training from Hell having already mastered the form. Indeed, every Super Saiyan bar Goku learned it offscreen in the manga. It wasn't as recognized then because of two factors: first, the anime added Filler or flashback episodes that showed those first transformations, and generally at least tried to give them some weight (with Trunks's being a particular Tear Jerker), and second, all three characters were already great warriors (and Gohan and Vegeta were well-established characters), which made them learning the form a comparatively easy pill to swallow. When the Buu Saga introduced Goten and Kid Trunks, literal children who had never fought seriously but still turned Super Saiyan, and Super introduced the Universe 6 crew, who basically figure it out minutes after realizing it exists, then it became impossible to ignore that, in fact, the Super Saiyan transformation actually is that pathetically easy.
  • Fairy Tail, back in the Tower of Heaven arc, had Erza Scarlet requip to nothing but a sarashi and hakama pants, while dual wielding katanas, an outfit that is explicitly stated to not provide her any defense, or really any magic. What was supposed to represent her getting over her fear of pain associated with the Tower of Heaven and her own experiences with it became a predictable formula for all of her major fights from there on out: be on the receiving end of a No-Holds-Barred Beatdown, have most of her other armors either destroyed or disregarded, only to have her make a token 'Nakama Speech' and then reequip to this, resulting in a swift victory for her.
  • Lyrical Nanoha's particular claim to fame has always been its superimposition of sci-fi mecha tropes over a Moe Magical Girl series, and for the most part this has been a good thing, allowing it to stand out from the crowd and earning it much of its fanbase. The problem, however, is that over time the franchise has shifted more and more into being a Magitek sci-fi epic, and the magical girl tropes were increasingly downplayed. This led to Magical Record Lyrical Nanoha Force, where the "Magical Girl" was dropped from the series title entirely, along with nearly all the magical girl tropes, in hopes of telling a sci-fi war story. In doing this, however, it lost sight of the particular formula that had made the franchise such a hit to begin with, and combined with some poorly-received characters, the series has been roundly criticized by old-school fans.
  • Yu-Gi-Oh!:
    • Most of the criticisms of the second half of Yu-Gi-Oh! 5D's, widely acknowledged as a major step down from the first half (promising plot arcs being resolved inadequately, Konami butting in where they don't belong, out-of-place goofiness, focusing on Team Satisfaction characters and Yusei in particular to the exclusion of everyone else) could be found to varying degrees in the earlier Dark Signer arc and even the Fortune Cup arc, widely acknowledged as two of the pinnacles of the franchise. The debate is ongoing as to how the drop happened, but the easiest answer would probably be that the earlier arcs had strong serialized plots with good pacing and high stakes that kept the audience interested despite their flaws. Meanwhile, the second half started off with thirty episodes of nothing interesting happening, then transitioned into forty episodes of a consequence-free Tournament Arc, making the show's growing problems with characterization, tone, and plotting hard to overlook.
    • A common point of mockery, particularly against later installments, is the insane amount of Anime Hair and Impossibly Cool Clothes. This has been a part of the franchise from the beginning; Yugi's tricolor spiky mess of a 'do is practically an iconic example, and Kaiba's exaggerated Badass Longcoat is similarly notorious. It sorta worked back then, though, because Yugi was the only major character to have much in the way of Anime Hair, and even that was largely the result of Art Evolution, and the character designs, though over-the-top, at least looked nice. By the time of Yu-Gi-Oh! ZEXAL, though, literally every character has at least two hair colors and a ridiculous outfit, and the whole thing moved so far into ostentatious character design that it turned out looking downright ugly.
    • The idea of the protagonists always being able to draw what they need is one of the oldest in the franchise; its entry on The Magic Poker Equation is downright monolithic. Good "drawing skill" being an explicit ability was implied or outright stated of many characters, with "trust in your deck, and it'll come through for you" being a common moral. Cards with ridiculously specific abilities being used to counter an opponent's strategy and never being played again had been showing up regularly from the beginning. And in some duels, protagonists would use supernatural abilities to play or create cards that there was no possible way they could have had before. It was when all these things were combined in Yu-Gi-Oh! ZEXAL into the Shining Draw ability, which allowed Yuma to turn the cards he'd drawn into whatever he wanted, that fans started to call bullshit, as it took all the complaints about lazy writing, predictable outcomes, and unfair advantages and turned them into an explicit superpower for which the protagonist is constantly lauded.
    • Yu-Gi-Oh! ARC-V's later seasons, among many other things, were criticized for gratuitous and poorly-executed Continuity Nods, poor pacing and wasting episodes on plot that goes nowhere, preachy and inconsistent messages, and bad usage of its cast (especially its female characters). All these were present to varying degrees in the first arc, the only one uncontroversially regarded as good - cameos from older archetypes were thrown in willy-nilly, the "Yuya trains with Nico Smiley" arc is somewhat longer than it needs to be while the Maiami Championship arc is very stop-and-start and laden with rushed or barely-seen battles, the entire second quarter is made up of very obvious morality plays about the virtues of entertaining, and the supporting cast won infrequently while the female leads's only onscreen victories against male characters were when the latter had no idea what they were doing. These flaws were forgivable because not only were they not as prevalent, and forgivable as Early Installment Weirdness that the show could hopefully grow out of, but they had an intriguing mystery story wrapped around them that seemed laden with potential - and when the show didn't grow out of those flaws or live up to its promised potential, they became impossible to ignore.
    • Considering just how wholly loathed the concept of "legacy characters" became as ARC-V went on, it can be easy to forget the initial response to the revelation that Jack and Crow would be appearing, and their early episodes. In said early episodes, they even hit a lot of the major complaints - their appearance is fairly gratuitous, their personalities come off as arguably redundant in the cast, and they handily beat the show's own established characters. This was forgivable to many because of the assumption that their appearance would be confined to their arc, and that the focus would quickly fall back on the show's own characters. When they did not, and the show merely introduced more legacy characters to eat up screentime and had them staying prominent and getting Duels all the way to the second-last episode, the whole concept became something of a collective Creator's Pet for the franchise. Furthermore, while Jack and Crow were more-or-less dead-on to their Yu-Gi-Oh! 5D's counterparts, the later legacy characters were all much less accurate, leaving them much less of a fanbase. There were also initial theories that their appearance would be to justify some future plot points or even reveal a larger timeline or links to the other series - as it turned out, this wasn't true, and their appearances turned out to serve no purpose at all aside from nostalgia. The concept went from people claiming that the series had finally saved Crow to them dreading the appearance of Jack Atlas.
    • The Shadow Realm is an infamous example of Never Say "Die" in dubbing, but its effects on humans involved monsters tearing your soul to shreds, making it a case of Deader Than Dead. Since the anime also had a World of Darkness where Shadow Games took place and the Realm's effects were similar to the manga's horrific elements, this was easier to let go at the time—but when GX used euphemisms like "sent to the stars" without informed lethality it was easier to see it as Never Say "Die".
  • The original Mobile Suit Gundam featured the death of Lalah Sune as she takes a blow from Amuro's beam sabre to save Char which pits the two men against each other for almost the rest of their lives. Since then it's just about compulsory for every Gundam series to feature a (usually Newtype-esque) girlfriend, love interest or female mentor of the hero's get Stuffed into the Fridge, making Gundam as a whole notorious for over-reliance on the Disposable Woman trope. This reaches a head in Mobile Suit Victory Gundam when the entire Shrike Team gets killed off.
  • Pokémon:
    • Many of the flaws older fans criticize newer seasons for having — a formulaic plot, filler being common to the point of Arc Fatigue, bland and forgettable one-shot characters etc. — all had their roots in the Kanto and Orange Islands series which preceded them. These flaws were more or less forgiven since it was the first season and the formula wasn't entirely set in stone yet, and the filler wasn't packed close together and didn't make up a large portion of the series as it would in Johto. It also had a number of memorable episodes like "Go West, Young Meowth", which added a layer of depth that the series never quite had since, making fans more forgiving towards it.
    • Unlike the games, the anime has always had a habit of depicting multiple legendary Pokémon existing (as opposed to being implied Single Specimen Species), as well as rarely, if ever, reusing old legendaries (the Celebi from Pokémon: Zoroark: Master of Illusions is not the same one as the one from Pokémon 4Ever, for instance). Though few complained about this, that changed with Pokémon: Genesect and the Legend Awakened and its controversial move to use a brand new Mewtwo over the well-known and popular one from The First Movie. Because Mewtwo was firmly established as a one-of-a-kind man-made Pokémon who couldn't be replicated (and not naturally born like the aforementioned Celebi), many fans logically assumed it would be the same one from before, and thus were confused and upset when it turned out to be completely different.
    • The movies tend to have "evil" legendaries as the supposed Big Bad, who are either really non-malicious monsters with the conflict coming from misunderstandings, or who pull a Heel–Face Turn by the end. This all started back with Pokémon: The First Movie. While some were disappointed, it being the first use of the trope (and Mewtwo being genuinely sympathetic, especially in the original Japanese version) let the film off. Fast forward to around the sixteenth movie, and many fans are sick of the continued lack of a truly villainous Pokémon when there are several cool and/or creepy candidates. It also doesn't help that by contrast, human villains are more plentiful, more evil and generally lacking in character.
    • A common criticism for the series is Ash's continued inability to win a Pokémon League. While he's lost Leagues since the original series, at first the idea of the main character failing to achieve his goals by the end was relatively novel (and at least he constantly managed to obtain a moral victory out of making it so far, which softened the blow and made his determination more endearing). Then the series not only kept making him lose, but did so in increasingly contrived ways — While Kanto had Ash's Pokémon exhausted because of Team Rocket and Johto had him fight Hoenn Pokémon, they at least made sense story wise. Sinnoh, on the other hand, had a one-off Trainer with legendaries on his team, Unova made Ash lose to a ditz with a five-against-six handicap (who didn't even win the League himself), and Kalos had Alain enter by collecting all the badges in a ridiculously small timeframe solely to fight and beat Ash, despite showing no interest in the League beforehand (the arc also didn't do itself any favors by constantly making it look on advertising -- even on the title of the episode where Ash faces off against Alain -- that this time Ash was going to win. The fact that the arc aired during the franchise's 20-year Milestone Celebration added greatly to the misdirection and subsequent disappointment and Flame War). Thanks to this, Ash is commonly considered a Failure Hero (that only gets said "moral victories" (such as Alain proclaiming him a better trainer in the aftermath) because it's the scraps the writers will let him have) and one of the show's weakest points.
  • One of the biggest complaints Tenchi in Tokyo received was how most of the cast had become flanderized. This was also apparent in the show's much more well received predecessor, Tenchi Universe, but with much more restraint.
  • One of the biggest reasons JoJo's Bizarre Adventure: Diamond Is Unbreakable was considered an Even Better Sequel was its willingness to experiment with what a Stand could do and be, allowing for strange, unconventional, and unique fights that almost never degraded into the punching matches legion to shounen. A Stand that drained your blood from miles away, or comprised an army of tiny soldiers, or turned people into books all led to memorable setpieces and encounters. This experimental attitude to Stand design escalated with time - but by Stone Ocean, the widespread opinion was that Stands had become so unconventional and ridiculous that they headed right into nonsensical, with Heavy Weather's "create theoretical weather pattern of rainbows that causes people to think they're snails, which causes them to turn into snails" being the last straw for many, and frequently fights were so consumed with figuring out what a person's Stand did that there was very little actual fighting going on in favor of having the protagonist figure out an equally nonsensical solution.

     Comic Books 
  • Crisis on Infinite Earths. While cleaning up the Continuity Snarl that was the multiverse was a good idea, bringing Retcon to whole new levels and bringing about The Dark Age of Comic Books did not help things.
