A Franchise Original Sin is a flaw which in earlier, good installments was kept under control to the point of not really being a flaw, but which goes completely out of control in later, bad installments and brings the franchise down.
It's possible to Jump 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.
Rule of thumb: if you can imagine a reboot 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
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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.
- Many of the things that would cause Bleach to be criticized 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.
- Additionally, Bleach is particularly known for its numerous plot twists, 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 it's 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 officially becomes embroiled in a Gambit Roulette so ludicrous people stopped taking him seriously.
- Sailor Moon's 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 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.
- 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 unleashing the horror that was 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 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.
- 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.
- A Key reason Watchmen, Batman: The Dark Knight Returns and later, Kingdom Come were so universally acclaimed isn't because they were such flawless masterpieces that no one could ever find fault with them. No such work of any kind actually exists. The key reason for the relative lack of unfavorable reactions is because none of these series actually took place within the DC Universe. If a reader tried out any of these mini-series and were among the few who didn't like them, they didn't have to hate these stories. These readers could just ignore them and go on reading the regular DC Comics series because these stories had no direct impact on the regular DC series. But when DC tried to incorporate much of the darker elements of these stories into their regular comics, the reaction became much more divisive. For example, when one of the "heroes" in Watchmen believed that for the greater good he had to become a mass murderer and did so, there was no massive backlash because the character didn't exist outside of Watchmen. Take that same Character Arc, and repeat it on a popular pre-established character like, say, Hal Jordan, and the reader response was much less favorable.
- A lot of the current 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.
- The resurrection of Jean Grey in 1986 is a good contender for the X-Men's original sin. It marked the splintering of the X-titles with a third regular title (the first one Claremont didn't write himself), leading to the still-divisive "Cyclops leaves his wife for his ex" plotline and everything that spun out of that, including the Inferno crossover. The X-titles became popular enough that editorial edicts became more common, and Claremont started to lay out more subplots than he actually resolved, often because his plans were derailed.
- Generation X was basically 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 basically 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 nineties gave way to the early 2000s, 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; secondly, 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 thirdly that he pushed fantasy elements further into the foreground, where the setting up until that point had been Purely Aesthetic Era Ancient Roman Empire 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 Jump the Shark 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. Fans widely derided it as the worst thing in the world and Uderzo retired before writing another book.
- Archie Comics' Sonic the Hedgehog can point theirs all the way back to issue 50 and the creation of Knuckles' comic. With issue 50, Dr. Robotnik is Killed Off for Real and they attempted to use Naugus, a one-off character from Sonic Sat AM, as a new villain before bringing in Dr. Eggman. The comic said it best years later: Sonic must always fight Robotnik. The comic lost a very credible threat with the death of the old Robotnik and using Eggman early on made him a very ineffectual villain, still trying to install other villains and expanding convolting storylines that either made the world a Crapsack World or went nowhere. This isn't even including just how expansive and bloating Knuckles' backstory ended up becoming. It got to the point where a very dedicated comic reviewer, tired of it all, was ready to jump ship when Ian Flynn came in and practically saved the comic.
- When Superboy-Prime was reintroduced in Infinite Crisis by Geoff Johns, he was something of a affectionate jab/deconstruction at the fandom and a Take That towards obnoxious, overreacting Fan Dumb. This was actually 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 assholish insult towards all readers. Thus he was quickly turned into The Scrappy and readers started violently hating him and the comics he was in since they were doing nothing but insulting the very people who pay for comics.
- The entirety of Infinite Crisis itself is a bit of a discourse on the "Return To The Silver Age" movement that had arisen since the publication of Kingdom Come. Let's break it down:
- Kingdom Come was written as a late-90s treatise on The Dark Age of Comic Books, showing the absurdity of Dark Age heroes with their Kill 'em All stance, juxtaposing them against the Silver Age heroes with their Thou Shalt Not Kill stance. However, the novel was not afraid to point out that the Silver Age ideals were quite prone to believing in Black and White Morality, The Complainer Is Always Wrong, and thus they could very easily fall to using - albeit nonviolent - totalitarian tactics in order to make sure their ideals, and ONLY their ideals, were followed by other heroes. The final moral of Kingdom Come is that the two sides (Silver Age and Dark Age) must come to terms - an analogy that a return to the Bronze Age is best: Heroes should treat matters seriously as the gray areas they often are, but should never lose the convictions to do what's right, rather than just do what's easiest/most permanent.