    • And you can't accuse Crisis on Infinite Earths without also pointing the finger at the fateful "Flash of Two Worlds" story from The Flash #123 (September, 1961), establishing the idea of Golden and Silver Age versions of the same heroes coexisting in separate universes and traveling between them. If the Crisis was Original Sin, "Flash of Two Worlds" was its corresponding Fall of Lucifer.
    • COIE firmly established that Anyone Can Die by having Killed Off for Real two dozen pre-established characters, the most famous being The Flash and Supergirl who each had a whole issue devoted to their deaths culminating in a Heroic Sacrifice. None of the other deaths were handled that well. For the rest, they simply dropped on bridge on them. This reached its apex in the final issue (# 12), where 7 characters were quickly dispatched in a 2 page spread, including two popular pre-Crisis Multiverse characters, the Earth-2 Robin and Huntress... and these 7 characters weren't the only pre-established characters to be so easily killed that issue. As the years went by, and more promoted fanboys began Running the Asylum, there were more and more deaths like this, invariably newer characters the writers and editors hadn't grown up reading, creating the C-List Fodder trope and causing the Darkness-Induced Audience Apathy readers now have for newer characters.
  • Some of the worst excesses of the Dark Age can also, quite famously, trace their roots back to two of what are still recognized as among the greatest graphic novels in the medium's history: Watchmen and Batman: The Dark Knight Returns. Both comics won enormous praise and commercial success for their elevation of the medium to new levels of artistic credibility; the former was recognized by Time in 2005 as among the 100 greatest novels ever reviewed by the magazine (the only graphic novel on the list). They also contained levels of violence and sex that were, at the time, unheard of in comics. Writers with less talent than Alan Moore and Frank Miller mistakenly assumed that that was the reason why Watchmen and The Dark Knight Returns were so successful, leading to a slew of comics that desperately aimed to be 'mature' yet reveled in the most immature sort of shock value.
  • Frank Miller:
  • A lot of the problems with X-Men started with Chris Claremont doing too many things on the fly and not often planning ahead. But at least he didn't force those Running the Asylum now to take his older plots as canon gospel. That is their own fault. Claremont himself became notorious for his writing quirks: Talking Is a Free Action, dialogue switching back and forth between stiff exposition and attempted naturalism, fetishizing "empowered women", getting way too invested in elements only he cared about, and diving into soap opera to the point of plots and themes taking a backseat. In his early years, he got away with this partly because his style was new and innovative, and he had artists willing to tell him to tone it down. When he came back years later with the same old problems and Protection from Editors, people were much less forgiving.
  • Generation X was Dawson's Creek with a cast of mutants. As such, its main failing from the beginning was a general lack of plot direction. The characters did whatever, and in the first two-thirds this was fine because their characters played off each other and the comic climate accommodated its leisurely pace. It helped that, being like a Teen Drama, it dealt with common teen problems. As the series wore on and the '90s gave way to the early '00s, however, the general quality dissolved little by little. The character interactions became strained, and the teenage fans had begun moving on to more meaty stories. This (coupled with lots of changes in creative teams) eroded all the draws that kept readers on the book, and the old aimlessness came out.
  • Uderzo's run as writer of the Astérix comics started out very similarly to Goscinny's run, but with a few immediate shifts in character — first, that Uderzo had a more satirical and parodic sense of humour than Goscinny, who was more into absurdity and anarchy; second, that Uderzo liked writing more complicated, cinematic adventure plotlines, where Goscinny tended to prefer plots that were in the background to the characters's antics; and third, that he pushed fantasy elements further into the foreground, where the setting up until that point had been a Purely Aesthetic Era version of Ancient Rome with one really important fantasy element. This is not considered to detract from the quality of most of the early Uderzo-only books, like The Great Divide, Asterix and Son, and The Black Gold (with a very un-Goscinny James Bond parody subplot), although they are definitely different in tone, but books like The Magic Carpet (where the Dreadful Musician suddenly develops a magic power necessary for the plot to work) and Obelix All At Sea (Obelix gets turned to stone, reverts to childhood, and they all go to Atlantis) are often criticised for being straight fantasy adventures with not much in the way of humour. Then there was Asterix and the Secret Weapon, a book about a Straw Feminist taking over the village and defeating a female villain by offering her clothes and shoes. Put Genre Shift, Strawman Political, and Cerebus Syndrome all together and you get the series' shark-jumping moment, Asterix and The Falling Sky, a weird, puerile, xenophobic, and poorly-drawn science fiction story involving the village being invaded by aliens representing the Americans and the Japanese, which was intended as an Author Tract about the influence of manga and American comics on Franco-Belgian Comics but too poorly-written to even work on that level (mainly because Uderzo briefly skimmed through one manga before writing it). Fans widely derided it as the worst thing in the world, and Uderzo retired before writing another book celebrating Asterix's 50th anniversary. Both this book and the one made by another duo Uderzo allowed to take over the series found a better reception.
  • Archie Comics' Sonic the Hedgehog
    • They can point theirs all the way back to issue 50 and the creation of Knuckles' comic. Issue 50 was meant to be the Grand Finale for the comic and have Robotnik finally Killed Off for Real. However, the comic was Un-Cancelled and entered its Post-Script Season, leaving everyone to scramble as to what to do. Robotnik was first replaced with Ixis Naugus, only to be put away and replaced with Dr. Eggman in time for Sonic Adventure. However, Eggman was portrayed as an ineffectual villain and the comic seemed to just forget Eggman and focus more on Love Triangles, aliens, and everything that wasn't "speedy blue hedgehog fights fat scientist". It got to the point where the writers considered bringing the original Robotnik back, and Ian Flynn had to utterly destroy the status quo in order to bring things back on track.
    • The Knuckles comic was another problem, with writer Ken Penders deciding not to expand on clues left behind with the video games at that time to create a soicety of Echidnas. It worked out for a while, mainly because it was World Building, but after the two comics joined together it felt like the echidnas were too perfect in their portrayal. Then Penders decided to make Knuckles The Avatar, a hero prophesied to bring peace to Mobius, effectively giving Knuckles a bigger role in the story... at the expense of Sonic.
    • The revelation that Espio was a member of a ninja clan and then betrays the Chaotix to the Iron Dominion (said ninja clans' masters) was only the latest in a series of Retcons/Face Heel Turns involving certain characters during Ian Flynn's run, most famously Fiona Fox revealing out of nowhere that the only reason she fell in love with Sonic was because of Scourge, and then betraying the Freedom Fighters to be his girlfriend. While not without controversy (like a lot of Ian Flynn's run), it slid by, as Fiona was a mostly forgotten Canon Foreigner before exploding in popularity as a villain. In the spoiler character's case, however, he was not only a popular character as a hero, but also a character straight from the games, and it became far harder to ignore.
    • The Executive Meddling was there from the beginning, with Sega executives having a role in what gets produced. However, by the time the comic got canceled this had blown up to the point that there were entire mandates on how the comic should be written. By the time pre-release materials for the then-upcoming IDW comic was released, one of the confirmed differences between it and the Archie run was that Sega would operate on a "case-by-case" basis, likely to alleviate complaints about how controlling they are with other media adaptations.
  • When Superboy-Prime was reintroduced in Infinite Crisis by Geoff Johns, he was something of an affectionate jab/deconstruction at the fandom and a Take That, Audience! towards obnoxious, overreacting Fan Dumb. This was somewhat clever and liked by fans, especially since it picked on jerkass fans who deserved to be mocked. Unfortunately, less talented writers got their hands on him and Flanderized him into a giant insult towards all readers. Thus he was quickly turned into The Scrappy and readers started hating him and the comics he was in since they were doing nothing but insulting the very people who pay for comics.
  • From the Spider-Man franchise:
  • In many ways, the increasingly criticized True Art Is Angsty approach of the New 52 is just the culmination of DC's somewhat well-received attempts at Darker and Edgier, beginning with Identity Crisis. Back then it was the stories becoming somewhat more mature. Now (despite some real gems like Forever Evil) several of its stories tried way too hard to be edgy and slipping back into the excesses and failures of the Dark Age (such as the initial Teen Titans series, which had massively reviled plot points such as Kid Flash being an unrepentent criminal from the future and villain Harvest's entire... everything).
  • League of Extraordinary Gentlemen:
    • Alan Moore always tried to sell the series on the strength of its central Massively Multiplayer Crossover, with an intricate universe that showed dozens of classic works of literature weaved together into a cohesive whole. In that regard, one element that got some buzz was his use of Broad Strokes to develop once-bland cyphers into interesting characters in their own right. In the first volume, these two elements perfectly complimented and spiced up a genuinely interesting adventure story. However, by the time of Black Dossier and especially Century, they had become a major weakness. For the former, many scenes ended up being devoted to showing off Moore's education instead of advancing the plot, leaving a whole lot of interesting names scattered through a slow and boring narrative. As the series advanced into modern times, Moore also ran out of Public Domain Characters, forcing him to do a whole lot of obvious Writing Around Trademarks. For the latter, Moore attempted to apply his broad-strokes reinvention technique to characters who were far more well-known and fleshed-out to readers than the likes of Allan Quatermain (most infamously James Bond and Harry Potter), leaving the impression that Moore either hadn't done any research or was trying to fulfill some kind of vendetta. Other times, he botched the reinvention; one of his most ambitious creations, Orlando, earned a reputation as a Creator's Pet, and the general opinion of the Golliwog is that he was best left forgotten.
    • Moore has used the series as a means of performing mean-spirited hatchet jobs on characters he doesn't like since the beginning. The very first volume featured Griffin raping both Becky Randall and Pollyanna Whittier. But, unlike his treatment of Harry Potter and James Bond, the characters in question were old-tyme enough that they didn't have strong fanbases to be offended at their treatment. And, also unlike them, the hatchet-job was a side-note within the plot rather than a central part of the narrative.
  • The single most-criticized aspect of the Tom Taylor run of Earth2 was the introduction en masse of Superman and Batman characters in a setting that was founded on being mostly free of them. Despite this, most of them had actually been introduced in the earlier and much better-regarded Robinson run - it was only in Taylor's run that they started to actively push out the other characters.
  • Ultimate Marvel:
    • Ultimate Captain America was initially lauded as a more realistic version of the character, thanks to his Deliberate Values Dissonance. This coupled with his frequent feats of badassery and strong (to the point of extreme) Patriotic Fervor, were well received by post-9/11 America. However, even from the beginning there were some who were turned off by his regressive point of view. Initially though, while a lot less idealistic and friendly than Mainstream Cap, the writers ensured his views were subdued enough that they felt like a product of his upbringing and he could still be seen as a hero (as well as the sign here and there that he was growing out of his outdated views). Unfortunately, later writers fell too much in love with the idea of him being a Politically Incorrect Hero, to the point that some stories would outright stop simply to remind us of that. He even started displaying several prejudices that were not realistic for the time (for instance, his well-known dislike for Cheese-Eating Surrender Monkeys, a concept unheard of in World War II and which didn’t even make sense as this version still shared a history of working with the French resistance), to the point of becoming more a caricature of what people with that mindset tended to idealize World War II soldiers as. This, coupled with the resurgence of the popularity towards 616 Cap during the Brubaker run and his brief death and it becoming more well-known among readers that 616 Cap's fairly enlightened beliefs weren't that far from many real-life individuals of his era, caused his popularity to plummet. He went from being seen as a brilliant modernized take on Cap to at best an unironic version of USAgent, and at worst the most famous example of how to write Captain America badly (to the point that he's even tainted appraisals of the mainstream Cap in some circles).
    • Long before the Ultimate line definitively Jumped the Shark with the thinly plotted and excessively dark Ultimatum event, many fans felt that the seeds of Darkness-Induced Audience Apathy were already evident in Mark Millar's The Ultimates—a Darker and Edgier modern retelling of The Avengers that portrayed many of the characters as borderline-sociopathic Designated Heroes who seemed to openly hate each other at times. In that series, the Hulk became a mass-murdering cannibal, Hank Pym became a domestic abuser, Black Widow became a turncoat who betrayed her teammates and committed high treason, and even Captain America became something of a Politically Incorrect Hero, while the first two installments featured the team turning on Thor and the Hulk and beating them to a pulp with surprisingly little hesitation. Initially, these changes were seen as ensuring that the Ultimate versions were more than just shallow clones, capable of being taken in new and interesting directions that their mainstream counterparts never could, establishing the Ultimate universe as standing out on its own merits and being willing to go to darker places than the original. But as the series went on and repeatedly portrayed beloved heroes as less and less sympathetic, audiences interest began to waver, and the Ultimate Universe acquired a reputation as a place where everyone was a jerk. By the time the mass deaths began, their simply wasn't anything left to keep their interest.

      And even that can be traced back to Millar's much less divisive run on Ultimate X-Men, which also portrayed many of the X-Men as decidedly less sympathetic than their original incarnations; Colossus went from a mild-mannered farmboy to an arms dealer for the Russian Mob, Storm went from a respected tribal priestess to a delinquent street thief, Wolverine went from a gruff Jerk with a Heart of Gold Shell-Shocked Veteran to a professional assassin who joined the team to kill Professor Xavier, and Magneto notably lost his sympathetic backstory as a Holocaust survivor. The difference was that Ultimate X-Men at least remembered to give the characters a decent number of Pet the Dog moments to make them easier to root for, and they had enough triumphs that the story never felt excessively grim. Case in point: the first volume of Ultimate X-Men ends with the X-Men being hailed as heroes after saving Washington, D.C. from a Sentinel attack, while the first volume of The Ultimates ends with Hank Pym putting his wife in a coma after the Hulk murders over 800 people.
  • As argued in this article by Kevin Wong of Kotaku, the Wolverine Publicity given to Snoopy starting in the '60s foreshadowed how Peanuts transformed from a grounded and fairly dark Slice of Life comic strip into the shallow and saccharine pap that marked its Seasonal Rot from the late '70s onward. Originally, Snoopy was written as a normal dog, but as he started to gain an actual personality (for lack of a better term), he and his fantastic adventures became a nice contrast to the rest of the strip. In time, however, the increasing humanization of Snoopy grew out of control, the strip focusing more on putting Snoopy in goofy costumes and crazy situations as opposed to the social commentary on growing up that was the strip's hallmark in its early days. Other characters were pushed Out of Focus, while depth fell by the wayside in favor of gags and cuteness. Eventually, it culminated in the addition of other animal characters, such as Woodstock (who existed pretty much just to be cute) and Snoopy's family, meaning that Snoopy didn't have to interact much with the human characters at all anymore.
  • The Death of Superman is the Trope Codifier for the modern overuse of Death is Cheap in comic books: a story in which the major superhero of the DC universe dies and is brought back over the course of a major storyline. However, back then, killing Superman was actually shocking to the audience because it hadn't been done to death yetnote , created immense Emotional Torque, and the Reign of the Supermen was a brilliant takedown of the '90s Anti-Hero. It's still a classic of comic book storytelling and a point of light in The Dark Age of Comic Books, but it also set such a trend for future Character Death that the comic book afterlife had to have a revolving door installed.
  • Superman:
    • The comics in general have an original sin in that Superman's powers were not only extraordinary but also never really defined. "Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings at a single bound!" still leaves a lot of leeway regarding Superman's speed and strength. Not only that, but before The Golden Age of Comic Books was over, extra powers such as super-hearing, flying and x-ray sight were added to Supes' power roster. This led straight into the Silver Age and its penchant for piling up Superman's over-the-top powers such as super-ventriloquism, which in turn ended in power downgrades for Superman whenever reboots occurred. As a result, Superman's level of strength is notorious for fluctuating depending on whether the writers want him to be an upper-mid-tier hero or a nascent deity.
  • Batman has a similar problem regarding his intelligence. Batman has always been called "the world's greatest detective", but ever since The '80s, his intelligence and smarts have been inflated to such immense proportions that he has even outwitted demigods such as Darkseid who belongs in Superman's rogue gallery for a reason. This has led to accidental memes such as "I'm the goddamned Batman" to Hand Wave his solutions to problems way out of his mere human league. But it also makes one wonder, if he can take on Superman Foes with such ease and grace, then why would human villains such as the Penguin or the Joker make Batman sweat?
  • The Dark Knight Returns was the first comic to ever show Superman and Batman really come to blows, and it fits a lot of the critiques that would mark later Superman/Batman brawls. Both characters undergo some Flanderization to make the fight happen in the first place, Batman has everything weighted in his favor, Superman comes off as a lot dumber than he should, and the actual fight features a lecture on Batman's part about how much better than Superman he is. All these things were forgivable because of what a massive upset it was, how well it underpinned the themes of the comic, and how bizarre it was to see a man who could tug a planet be held to a standstill by a Badass Normal (and the fact that it was an alternate timeline helped the character issues go down). Nowadays, Superman/Batman fights have happened so much that they've become a borderline loathed cliche, with the shock wearing off to Fridge Logic, the idea of Batman winning becoming downright expected, the character issues much less forgivable in a mainline comic, and the morality and themes devolving into "Batman is soooooo much better than Superman, you guys."
  • Kingdom Come
    • It was the first comic to pair Superman and Wonder Woman together, a trend that would crop up a lot in Elseworld comics and eventually becoming briefly canon during the New 52. It worked there because there was lots of time spent explaining their relationship and crafting realistic circumstances for the two to be together. It's heavily implied, even then, to start off as a tragic, even loveless relationship - two grieving people latching onto each other for a source of stability, regardless of whether they actually have anything going on. Later adaptations that would see them together tend to ride off the popularity of the pairing without giving it the needed justification beyond "strongest guy and girl hook up". It also started the trend of such stories killing off or derailing Lois Lane, but it didn't start the trend of Superman getting over it almost immediately.
    • Wonder Woman using lethal force. Her being shown a sword-wielding warrior willing to kill was rather clearly written as a component of the Bad Future: the Wonder Woman of Kingdom Come had been banished from her homeland, seen most of her friends die, and lost hope in her own morals, and her largely ditching the lasso for a sword was a symptom of that. Unfortunately, between Kingdom Come's iconic status and Wonder Woman's comparative Mainstream Obscurity, it ended up becoming many readers' first impression of Wonder Woman, and many readers found the "warrior" imagery of a sword-wielding Wonder Woman credible. Consequently, many later writers had Wonder Woman go from being one of the most loving and forgiving heroes on the Justice League to one of the most willing to use lethal force, and eventually Flanderized into stabbing people whenever possible.
  • Marvel 1602:
    • The three sequels/spinoffs—1602: New World, 1602: Fantastick Four, and 1602: Spider-Man—are generally not fondly remembered by most Marvel Comics fans, largely because they focus so heavily on distinctly Silver Age characters who really don't fit the Elizabethan setting (like Spider-Man, the Hulk, and Iron Man), and because many of their Alternate Universe versions of characters come across as lazy and unimaginative (like turning most of Spider-Man's Rogues Gallery into pirates). The first part, at least, was also somewhat true in Neil Gaiman's original: that book also featured Peter Parquah as a main character and David Banner as a supporting character, but it didn't give either of them superpowers until the very last pages; for the rest of the book, Peter was just a pageboy for a royal knight, and Banner was just a close advisor to King James. When the followups actually tried to build stories around Peter and Banner as a masked adventurer and a mutated monster, they stuck out even more. And when they also tried to make the King of Atlantis and a nobleman in robotic armor fit in the 17th century, it just made the problem even worse.
    • Another major problem was the writers' inability to commit to the time period, leading to the books largely becoming Alternate History stories that only barely resembled the real Elizabethan era. The original was widely acclaimed for fitting in authentic details from a very specific timeframe in the early 17th century—witch hunts, the Spanish Inquisition, the settlement of Roanoke, the death of Elizabeth I, and the careers of Doctor John Dee and Sir Francis Walsingham—that actually made it all seem somewhat plausible. Then the sequels also threw in the colonies becoming independent and Lord Iron discovering 1602. To an extent, this also started with the original: the story also featured Queen Elizabeth being assassinated by Count Otto Von Doom instead of dying from natural causes, and a line at the end hints that the Roanoke colonists might declare their independence at some point in the future—suggesting that the early introduction of superheroes already changed the course of history. But these were both trivial compared to the wealth of authentic details about the real Elizabethan period, so neither seemed too distracting.

    Fan Works 

  • A Feast for Crows and A Dance with Dragons succumbed to the sprawling, complex nature of the Song of Ice and Fire storyline that had previously been a selling point. The series has always been about gradual plot development and long term pay-offs, with a lot of detail put into exploring the backdrop of the action and the world in general — but this was all complemented by significant happenings. Though some POV characters had less to do than others, each book had a dramatic arc to it. Feast and Dance, meanwhile, are criticized for essentially very little happening because the focus is drawn so wide, with too much time spent describing characters and places that don't really matter—issues that culminate in the books ending without their logical climax out of a combination of the author and editor needing to publish SOMETHING already and the fact that Dance was already so long that it tested the limits of bookbinding technology despite being unfinished. Notably, when the HBO adaptation Game of Thrones reached this point in the series during season 5, many of these same criticisms — namely, that the show was moving too slowly and was having trouble corralling all of its many plotlines — were repeated almost verbatim by TV critics, even with the show's attempts at Adaptation Distillation.
  • Similarly, while The Wheel of Time always suffered from too many subplots, dozens of viewpoint characters and massive word count padding, in the earlier books it was easier to overlook this because Robert Jordan was able to write an interesting story into each thread of the epic. Then came Crossroads of Twilight, when the first section of the book was dedicated to showing what various characters had been doing during the Battle of Shadar Logoth, which was essentially 'nothing at all.' Crossroads of Twilight was seen as the weakest book in the series for this reason.
  • In the Bitterbynde trilogy's first book, The Ill-Made Mute, the characters frequently sit down and begin to tell a Tale-within-a-Tale, usually some retelling of a known myth about magical creatures. This fit in with the book's easygoing pace, the characters in question, and it helps to build the world of Erith as a world where such occurrences are commonplace. The prose is also lavish and very detailed, but again, it's used well and it creates a beautiful and distinct world in the reader's head. By the time the second book rolls around, the easygoing pace is maddeningly slow, the prose has gotten to a point where the reader needs a dictionary handy at all times, and a knowledge of how to diagram a sentence, and the constant interruption with myths and folktales becomes a huge distraction and hindrance. The third book is nearly unreadable, for these and other reasons.
  • Troy Steele at Blogger Beware argues that the Goosebumps series was ruined by its sixteenth book, One Day at Horrorland, long before the series' generally acknowledged decline. While Horrorland became one of the series' most popular books, it eschewed the semi-realistic approach of earlier Goosebumps entries, where ordinary kids encountered a low-key, supernatural menace (dummies, ghosts, haunted masks, etc.) within everyday environments, in favor of a fantasy environment heavily populated by monsters (with a complement of gross-out effects). Because Horrorland was such a hit, R. L. Stine revisited its basic formula again and again, to rapidly diminishing returns.