- However, many fans of, and authors at, DC misunderstood and figured this was the windfall that would allow them to return comics to their Silver Age campiness, if not completely return to Pre-Crisis status as a whole. The years to come saw a multitude of attempts by various authors to do just this. Infinite Crisis, then, pointed out that while the Dark Age was admittedly an Old Shame, fans and authors also needed to take off the Nostalgia Filter and realize that while the Silver Age has a lot to offer in terms of plot devices and elements, it was also filled with tons of embarrassingly-badly-written nonsense that should just be forgotten.
- The 1989 Batman film suffered from the problems that would persist in later Batman movies, including Batman & Robin.
- The first film was "Batman: starring Jack Nicholson." The sequel was similar — its two villains combined have more screen time than Batman. Michael Keaton and Val Kilmer both left the series because they felt that the movies were more about the bad guys than Batman. This led the way for the sequels to become overcrowded with villains and the same "Villain shows up, teams up with other villain, they fight Batman, Batman wins" plot repeated in every sequel.
- The two biggest flaws present in all four of the Burton/Schumacher Batman films were the semi-obligatory casting of A-list actors as the main villains (whether they were any good in the role or not) and the Bizarrchitecture (which was reasonably subtle and effective in the first film, but by the fourth film had become an obscene distraction). You'll notice that the Nolan films have been inverting the first trope by casting their biggest guest stars in relatively small parts and completely averting the second by shooting all their outdoor scenes on actual locations rather than on soundstages or in front of computer green-screens.
- Another complaint leveled at Batman & Robin is how incredibly campy it is, but there was a certain level of camp present in Batman that only increased with every new installment.
- Superman also suffered from this with Superman II noticeably adding more campiness and more New Powers as the Plot Demands, the third one just made it worse, and then the fourth one ... happened.
- All the problems with the Roger Moore and Pierce Brosnan-era James Bond movies — the over-the-top gadgets, the bad puns, the overly elaborate villain plans and death traps — are visible in Goldfinger, where they were still reasonably in check. That these elements were not necessary to the franchise is demonstrated by the 2006 reboot Casino Royale. The caveat to this, though, is that Royale and its immediate followup, Quantum of Solace, have been criticized for feeling less like Bond films and more like a reskinning of Bourne with all of the Bond names.
- As much fun as Star Wars: Return of the Jedi is, some things left ominous signs for what would happen in the prequels. The Ewoks were actually the least of these (they were going to be Wookiees until Lucas decided to make Chewbacca a main character).
- It was also made clear even as far back as A New Hope that George Lucas was mostly focused on the visual aspect of the movie rather than getting the best performance from the actors. It was a combination of his vision with the people he was working with that helped forge those movies into what they become. As some of those people went on to other things he no longer had that support that kept his weaknesses from showing.
- Many of Aaron Seltzer and Jason Friedberg's trademark writing traits (shallow, narrow parodies depending more on references and audience recognition than actually making fun of the target, regardless of how well the reference works with the movie itself) are fully visible in their earlier, funnier movies, Spy Hard (which was barely saved by some of its clever bits, including its theme song by "Weird Al" Yankovic) and Scary Movie (which was saved by having four other writers). Then the duo dived headfirst into directing their own movies, with every problem that plagued the last two movies amped Up to Eleven and creating some delicious Snark Bait in the process.
- Applied to genres rather than franchises: in his Intermission editorial "Consequences", Moviebob names four great movies that he feels started some of the more annoying and/or problematic trends in various film genres, and in the medium as a whole.
- O Brother, Where Art Thou?'s revolutionary use of digital color correction technology to create its old-fashioned sepia tones, which would later be abused to create the Orange/Blue Contrast that is now omnipresent in nearly every major studio release.
- Star Wars' sanitization of the Space Opera, which removed most of the female presence in science-fiction outside of familial figures. Of course, this one was quickly corrected.
- The Dark Knight Saga threatening to send comic book adaptations, and summer blockbusters in general, down the same Darker and Edgier road that comics themselves took in The Nineties. So far, the success of the Marvel Cinematic Universe, with its embrace of the more fantastic elements of superhero comics, seems to have put a ceiling on this trend with comic book properties, though it's still present elsewhere.