  • Most fans of Harry Turtledove's Timeline-191 Alternate History saga agree that the series fell into Seasonal Rot around the middle of the American Empire trilogy, once Turtledove fully committed to turning the series into a repackaged American retelling of 20th century European history. Once Jake Featherston and the Freedom Party turned out to be American analogues of Adolf Hitler and the Nazi Party, anybody who passed 8th grade history could guess how the series would end. Some serious history buffs criticized Turtledove for failing to explore some potentially interesting implications of his historical setting, while others took issue with his occasional moments of Critical Research Failure as he repeatedly twisted his alternate vision of American history just to make it resemble actual European history more closely.

    But in hindsight, most of these trends can be traced back to the more highly-regarded first installment in the series, How Few Remain. How Few Remain was ostensibly about the United States and the Confederate States fighting a theoretical Second Civil War in the 1880s—but if you know your European history, you'll notice that the Second Civil War is essentially a retelling of the Real Life Franco-Prussian War, with the US and the Confederate States standing in for France and Germany, and the contested Mexican territories of Sonora and Chihuahua standing in for Alsace and Lorraine. Even the thing about wasted storylines can be traced back to How Few Remain: a major plot point in that novel involves Emperor Maximilian I controlling the Second Mexican Empire in 1881, but the series never actually acknowledges what became of Benito Juárez's ongoing civil war with Maximilian's forces, or of Napoleon III's plan to use Maximilian as a pawn to establish his own North American Empire as a rival to the United States.note  And of course, How Few Remain also involves Abraham Lincoln, disgraced by his loss of The American Civil War, becoming a Socialist organizer, despite there being little to no evidence that Lincoln ever held Socialist views — just to establish a plot arc involving Socialism becoming a major political force in America just as it did in Europe.
  • In the latter two books of Jumper, Cent is a Base-Breaking Character, since a lot of readers found her to be obnoxiously perfect, able to trivially take out adversaries in seconds, when her parents never managed to solidly defeat them, inventing tricks that her parents never imagined, being an author mouthpiece for various issues in identity politics, and everyone else ultimately being a supporting character to her space program in the final book. However, just about all of this is true of Davy and the first book too; about the third thing Davy does with his power is get effortlessly rich, then he stops terrorist plots where nobody can possibly oppose his teleportation ability, and he consistently tests his ability and develops new uses for it. Furthermore, the first book is almost an Author Tract peddling Alcoholics Anonymous and its sister organization Al-Anon, and Davy is a teetotaler start to finish. The difference, in these readers' eyes, is that Davy is shown to be a flawed and somewhat morally-ambiguous individual even when he ultimately turns into a hero, and the author carefully rations out the times when Davy is able to use his power to simply solve the plot. Cent starts as a Plucky Girl and consistently forces her way through the world through a combination of powers and sheer stubbornness, and rarely suffers any consequences for doing so.

    Multiple Media 
  • The things that fans of BIONICLE usually cite as the worst parts about later stories had their triumphant coming-out party in "Time Trap", which was one of the best-regarded books in the franchise. "Time Trap" leaned heavily on science fiction over fantasy, pushed the Dark Hunter faction and their rivalry with Makuta to the forefront, had the first allusion to the Order of Mata Nui, and was the first story to really play up Makuta as an Evil Genius with very clear goals and "plans within plans" to manipulate everyone, rather than the formless Ancient Evil of the online game or the mysterious Tragic Monster of the films. All these things were interesting at the time because they were new, and "Time Trap" in itself was an excellent story, with the implication of a larger world and Makuta's larger plans providing a lot of intrigue. But later on, pretty much every mystical element was removed or retconned out, multiple extra factions were introduced with increasingly complicated motivations, leading to a Kudzu Plot, and Makuta's planning was exaggerated to the point of him being an Invincible Villain who was always behind everything no matter how little sense it made.
    • Going even further back, the second movie, "Legends of Metru Nui", and the 2004 story arc as a whole introduced the faults that "Time Trap" brought to the surface. The story took on a sci-fi bent, contrasting with the Polynesian-influenced fantasy of the previous arcs. The Dark Hunters were introduced in the form of Nidhiki and Krekka, and the Brotherhood of Makuta was first alluded to in the film. Finally, Makuta's plans for the Mask of Time were the first sign of him having a long-term plan. These traits would be magnified greatly in the franchise's later installments.

  • From Cracked's Adam Tod Brown: "4 Classic Rap Albums That Ruined Rap Music."
    • The Notorious B.I.G.'s Ready to Die for "marrying rap and high fashion". His slick, suave persona stood out in a crowded genre that, until then, was dominated by a gritty, inner-city gang banger image, allowing him to sell Gangsta Rap to a mainstream that was still a bit uneasy with such content. In the long run, though, he wound up being the Trope Maker for Glam Rap, which completely took over hip-hop in the coming decade. Brown later doubled down on this assessment, going so far as to claim that, had Biggie never been murdered, the path of his career and music in the ensuing years would've mirrored that of Puff Daddy (who was his mentor and boss at Bad Boy Records) or Jay-Z.
    • Raekwon the Chef and Ghostface Killah's Only Built 4 Cuban Linx starting the trend of rappers taking on several different personas and alter-egos.
    • LL Cool J's Bigger and Deffer, particularly the song "I Need Love", inflicting the rap ballad on the world. While "I Need Love" was a great song, few rappers have been able to do the rap ballad half as well as LL Cool J.
    • De La Soul's 3 Feet High and Rising and De La Soul Is Dead popularizing 'skits', which break up the flow of an album and are rarely all that interesting.
  • Every album Ministry put out in the 2000s seemed like an extended political Author Tract, but they first dabbled in political themes on 1986's Twitch, meaning political lyrics have been a part of Ministry's music longer than guitars.
  • "Believe" from Cher and the abuse of Auto-Tune. Before then, Auto-Tune was primarily used for its intended goal of (minor) pitch correction. However, Cher liked the sound it gave to her voice and decided to keep it. It worked for "Believe" since, as a techno-pop song, it was supposed to sound weird and otherworldly, and that song was a massive hit. However, ever since, Auto-Tune has slowly started to take over pop music, with almost every song having a weird robotic element to the vocals, even songs that aren't supposed to sound weird and otherworldly.
  • Lupe Fiasco was lauded for his political and social commentary in a genre that, by the '00s, was largely more pop-oriented, cleverly exploring topics like urban poverty and greed on his albums Food & Liquor and The Cool. Both of these albums are very highly regarded in 2000s hip-hop. However, his subsequent albums Lasers and Food & Liquor II were accused of trying to do the same, but with less subtlety. While Some Anvils Need to Be Dropped, general fan consensus is not as positive on his subsequent albums.
  • Eminem received a lot of praise and controversy for his use of boundary-pushing gross-out humor on his first three albums, The Slim Shady LP, The Marshall Mathers LP, and The Eminem Show. Encore and Relapse, however, were accused of turning the humor and accents Up to 11, without as many of the substantial songs that balanced it out on the first three albums, and are generally viewed as the weakest in his discography. Eminem himself has expressed some Creator Backlash towards these albums, and has claimed his drug addiction as a reason as to why Encore and Relapse feel so all over the place.
  • Post-Grunge is The Scrappy of music genres for fans of Alternative Rock, who by and large view it as a betrayal of everything that grunge stood for, taking a genre that was born as a backlash against corporate rock and turning it into a symbol of such. Yet the warning signs were there as early as Nirvana's Nevermind, the landmark album that catapulted grunge into the spotlight, which came to be known as much for its epic riffs and (by grunge standards) fairly polished and commercial sound as it was for its Darker and Edgier lyrics and subject matter. Kurt Cobain himself came to develop very conflicted feelings towards Nevermind, particularly the lead single (and the band's Signature Song) "Smells Like Teen Spirit", largely for this reason, and Nirvana's follow-up album In Utero (which, notably, a large contingent of fans sees as Nirvana's true masterpiece) quite deliberately had a more abrasive, less mainstream sound in an attempt to turn off what Cobain saw as the band's Misaimed Fandom. Even as early as 1997, before Post-Grunge had fully emerged as the dominant brand of American rock, music critic Chuck Eddy had noted that Nirvana pioneered its most overdone tropes.
    "Nirvana popularized the hokey 'here comes the part of the song where we have a tantrum' school of '90s rock that's played a major role in hiding Courtney's powerful voice ever since, and they were pioneers of the 'you can tell this song is serious because we're playing it really slow' school as well."
  • When Queen released the album The Game in 1980, with its disco and Synth-Pop influences, it managed to be a smash hit in the US (where it made about half its sales), even though disco was undergoing heavy backlash there at the time. It's still considered one of their better albums, yet on their 1982 follow-up Hot Space, they embraced disco whole-hog. Hot Space was lambasted for its deviations from the band's traditional rock style, and while Queen's international popularity would quickly bounce back, Americans wouldn't take them seriously again until after the death of Freddie Mercury in 1991.
  • Whereas the first two Doors albums, The Doors and Strange Days, are good enough that even the filler material is compelling, from Waiting For the Sun onwards the band increasingly came to be consumed by its esoteric mystique - the very same quality that had helped to fuel its success in the first place. The band's impenetrable Word Salad lyrics weren't too distracting when the music itself was so enjoyable, but the combination of inscrutable lyrics and mediocre tunes was just too much of a hurdle for the later albums to surmount...until L.A. Woman, that is.
  • Disco began as just that: music played in discos. In a setting where people are dancing, songs with a constant uptempo beat, musical repetition and extended length are welcome, and in the right hands those things could be used as the basis for well-crafted music. But once disco hit the mainstream and everyone started playing Follow the Leader, those characteristics started to annoy people and the backlash was inevitable.
  • Linkin Park's Minutes to Midnight was widely criticized for the lack of rapping and Mike Shinoda's presence on vocals in general, with Chester Bennington taking up all the spotlight. However, two of the most popular songs from Meteora - "Numb" and "Breaking the Habit" - did not feature any rapping, and the latter didn't feature Shinoda on vocals at all. This was tolerated back then, because the rest of the album had Shinoda featured prominently, but when he's Demoted To Backing Vocalist, and Chester was the de facto frontman, that's when people objected. This has since been acknowledged, as Shinoda has been rapping (and also, singing) much more prominently in their later albums.
  • The mid-'10s saw the rise of "bro-country", a strain of Country Music that was often derided for its lightweight pop/rap-influenced sound and fratbro-esque lyrics that painted an over-idealized portrait of life in the rural South as a land of booze, sex, and partying. While it was popularized by Florida Georgia Line's "Cruise" (for which the term was coined) and the later material of Luke Bryan, Todd in the Shadows pins the blame a decade further back, pointing out that Big & Rich were doing rap-influenced country in 2004. While their brand of it was generally well-received for being ballsy and interesting, later rap-influenced country seemed to be using its influences entirely to strain at gaining street cred.
  • Metallica's 1991 Self-Titled Album (known to fans as "The Black Album") was criticized by longtime fans for moving away from their trademark Thrash Metal style, but it was not only by far the most successful album of their career, it was one of the best-selling albums of all time, earning them legions of new fans. However, their subsequent albums Load in 1996, Reload in 1997, and St. Anger in 2003 saw them increasingly move towards mainstream hard rock, producing what came to be viewed as a Dork Age for the band in the '90s and '00s.
  • David Bowie's Let's Dance album was positively received at first. The idea of such a weird artist as Bowie making an album of masterful commercial pop was just crazy enough to be interesting, and fans eagerly awaited which new sound he'd go for next. The disappointment when Bowie went on to release two increasingly poor '80s commercial pop albums was enough to turn fan opinion against Let's Dance as the point where Bowie's Dork Age starts, even though the actual content of the album is still thought of as pretty much fine on its own.
  • Sean O'Neal and Clayton Purdom of The AV Club have argued that the weeks from June 23 to July 8, 1997 were "the worst two weeks for music ever recorded". Their argument rests heavily on the idea that, in that short moment, every much-maligned trend that showed up in pop music in the late '90s, from the "jiggy era" of rap to Nu Metal to Ska Punk to swing revival, had its mainstream breakthrough, while the Alternative Rock that dominated the first half of the decade was on its last legs, having run out of steam creatively and starting to give way to the return of manufactured boy bands and idol singers.
  • Michael Jackson's later albums were often criticised for his tendency towards the syrupy and the angry. These elements were always in place, but were kept balanced out with accessible music, largely due to others around him (such as his brothers in The Jacksons and producer Quincy Jones). By the time of "Dangerous", Jackson had total control over his music and the elements described became much more prevalent. Whilst at the time it and its follow ups "HI Story" and "Invincible" were very popular, they are often seen nowadays in lesser terms than "Off The Wall", "Thriller" and "Bad".
  • The conventional wisdom that Woodstock represented the zenith of the dream of The '60s, while the Altamont concert four months later represented the collapse of that dream ignores that many of the same issues that plagued Altamont also plagued Woodstock. A larger-than-expected crowd that became a logistical nightmare, a major traffic jam, people suffering bad LSD trips, and even deaths all occurred at Woodstocknote . Obviously the big difference was that Woodstock didn't hire bikers as a security force, but in general Woodstock's organizers lucked out in making some good choices in key areas (like medical facilities) that prevented a big disaster.

     Professional Wrestling 
  • WWE has the breakup of The Rockers. The immense success Shawn Michaels found after the breakup was good for the business no question, even taking the diva persona Shawn acquired as a result of it into account, but Marty Jannetty's fade into obscurity was unfortunate. The plan was for both members of the team to become big singles stars but it came to be that, in trying to duplicate the success of Shawn Michaels, WWE broke up a lot of popular tag teams and instead of getting one good singles star out of it usually ended up with two wrestlers fading into obscurity and eventually this behavior all but destroyed the tag team division. Right before WWE's tag team division could be considered dead there was an unexpected revival in the 90s...only for the sin of the Rockers to be committed once again in what would become a recurrence.
  • In the early 90s, All Japan Womens Pro Wrestling decided to market itself towards adult men rather than its traditional audience of schoolgirls. The wrestling of this era was highly regarded and they sold a lot of tickets, but fewer young girls among the audience meant fewer girls who were interested in becoming wrestlers, leading to a dearth of talent as the current crop aged and retired. Though women's wrestling in Japan never hit the nadir that it did in the US, it never again reached the heights it did in the 70s, 80s and 90s, and AJW itself closed its doors in 2005.
  • The success of ECW lead to an influx of garbage wrestlers who could not wrestle well but could bump, swing stuff around or were willing to jump off high places to the USA scene, and also popularized valets mainly there to do "cat fights". These did not originate in ECW, but this is where they caught on. Abdullah the Butcher, The Sheik, Dick The Bruiser, those guys could still work traditional matches well... Sandman not so much. Also, the ECW women typically had more to their roles during their early to mid years but as ECW wound down...rolling around and broncho busters were about all women did. Prior garbage feds like FMW tended to produce some of the most fearsome women divisions on the planet. Following in ECW's wake, XPW, IWA Mid-South and CZW would magnify these flaws to new heights (though in fairness, the latter two would learn from their mistakes and outlast ECW).
  • "Stone Cold" Steve Austin's refusal to tap out to Bret Hart in their iconic Submission Match created a trend for future wrestlers. It was the career defining match that set the tone for Austin's gimmick for years. His refusal to tap out would actually become a reoccuring topic when he turned Heel. Although there were wrestlers (namely Hulk Hogan) who also never tapped out, Austin was the first person they ever brought attention to. In later years, wrestlers like John Cena have been criticized for never tapping out and tapping out in general being treated like a coward's action.
  • WWE giving the women's title to Sable, a model who had not gone through developmental nor wrestled on the independent, territorial or foreign circuits. Sable went beyond needing to be carried; she flat out refused to take bumps. Still, her popularity revived interest in the division and led to talented wrestlers putting on good matches - not to mention that Sable was quite muscular for a model, so, Kayfabe aside, the idea of her powerbombing someone was at least plausible. The sin was actually having Sable win the title from Jacqueline, which necessitated she be exposed in extended matches and set up Trish Stratus, another inexperienced model, getting the title when it was vacated. While Trish, to her credit, became a respectable talent despite her beginnings, WWE continued to push models with little to no wrestling experience, to the point it had to take the title off television altogether when the roster overflowed with inadequately trained people who were not learning as quickly as Trish and could not appeal to audiences as Sable could and didn't have enough carriers to offset the low level of performance.
  • The First WWE Diva Search added nothing to the program in the long run but did not do any damage either, as everyone soon forgot about it. What everyone remembers is the 2004 quarter-million-dollar Diva Search, which lead to a football player from the Lingerie Bowl with no wrestling experience coming straight to television with with a bigger paycheck than half the roster. That in itself would not have been so bad if not for the aforementioned sin of Sable, which lead to three mainstays being released in favor of runner ups from the 2004 Diva Search, who stayed on longer than the fan-voted winner. This decision was the direct cause of the women's title being removed from television, and there were three more Diva Searches before the fans made it clear enough was enough. At least the last two actually kept the winners over the runners-up.
  • TNA's is the signing of Kurt Angle. Make no mistake, Kurt is undoubtedly the greatest signing the company has ever made — he legitimized them as a major wrestling promotion. The real issue was his booking. For his first couple of years, Angle remained the focal point of TNA and was constantly booked over the younger, homegrown talent. His Spotlight-Stealing Squad status was so bad that TNA was nicknamed Total Nonstop Angle at one point. While all this would be bad enough, the real danger of Angle's booking was the precedent it set. After Angle, the company started signing more and more older stars primarily from the Monday Night Wars and putting them over the younger talent. This trend peaked during the start of the Hogan/Bischoff era, where basically anyone who wasn't a major player in the Monday Night Wars was pushed down the card and/or released to make room for Hogan and Bischoff's friends. As a result, TNA went from a promotion that had some vague similarities to WCW to WCW-lite. In short, Angle was the beginning of the end for TNA, and the damage in the fallout of his signing is something that the company still hasn't recovered from, both in regards to their reputation and finances, to this day.
  • The Rock's return to the WWE between Wrestlemania 28 and Wrestlemania 29 might appear to be shaping up into one. When it happened, almost everybody was happy: the fans were happy to see The Rock return, WWE got some mainstream press (which they're always desperate for,) and in general, despite the flaws in the execution, all was good. However, when WWE saw the surge they got from a returning legend, they've tried desperately to make that same lightning strike twice, bringing multiple former Superstars back, including Chris Jericho, Rob Van Dam, Brock Lesnar, the New Age Outlaws, Batista and Sting. Some have worked, some haven't, but as a whole, the sheer number of them are seen as damaging. It creates difficulty in working angles and building momentum due to their spotty appearances, which can damage the push of younger wrestlers who are working with them. The sheer number of them who are clogging up the roster, and the short-term rise in popularity, could potentially hurt WWE long-term by not giving their rising stars the time to become the main-event performers they need to be when the current generation starts to step down. While most of the returning Superstars themselves are very popular, the term "part-timers" has become a dirty word among WWE fans.
  • Speaking of Brock Lesnar, this also applies to his "Suplex City" gimmick, wherein he endlessly spams German suplexes in his matches, only stopping for an occasional spot of him driving his opponent into the corner, standard punches/kicks, or his Finishing Move. When it started, it was first used against John Cena, then later Roman Reigns — where it worked well because of the Catharsis Factor. Fans were tired of Super-Cena booking, and Roman was obviously being groomed to be Cena 2.0 when the character was an ill fit for him, so the fans enjoyed watching those two get punished. However, come 2016 and used against wrestlers who didn't have the power of booking protecting them, its flaws were exposed. At first there was his street fight at Wrestlemania against Dean Ambrose, who most saw as a rising star and possibly the man to get the vaunted win over Brock. However, fans instead got a glorified squash match where Brock no-sold every weapon Ambrose used on him, stopped him from using others (including a chainsaw and Barbie, making those two legends gifting them to him pointless) in a clear bid to avoid getting injured before his upcoming UFC match that summer. But the straw that broke the camel's back was his match with Randy Orton, one of the few men who could believably have a competitive match with Brock, at Summerslam. Instead, Brock threw him around like a rag doll, and while Orton got some offense in, he ended up losing by technical knockout as Brock busted his forehead open with elbow shots. Orton lost so much blood and had such a wound that he needed ten staples to close it, and suffered a concussion. As a result, fans turned on Brock en masse to the point where Goldberg squashing Brock at Survivor Series provided Catharsis Factor in the other direction for many.

    Tabletop Games 
  • Dungeons & Dragons:
    • The common complaint about the 3rd Edition and its permutations was being too focused on spellcasting to the point of casters being broken. Linear Warriors, Quadratic Wizards, in truth, had always been around in D&D. There's a reason nearly every high-level character in most settings was a caster; the original 1st Edition Player's Handbook has dozens of spells that hit Story-Breaker Power level. 3e simply removed many of the things that had made casters something of a gamble to play, while also making warrior-type classes much less impressive. In particular, the lament of warriors being tactically boring was even worse in 1st Edition, where warriors had almost no options outside of simple attacks. It was acceptable then, because the warrior still had an important job and role, but when the casters could take care of themselves, the warrior-type characters resigned themselves to a long career of saying "I move and attack" over and over. This was also due to a fundamental change in focus; the main benefit of Fighting Men in the early editions was that they gathered political power and armies of followers while being the only ones that could use things like magic swords. When magic items became democratized and the focus shifted much more to small-scale adventure parties this all became meaningless. Basically wizards still got to be Merlin, but fighters got demoted from King Arthur to "Third Knight From the Left".
    • A common gripe about 4th Edition was it being too encouraging to a "magic items grow on trees" mindset, accusing it of being a Monty Haul edition. But the roots of this dated back to 3rd, which had a wealth-by-level chart in the Dungeon Master's Guide that encouraged DMs to give their players a specific amount of gold to buy magic items with. Adventurers wearing impressive magical gear even at low levels and the "magic mart" mindset were worked into the game - it was simply an effort to make sure that the DM didn't wind up overequipping or underequipping the party. Where 4th Edition differed was actively building the wealth-by-level chart into the game's design, virtually requiring players to have specific level-appropriate magical gear just to keep up with their enemies - a DM who didn't use wealth-by-level in 3e was merely making the game harder for his players, a DM who didn't use wealth-by-level in 4e was pretty much signing the party's death warrant. As if to underline this, the magic item section was moved from the Dungeon Master's Guide to the Player's Handbook. The result was that magic items no longer carried the special nature of their earlier counterparts, becoming something expected rather than desired, and low-magic games or settings became an exercise in suicide. It's almost certainly not a coincidence that the next edition, 5th, scaled back this mindset hard, removing the prices on almost all magic items bar basic healing items and pretty much explicitly claiming that "magic marts" don't exist.
    • In turn, 3e's availability of magic items was something some gamers had already expected, growing up as they did on the Gold Box adaptations of D&D. Given the low graphic quality, single player mode, and limited options for storylines, the license use was essentially down to using trademarked cover art and names for monsters and especially magic items and spells. In first and second editions of the game, it was virtually impossible (and not especially worth the effort) for a magic-user to copy all existing spells into his spellbook; in the Gold Box games, it was not only worth the effort, it made the magic-user the single most important member of the party. When the players whose first taste of D&D was these games tried to join actual tabletop, they found the comparative scarcity of magic punishing, and DMs (and writers) tried to accommodate.
    • The games probably had a larger impact with the abundance of actual magic items. Even low-level games like Pool of Radiance or Champions of Krynn would have all of the characters using weapons and armor of +1 or better by the end of the game, along with Gauntlets of Ogre Strength or Girdles of Giant Strength. Comparatively, the magic item generation for the tabletop game seemed awfully stingy, even with the gamebooks' "high magic" option for treasure distribution. It feels wrong to both PCs and DMs to have a 4th level character who only has a Masterwork weapon and a couple potions to their name compared to the much richer characters of the same level in any of the computer games.
    • Virtually from release of the open gaming license, prestige classes were both lauded and loathed, allowing esoteric combinations to turn normal characters into Tank Mages, rendering significant portions of the party useless. This was, however, already true in the core books themselves, with the Dragon Disciple nominally being an advanced sorcerer but proving vastly more powerful as a monk. Moreover, in second edition, dual-classing was often considered a waste of time, but could eventually produce a mage/fighter with virtually none of the weaknesses of the individual class. Before even that, first edition had an obscure section of the Dungeon Master's Guide that allowed players to combine several classes to take an advanced class, the only one of its kind in those days, to be a warrior-legend based on old viking tales: the Bard.
    • Fourth edition's version of magic was often cited as dumbed down compared to prior editions, with only a handful of spells available, and themselves only usable once per encounter or day for the most part. Yet a similar situation was not uncommon in the earlier editions. Many magic-users would prepare only a handful of their possible spells, and swap them out rarely or for special situations, sticking to a small set of reliable spells (which, with casting limitations, could likely only be used a few times). 3e also introduced classes like the warlock, beguiler, and sorcerer, which featured much more limited casting choices than the wizard, and were generally considered alright. The difference was that 4e essentially took what had previously been a playstyle and turned it into writ law, and in the process, removed what had previously been the distinguishing feature of a wizard over fellow mage classes - the ability to swap out its spells.
    • Ask an old-school player where the pre-made modules went wrong, and they'll probably tell you it happened when the designers started focusing on the story at the expense of making a fun adventure. The first real alteration to the Story-to-Gameplay Ratio happened all the way back in Ravenloft, which featured an actual plot, a significant backstory, heavy roleplay, and a significant NPC who was constantly acting in the adventure. But Ravenloft was still fairly nonlinear, had lots of opportunities to explore, and could vary heavily from session to session, and the significant NPC in question happened to be the Big Bad, meaning his actual role in the plot gave him a sense of being a dynamic threat rather than Orcus on His Throne. Later adventures would drop all these things in favor of sticking the party on the railroad tracks, and the significant NPC would instead be a GMPC who would solve the adventure while the players watched.
  • Shadowrun, being a Cyber Punk game, always had a focus on gritty Anti Heroic player characters getting by in a gritty world. But, as editions went by, the designers dug deeper and deeper pits for the setting, until, by the end of 4th Edition, Darkness-Induced Audience Apathy was settling in. There Are No Good Executives, and every Shadowrunner is an amoral jerk who'll do any old horrible thing for a quick buck at best, with the game designers actively pooh-poohing the idea of Shadowrunning teams having any kinds of morals or standards on the forums. Fifth edition has its flaws, being littered with poorly-adapted design artifacts from earlier versions of the game, but many players are just happy it's finally trying to reverse that particular trend.

  • One of the most common issues readers have had with Act 6 of Homestuck was how it added more characters from its beginning, particularly the "player"-type characters that use an online chatting device. This led to a greater amount of dialogue and caused complaints that the plot was moving along too slowly or that the new characters were not as likable as the old. This was also present in Act 5 when the trolls were introduced, only they led to an explosion in the story's popularity while Act 6 has slowly driven readers away. A general opinion was that the new human characters of Act 6 were not as memorable or unique as the original trolls once were, that the new trolls being minor joke characters with the purpose of attacking sections of the fandom came off as a harsh waste of world-building, and that the cast expansion overall failed to re-capture the lightning in the bottle that the twelve initial trolls succeeded in.

     Web Original 
  • Discussed in an episode of Midnight Screenings. Brian mentions that he initially liked the first Transformers film because it was different from the sequels, but after re-watching it admits that the movie has "the same shit [as the other films], just less of it".
  • Yu-Gi-Oh! The Abridged Series:
    • While this abridged series was always a very funny and clever show, it did sometimes rely a bit too much on running gags and pop culture references, even if there wasn't necessarily a joke attached to the reference. Those who don't like the later seasons will usually say it's because the episodes became nothing but running gags and references.
    • "Yu-Gi-Oh! DMX", a running gag of Yu-Gi-Oh! GX characters being depicted as rap artists, originated from one of the most well-liked episodes of the series. People liked it then because it was just a doofy one-off gag, and pretty funny at that. After that episode, nearly every single episode mentioning GX had a reference to it being a stupid show about rap — which, on top of being a Shallow Parody, resulted in fans of GX getting harassed at conventions and a backlash against the Abridged Series. It's one of the few jokes LK has outright apologized for.
  • PIEGUYRULZ invokes this with his assessment of Adventure Time versus Steven Universe where he talks about the flaws of the former that were apparent since the beginning, but were ignored because there wasn't anything quite like it on TV at the time. He even compares it to breaking up with someone, then realizing the flaws that weren't there with the newfound perspective.
  • The Nostalgia Critic:
    • One of the most base-breaking aspects of the post-2013 videos are the Mid-Review Sketch Show cutaway gags, with many feeling that they take too much time away from the reviews. However, sketches are nothing new to the series and have been featured since the early days, and some episodes from what's considered the "classic" era like Home Alone 3 featuring recurring segments that wouldn't feel too out of place in the modern videos. The difference is that sketches in the earlier reviews were used more sparingly and not in nearly every episode; they were also much shorter, lasting up to half a minute at most, and also only focused on Critic himself, while modern sketches are in most reviews, can take up to a few minutes, and focus on gags between new additions Malcolm and Rachel (later on, Tamara), which could often extend a review to over 40 minutes.
    • Reviews on later films. The Critic did review films from the 2000s prior to the retool, but the difference there is they were usually from the earliest part of the decade (2000-2002) with a few movies occasionally being from after such as Superbabies (2004) or TMNT (2007), due to special request, and these were considered more acceptable since they were mainly one-offs. He would also often talk about characters, films, and specials from later times in his countdown lists, but this was usually given more leeway due to still featuring nostalgic works as well being mixed in. Now in his modern videos, he primarily talks about movies from the later 2000s and 2010s and even movies still in theaters (the latter of which he promised not to review, only to break it in protest of the video takedowns), which has made some people wonder why it's still called "The Nostalgia Critic" due to it being an Artifact Title.
    • The jabs at things Doug Walker doesn't like. The Critic has always employed these jabs, it's just that the newer reviews use them a lot more often, and they tend to be much harsher.
  • Twitch Plays Pokémon: Democracy was introduced in the very first run, Red, and was used there more frequently than in many of the runs that followed — yet it's often considered the sign of why TPP has declined.
  • Stupid Mario Brothers can trace a lot of the problems of Seasons 4-5 back to show's highpoints, specifically:
    • The Darkness. When he was first introduced, in Seasons 3 respectively, he was seen as interesting, intimidating, and all arounda villain the audience could Love to Hate. However, that meant that when the storyline moved past hijm, the writers decided to bring him back, at which point they overexposed him significantly, meaning the audience grew sick of The Darkness.
    • In Act II of "The Stupid Mario Brothers Movie" The Darkness gets back up off the ground after being seemingly killed by Wario, because of a counter curse that was never hinted at. It didn't screw up the movie's plot, even if it made no sense when you really thought about it, so it was tolerated at the very least. Also, Liquid Snake came back to life with no explanation given (though it's hinted that The Darkness had a role in it), but it worked since it lead to the face off scene between Solid and Liquid Snake. This lead to a major annoyance most fans had in the later seasons, where characters are revived for no reason (no good reasons, at least), simply to provide a villain in the laziest way possible. This even got Lampshaded by Snake when Vercetti came back, indicating that at least some of the cast and crew were sick of it as well.
    • Many fans found it extremely hard to sympathise with Mario and Luigi in Seasons 4 and 5, seeing as how utterly isolationist they are. Said isolationist thoughts were present in the very first episode, and worked, since the idea was that Mario and Luigi were fed up with having to save the Mushroom Kingdom all the time and decided to have a vacation. In later seasons, Mario and Luigi do little to solve the problem of the beacon's destruction and actually seem to like it better that way.

     Western Animation 
  • Adventure Time: Princess Bubblegum's darker side was emphasized as early as Season 3, with her creation of Lemongrab being something akin to a Mad Scientist creation. It was well received, giving some more depth to her character. Later seasons, however, are criticised for taking this dark side and taking it to borderline sociopathic levels, with the "Bubblegum ranting at length to wizards why their belief in magic is stupid" scene being The Last Straw for many.
  • In Tom and Jerry:
    • The title characters would in some of the original shorts be friends and speak, though rarely (and something would always come between their friendship, making them fight again). These elements are what is most reviled about The Tom and Jerry Show from the 1970s, and Tom and Jerry: The Movie.
    • When Tom and Jerry began appearing in crossover direct-to-video movies in the late 2000's, such as with The Nutcracker and Sherlock Holmes, it was either accepted or ignored, because at least they still had some measure of originality. Eyebrows were raised when they crossed over with The Wizard of Oz, but it being a public domain story that they at least attempted to do different things with (although heavily basing it on the 1939 film), it was largely excused. It finally seemed to cross a line with the release of Tom and Jerry: Willy Wonka & the Chocolate Factory, a shot-for-shot animated remake of the 1971 film adaptation with Tom and Jerry thrown in as an afterthought, sparking outrage and ridicule across the internet, mostly from people who didn't know these movies had been coming out for around a decade. It seems somewhere along the line Warner Bros. figured they'd found a formula that enabled them to forgo creativity and originality in the Tom and Jerry direct-to-video movies yet still churn a profit, resulting in a steady decline of effort put into the writing.
  • While the show Goof Troop was well-received and considered a good show in its own right, many have blamed it for planting the seeds for the Totally Radical attitude and theme that took over many later shows for the Disney Afternoon television block; the shows that had taken on those themes were considered the killers of the block itself during the latter half of the '90s.
  • The Simpsons:
    • The season 4 episode "Marge vs. the Monorail", considered one of the greatest of all time, is now the most fan-rewritten as a 'modern' Simpsons episode to illustrate how badly the show has fallen into Seasonal Rot: It has a lot of elements that have come to be abused during its seasonally rotten years: celebrity cameos (Leonard Nimoy as himself), Homer being the main focus of the plot and showing him with a new job that only lasts one episode, a Big-Lipped Alligator Moment (Homer singing the theme to The Flintstones), and the needless musical number that also has no plot relevance. Suffice it to say, these days, this would be more at home as a Family Guy episode, not a Simpsons one.
    • Back when it started, the series was revolutionary when compared to other cynical shows centered on a dysfunctional family because it was an animated show set in Comic-Book Time and with Negative Continuity. The family could go anywhere, interact with anyone, and do anything without having to care about budget constraints, actors that wanted to leave or children that grew up. However, after 20 years that original strength has turned into its biggest constraint. Bart and Lisa behave like teenagers, but they are still 10 and 8 and go to the same elementary school, so the writers can't make them face the actual teenage (or young adult) problems they would be dealing with by now if the show was live-acted or used Webcomic Time; Marge and Homer have gone through countless marriage crises and been thrown into jail countless times, but they have to go back home together at the end; Maggie feels more like a prop than a character in most episodes because the writers can't think of new plotlines starring a baby, etc. As a result, the show has become stalled and boring.
    • Pop culture references, including cutaway gags and episode-length spoofs, have been a staple of The Simpsons since its earliest seasons (eg. "Bart the General" riffing on Patton, "Kamp Krusty" on Apocalypse Now, "Stark Raving Dad" on One Flew Over the Cuckoo's Nest, etc.). Generally, though, earlier episodes tend to spoof classic movies and TV shows, where later episodes tend to parody then-recent films or cultural trends. Which wouldn't necessarily be bad, except most such episodes wind up only spoofing a film/show's most obvious aspects, and their subjects are far more likely to become completely forgotten soon after.
    • One of the show's favorite tactics since the earliest seasons has been to start off the first act with an unrelated plot (for instance, Homer Badman's first act is about Homer and Marge going to a candy convention). It worked then, because they always used the opening plot to lead into the main plot (Homer pulling a piece of candy off the babysitter's butt and getting sued for sexual harassment). As time goes on, though, the transitions between plots have become increasingly abrupt and threadbare, to the point that these first-act plots could probably be cut from the episode entirely, and are used as little more than padding because the main plot can't stand up on its own.
    • "Lisa Goes Gaga" was widely seen as the nadir of the show in terms of celebrity guests, with many people being disgusted by how the series treated their Celebrity Voice Actor as a glorious messianic figure who saves the family. But the root of this issue lies in Season 1's "Moaning Lisa" and Season 3's "Lisa's Substitute," often considered some of the show's most soulful episodes — they even focused on Lisa, just like "Lisa Goes Gaga." The difference was that in those episodes, neither Ron Taylor nor Dustin Hoffman played themselves — they were likeable, competent, friendly characters who happened to be played by celebrities, which made it feel like the celebrity was lending their talent to bringing the character to life. When celebrities did go As Themselves in early seasons, it was in incidental roles, with no small amount of Adam Westing, and they usually came off as jerks or weirdos (such as Leonard Nimoy above and Adam West himself). These celebrities were either used to further characters or add jokes to an episode, not being added for their own sake, and never in such a manner that made the episode feel like it was fellating them — something that later episodes would roundly ignore.
    • "Rubber-band reality" was a term coined by Matt Groening to allow for more out-there gags. It essentially dictated that the show could have absurd, silly, or unrealistic gags, so long as they were only gags and quickly ignored afterward — essentially, they could "stretch" the reality of the show, but they would always have to let it "snap back." For instance, in "Last Exit To Springfield," Burns breaks out a pair of Killer Robots in the hopes of using them as strikebreakers, but the scene only lasts a few seconds and has no bearing on the plot, which remains fairly down-to-earth. As the series went on, the "rubber band" of reality would be stretched further and further, to the point where they started forgetting to snap it back altogether — as early as Season 6, one episode featured Killer Robots trying to murder the family as the episode's climax. By Season 11, which featured magical jockey elves, octuplets, tomacco, and the family casually hanging out with celebrities, the rubber-band reality had turned the Simpsons universe into a World of Weirdness.
    • The Couch Gag was one of the show's most beloved elements from the start for providing new jokes and weird imagery, but on occasion, as early as Season 4, it was used to stretch a rather light episode out. In particular, the "circus" couch gag was explicitly created to pad the runtime, being twenty-three seconds (not counting the rest of the opening), and showing up in a total of eight episodes. One episode (which, to be fair, was a Clip Show) played twelve couch gags in succession, including the circus gag, taking up a whole minute of screentime. The thing was, back then, long couch gags were rare; aside from the above two and not counting the changed credits for Treehouse of Horror, not one Couch Gag in the first eight seasons went over fifteen seconds, and most lasted about four. It was, after all, a gag - a quick joke. By the later seasons, though, long couch gags started to show up more and more often, with the show breaking its own record multiple times, and post-Season 20 or so, a twenty-three-second couch gag likely wouldn't even be in the top half. The show even turned the gag into something of a publicity stunt, doing things like hiring other animators or making extended references to other shows airing. Making things even worse was the shift to a four-act structure and episodes getting noticeably shorter in runtime to squeeze in more ads, meaning that on top of being longer, the extended couch gags were now eating up larger portions of the episodes. It's estimated that some episodes would, with their opening sequences removed, be about six minutes shorter than their older counterparts.
    • The episode "That '90s Show" was largely despised for its attempt to invoke the Sliding Timescale, but a sliding timescale had been around even in the celebrated original set of flashback episodes. Most obviously, "I Married Marge" is clearly dated to 1980, while "Lisa's First Word" is dated to 1984, despite them centering on the births of a ten-year-old and an eight-year-old, respectively. But, bar a few jokes about The Empire Strikes Back and the '84 Olympics, the overall feel of the episodes fit into Broad Strokes well enough to be accepted as "they were born in the early '80s", especially given that it was a difference of only two years. However, "That '90s Show" dates itself to ending at 1998, and with events that are supposed to take place before the other two, a difference of eighteen years - that's a bit much.
    • Many people dislike the show's recent tendency to focus heavily on liberal social/political issues. Thing is, the show had episodes like this back in the Golden Age episodes, like Lisa The Vegetarian and Homer's Phobia. The main difference is, in the older episodes it felt as if the writers truly cared about the issues in question, whereas nowadays it seems like the show only cares about liberal issues to appear progressive (like the notorious episode where Homer becomes a gay marriage minister).
  • Ben 10 franchise has gone on, one of the most major complaints about it is that many aliens in the sequels use similar abilities, as well as many outright having the same power. Surprisingly, the first show could run into this problem too, with a few aliens with redundant abilities that could sometimes render another alien obsolete (Benvicktor/Frankenstrike, along with super strength, has lightning powers, and generally does everything Fourarms could do, except without the arms). Omniverse is also similarly criticized for its overt focus on old elements, pandering to first-series fans, and sometimes script-recycling. These elements can be traced to its immediate predecessor too, with several major plot elements being recycled from the original show (Kevin's insanity and being a composite form of Ben's aliens, which were heavily referenced) and featuring a guest appearance from the original Ben.
  • SpongeBob SquarePants:
    • A common complaint about modern day episodes is the tendency to overhype regular episodes as huge specials. This trend started back during seasons 2 and 3 of the show, which is often considered to be during the show's golden age, with episodes such as "Party Pooper Pants" (which would have been standard length were it not for the Patchy segments) and "Shanghaied" (whose gimmick only worked the very first time it aired). It wasn't until the first such "special" to air after The Movie, "Best Day Ever", that fans started complaining, as it took a 24 hour marathon of the most beloved episodes of the series, as well as the movie, all to advertise an 11 minute episode that quickly became hated.
    • The show's oft-criticized descent into gross-out humor and Getting Crap Past the Radar started as early as season 2, with "Something Smells" revolving entirely around the joke that SpongeBob's breath stinks and he doesn't realize it. Typically though, it would be limited to one or two Cutaway Gags per episode, whereas later seasons feature whole episodes centered around SpongeBob getting a splinter or contracting a fungal infection. Many have pointed out how the main problem stemmed from the writers attempting to emulate the style of episodes from Stephen Hillenburg's first tenure as showrunner without proper knowledge as to how he was able to make it work.
    • Mr. Krabs in later seasons has become infamous for his tendency to do underhanded, immoral, or even illegal things if it means turning a quick buck. However, even in the first three seasons he was shown use tactics like animal abuse, forcing his employees to use an ancient diseased patty, enslaving his employees, or selling SpongeBob's soul for 62 cents in the name of profit. The difference, though, is that whenever he crossed a line in the first few seasons, he was generally punished for it or at least realized the error of his ways. In many later episodes, Krabs gets away with a slap on the wrist, if that.
    • One of the biggest complaints people have with the modern series is the way they treat Squidward, This was in the Pre-Movie episodes, believe it or not. Thing is, Squidward was an arrogant jerk at best, and was someone the audience would Love to Hate. Whenever the episode was sympathetic, they usually brought in someone even worse, namely Squilliam. As such, the audience usually laughed at Squidward's misfortune. Then they tried having him be both sympathetic and a Cosmic Plaything in the same episode, to diminishing returns.
    • Early in the show's run, Patrick's idiocy made him one of the most beloved characters due to his lines and antics being witty, endearing, or ending up with hilarious reactions from other characters. Unfortunately, later on, his idiocy ended up focusing more on how much he screwed up, resulting in reactions and idiocy that would drag on and end up feeling cruel to whomever experienced his antics, with him ending up getting little comeuppance for screwing other characters over for little reason. As a result, his reputation did a complete 180 and he became one of the most hated characters on the show.
  • Family Guy
    • The pre-uncancellation seasons already showed many of the traits that would fully manifest once it came back, including Cutaway Gags, Overly Long Gags and the main characters bordering on Unsympathetic Comedy Protagonists. In the earlier seasons these were balanced out and broken up enough that it wasn't as much of a problem, and the formula was new enough that they were still genuinely surprising when they happened and not expected as they are now.
    • The criticism of religious people seen in the series can be spotted as early as Season 2, with "Holy Crap" focusing on Peter's Catholic father Francis who comes and makes things worse for the Griffin family while living in the family's house. However, Francis is balanced out by the Pope who is a Reasonable Authority Figure and grows impatient with Francis’s nastiness, implying the issues with Peter's father are more linked to zealotry and a general mean attitude rather than completely stemming from Catholicism. This is to contrast with the infamous Season 7 episode "Not All Dogs Go To Heaven", which has the Family-Unfriendly Aesop that Belief Makes You Stupid all together.
    • The cast’s horrific treatment of Meg is now one of the most frequently criticized aspects of the show, provoking many a "not funny" reaction from fans; despite the show’s attempts to play her treatment for Black Comedy, quite a few people have pointed out that it often borders on outright emotional abuse. But in some ways, this can be traced back to the earliest episodes, where Meg was a considerably different character. While her family certainly didn’t hate her in those episodes, one often got the sense that the writers didn’t particularly care for her: she was the least developed of the Griffin children by a pretty wide margin, and didn’t really have her own comedic gimmick like her parents and siblings did. In later seasons, the writers never really gave her Character Development, but they did give her the "gimmick" of being despised and/or ignored by her entire family—which many fans liked even less. If you compare Meg’s appearances in Season 1 to her later appearances, you’ll notice that she isn’t exactly less of a Flat Character in those early episodes, but she at least wasn’t just the object of other people’s hatred.
  • The signs of the Avatar series focusing on teenage romance and Ship Tease at the expense of plot and character development could be seen all the way back in the original series, as later seasons gave those subplots more focus in response to the creators realizing how large and vocal the shipping community was, but because the 3 season story arc had already been planned out there was only so much room for those scenes to be inserted and for the most part they didn't feel like they got in the way. Come The Legend of Korra, which had a brand new story arc built from scratch around older teen protagonists, and the creators put in far more romance and a Love Triangle from the second episode to the point it became a Romantic Plot Tumor that made many fans dislike one of the central characters (Mako) and the rest of the plot, including the main antagonist and the social forces behind his movement, felt rushed and underutilized. Later seasons tried to undo the damage by having Mako and Korra break up, and fan consensus is that it wasn't until season 3 that the story began to truly feel more balanced. Another major factor is that unlike the first series, the first two seasons of Korra were written under the possibility that they could be the end of the story. Seasons 3 and 4 were made back to back and feature far more confidence in shoving the romantic material to the side.
  • Part of the reason Chowder became popular was its heavy usage of Painting the Medium and fourth wall breaking jokes. In the final season, gags about breaking the fourth wall became so overused that the novelty wore off.
  • Many long-time Scooby-Doo fans have argued that the franchise's formula stopped working around the time that they tried to bring real monsters into the show (notably in The 13 Ghosts of Scooby-Doo, the direct-to-video movies, and the live-action films), which killed the elements of mystery that gave the original series its charm. While the original Scooby-Doo, Where Are You! generally stuck to the famous "Scooby-Doo" Hoax for most of its stories, genuinely supernatural elements have been around as far back as that series, and not all of its Monsters of the Week turned out to be costumed crooks. The villain of "Foul Play in Funland" was a real robot gone haywire, one scene in "A Night of Fright is No Delight" had a bone floating onto Scooby's plate with no explanation given, and the supporting characters in "That's Snow Ghost" were implied to have faced a real Yeti in a flashback. Scooby-Doo on Zombie Island (usually regarded as the one of the best stories in the franchise) had it as a selling point that there were real monsters in it. The difference was that there was still a mystery to solve and several plot twists (the zombies are on the heroes' side for one) that it all felt natural.
  • While fans of Rugrats have many different ideas about what caused its Seasonal Rot, the show's increasing reliance on extended over-the-top Imagine Spots is sometimes held up as a symptom of its declining quality, as it increasingly shifted the focus away from the simple day-to-day struggles of the toddlers. In truth, though, the show was always known for its surreal and fantastical overtones — but in its early days, the toddlers didn't need Imagine Spots to make their world seem like a bizarre wonderland, because the quirky writing and animation made the entire setting seem surreal; the Imagine Spots just drew a clear line between the mundane world and the world of the kids' imaginations, where none had existed before. Case in point: compare Season 2's "Toy Palace" with Season 6's "Submarine". The former revolves around the ensuing hilarity when Tommy and Chuckie spend the night in a sprawling toy store that (apparently) includes life-size robotic gorilla toys, automated Old West towns, and a working time machine; the later just has the kids pretending that a van at a car lot is a submarine.
  • A major complaint both the fans and detractors of My Little Pony Friendship Is Magic (including the Equestria Girls movies) has is the huge number of villains and bullies who get Easily Forgiven, starting during Season 3 with Discord. The trend actually started at the end of the two-part pilot, where Princess Luna was immediately forgiven for trying to bring eternal darkness on the world. The difference is that Luna was acting under the control of her Superpowered Evil Side and had a sympathetic enough backstory to grant her Ensemble Darkhorse status, making it easier to overlook the cast instantly forgiving her. The future examples had, at best, a last minute Freudian Excuse that tended towards Unintentionally Unsympathetic (Diamond Tiara having an emotionally abusive mother, Starlight Glimmer's Only Friend left her to study at Celestia's school after getting his cute mark, ect.), so them getting Easily Forgiven for their actions made them major Base Breaking Characters.
  • Teen Titans Go!:
    • One of the many things fans/detractors complain about is the Family-Unfriendly Violence. And while this complaint is sometimes justified (the complaint is usually that the Titans are violent towards each other), complaints regarding violence in general are a bit strange, since the original cartoon was an action series where the characters used violence in every other episode. The difference with TTG is that it's a comedy.
    • Certain complaints about the series — particularly the different characterization and the heavier focus on humor — aren't actually all that different from criticisms of the original cartoon from fans of the comics or other more serious DC action shows such as Batman or Justice League. While the original cartoon had dramatic storylines, they were lightened quite a bit from the original comics, where, for instance, Slade was downgraded from a more sympathetic Anti-Villain, the heroes had less characterization, and comedic animesque pratfalls and/or expressions were frequent. The main difference was that the Titans still had depth and characterization, they were still able to act like heroes, and several fans to this day are intimidated about Slade (and most fans admit that, if nothing else, Ron Perlman's voice was pretty memorable). YMMV as this can be considered a double-edged sword for both, since it could be said that as a comedy, Go! abandoned practically any pretense of character depth that its 2003 predecessor could be accused of lacking in comparison to the original comics, actually making it less egregious in that regard. (Still understandable is the outrage towards a specific incarnation of the Titans being Flanderized in such fashion.) Meanwhile, the release of the DCUA films Justice League vs. Teen Titans and Teen Titans: The Judas Contract have given the Titans their most authentic treatment yet.
  • South Park made its name with a purely episodic format; while there might be a Sequel Episode to a previous one, by and large each episode was a self-contained story. However (as outlined in this video by PIEGUYRULZ), starting in season 10 it began experimenting with multi-episode story arcs, with the two-parters "Cartoon Wars" and "Go God Go". Many seasons after that would each have arcs that lasted for more than one episode, such as season 11's "Imaginationland", season 12's "Pandemic", and season 14's "200" and "201", providing a nice shift from the usual gag-a-day humor that the show was built around. Season 18 marked the tipping point in introducing full continuity between episodes throughout the season, with multiple arcs that flowed into one another. Fan opinion on the arcs was mixed, but overall, season 18 was still well-received.

    Season 19, however, had a season-spanning arc that was tied into every episode, with the final three episodes (out of a ten-episode season) devoted purely to wrapping it up. The arc left the show feeling bloated, with less time to turn its satirical eye to other targets, losing the scattershot, highly topical humor that had been one of its trademarks. These problems only got worse in season 20, as every episode in the season was part of a linear story arc that continued from episode to episode, unlike season 19 where the episodes, while part of the overall season arc, had plots that were largely self-contained. Eventually, real life wrote the plot in a way that Trey Parker and Matt Stone hadn't foreseen, forcing them to hastily rewrite the season finale to reflect itnote  and, in the process, abandon several subplots that they had spent the entire season building up. The general consensus was that, on a show as famously rapid-fire and up-to-the-minute as South Park, trying to do a serialized story-line just doesn't work — a consensus that Parker and Stone agreed with when they went back to an episodic format in season 21.
  • One of the most pervasive flaws of King of the Hill was how Hank was always right about everything, and anything that didn't gel with his conservative values was always wrong. As this article explains, Mike Judge had always wanted the show's Central Theme to be about the brand of good old-fashioned integrity that Hank exemplifies proving superior to any snooty bleeding-heart liberals and whatever modern-age PC hogwash they were espousing. Earlier seasons had the counterbalance of co-creator Greg Daniels, who liked to write episodes exploring a character's struggles and shortcomings. Because of this balance, other characters had their time to shine, Hank's uptight, stubborn, out-of-touch nature was often treated as flawed, and as a result, his role as the diligent, no-nonsense, ethical Only Sane Everyman was more sincere and broadly portrayed; anyone could view him as a good man, regardless of their place on the geopolitical spectrum. Eventually, Judge and Daniels became less involved with the show, and the balance began to waver — mass Flanderization ensued, not just of Hank's uptight conservatism, but eventually his role as the Only Sane Man as well. The show fell into a formula of Hank railing against anything that could be considered nontraditional, such as Boy Bands, Open Minded Parents who preferred Gentle Touch over Firm Hand, nerdy Tabletop Game enthusiasts, Bobby being In Touch With His Feminine Side, owning a pet other than a dog, or even Canadians, all of which portrayed as little more than an asinine Subculture of the Week. Because of this, the show that was meant to elevate the image of the humble Bible Belt conservative that was usually an Acceptable Target elsewhere ended up embodying its worst characteristics -- its bullheadedly insular and self-righteous attitude against any ideals other than its own.
  • The biggest complaint about the majority of modern Beast Wars material is the attempts to connect it to Transformers: Generation 1, with the preferred option of treating the G1 era with a mythic, mysterious reverence being ignored. Despite this, attempts to make more direct connections went all the way back to the original cartoon's most well-liked episodes, including "The Agenda" - generally considered one of the best episodes of its entire run, where Ravage showed up alive and well and the entire plot is about definitively confirming that the conflict of Beast Wars is an extension of the original cartoon's conflict. And even then, the idea of the original events being mythologized was a bit odd to begin with, as the given time was only 300 years later for a race known to live for millions. However, the Shocking Swerve, the added significance to the show's events, a pivotal scene of the characters walking amazed among the giant, ancient, sleeping bodies of their ancestors, and Ravage as a secret agent with a Russian accent were cool enough to forgive the oddities. However, Ravage also poked a hole in the whole idea that the G1 cast was gone and couldn't exist in the Beast Era. This opened the floodgates for every other comic writer to reveal that, among other characters, Grimlock, Razorclaw, Rodimus, Cyclonus, Skywarp, Divebomb, Arcee, Laserbeak, Buzzsaw, Ironhide, Silverbolt, and Prowl (twice) all made it over, and pretty much every other Beast Era character to share a name with a G1 character somehow was that character even if it seemed like otherwise. From that point onward, the last generation proceeded to take over any given Beast Era story, pulling focus away from the well-liked Beast Wars cast and turning the original scene from gazing at their millennia-old ancestors to looking at people who were still alive and well and who most of the cast already knew. From that point on, it was only a very small step to doing a story where the Beast Wars cast fought in the mythical Great War... which was exactly what eventually happened.
  • The Fairly Oddparents:
    • The show has never really had strong continuity, since it was always meant to be a gag-based show for children. Occasionally you'd get a nod to a previous episode, but that was about it. Given the show's episodic format, most fans let it slide. But later seasons are often criticised for outright ignoring continuity.
    • The later seasons have gotten considerable criticism for flanderizing Cosmo into an insufferable ditz, making him one of the show's most annoying characters. Interestingly enough, even in the earliest episodes—where he was slightly spacey, but still competent and good-natured—he was already a flanderized version of the Cosmo who appeared in the original Nickelodeon shorts. There, he and Wanda were both portrayed as completely wise and competent, aside from being slightly out of touch with the mundane human world; his voice was even noticeably deeper and more suave before it got high-pitched and whiny. But it was still tolerable there, partly because there was just more comedic potential in a dumb fairy than a smart one, and partly because he and Wanda were about equally spacey—so Wanda never really got self-righteous or indignant at her husband's idiocy, and it was easier to laugh along with both of them.
  • Steven Universe:
    • The feelings of Arc Fatigue, a critism of later seasons, have always been there. In Season 2, the search for Malachite, despite all the buildup, is put on hold about halfway through and had to be resolved in the next season. The difference there is that the season still had a Story Arc to tell, two in fact, The Cluster, and Peridot's redemption. Seasons 3 and 4, on the other hand, both had series of Filler episodes in-between the main Story Arcs, making this problem far harder to ignore.
    • As Robobuddies argues in "The Steven Universe Rant", the show had a habit of subverting many genre tropes by turning them on their head. While this worked for the more overused and obnoxious tropes along with the more dramatic ones in small doses as jokes, the latter became far more frequent, meaning there would just be more and more wasted potential for interesting plotlines and killing off any sense of drama.
  • Bugs Bunny was always supposed to be witty and resourceful from the start without the extreme absurdity nor the over-the-top wackiness of Daffy Duck. This still didn't mean that he had Plot Armor to carry the day after every short starring the character back in The '40s, but it was fairly established even then that he was smarter (at least where street-smarts concerned) than the usual Looney Tunes. Chuck Jones took these features to their logical conlussion and added a bingcrosby-esque sang froid element to Bugs Bunny in The '50s, making his version the definitive one afterwards. Because of this, the studio has been reluctant to wander away from this take too much. But ever since, Bugs seems to be permanently stuck in lower quality iterations of the Chuck Jones version, making him often seem smug and smarmy (that cover image in his trope page is his current default expression) while doing very little and allowing other characters to steal the spotlight.

Alternative Title(s): Dork Age Foreshadowing, Foreshadowing The Dork Age