- The Evil Dead series, particularly the sequels, popularizing the idea of "horror as comedy", leading to a succession of horror films that became more about slapstick humor and FX gags than about scaring the audience. In turn, this made it harder to take horror movies seriously, creating a generation of moviegoers that laughs during legitimately scary films/moments because they think they're supposed to.
- How the Grinch Stole Christmas! managed to be a decent film despite incongruous pop culture references and crass humor. The Cat in the Hat movie basically took everything that was wrong with The Grinch and multiplied it by a hundred while simultaneously eliminating all the parts that worked.
- Saving Private Ryan, as discussed in this article, paved the way for the overuse of Jitter Cam and Real Is Brown that later war movies and, eventually, military shooters would be criticized for. As the article put it:
"Essentially, when Spielberg
attacked the Hollywood myth of glamorous combat
, he accidentally replaced it with the myth that dull colors and dirtiness was a signifier of reality."
- When the Harry Potter films decided to split the last book, Deathly Hallows, into two films, people were annoyed but consented because Deathly Hallows is a huge Doorstopper. The films were critical and financial successes and, most importantly, proved that audiences were willing to go along with the split films. This kicked off a trend of splitting films, such as Breaking Dawn, The Hobbit, and The Hunger Games. With Breaking Dawn being an overly padded mess people have already begun to regret Deathly Hallows.
- Although it did save the Star Trek franchise, Star Trek II: The Wrath of Khan started the trend of every Star Trek film being built around one particular villain (the major exceptions being IV, which doesn't have a villain, VI, in which General Chang is just the most visible member of a large conspiracy, and Star Trek Into Darkness, in which Khan and Admiral Marcus are both villains on opposing sides) for better or worse. The failure of Star Trek: Nemesis had shown how worn-out the formula had become.
- As explained here, Maven of the Eventide feels that a lot of went wrong with the film adaptation of Queen of the Damned can be traced back to its much better predecessor, Interview with the Vampire. In Interview, Lestat was a vivacious, lively character who mocked his brooding counterparts, yet those "tortured souls" still came off as sympathetic characters due to their development over the course of the story. Unfortunately, the makers of Queen mistook that as "brooding = sexy and cool."
- The cast and crew of The Godfather, Parts I and II, were loaded with Francis Ford Coppola's talented family members, including his great-grandfather as an actual character. In Part III, he cast his daughter in an important role that she couldn't handle.
- The scene in Indiana Jones and the Kingdom of the Crystal Skull where Indiana Jones survives a nuke by hiding in a refrigerator was mostly reviled as the point where it stretched the audience's credulity. However, Indiana Jones and the Temple of Doom already had Jones using a raft as a parachute to escape a plane crash.
- When Disney hired a famous comedian to add some zaniness and pop culture jokes as the voice of the Genie in Aladdin, he was widely considered to be the best and most memorable thing about the film. Similarly, Shrek was praised by many people for its all-star voice cast and satirical pop culture humor. Then DreamWorks Animation and every other non-Pixar animation studio began copying the "massively publicized Celebrity Voice Actors + barrage of pop culture references" formula ad nauseam while forgetting to actually make the characters and plot good. Pixar and the reformed Disney Animation Studios has gone to great lengths to prevent this, going so far as to either not play up the actors themselves, even in a Star Studded Cast (Wreck-It Ralph), or to hire actors and actresses known mainly to fans of media other than mainstream movies (Anika Noni Rose — a Tony winner known for stage shows — as Tiana in The Princess and the Frog, and Idina Menzel & Kristen Bell — a living legend on Broadway and the star of the cult-hit TV show Veronica Mars, respectively — in Frozen).
- While the final three The Pink Panther movies (not counting the 2006 remake and its sequel) are frequently criticized for their reliance on questionably funny Running Gags, outdated racial stereotypes and over-the-top humor more suited to the Pink Panther cartoons than their live-action cousins, in actual fact most of these began during 1978's Revenge of the Pink Panther, the last one generally regarded as being any good. As to why Revenge works and most of the subsequent ones didn't, most fans have one simple answer: Peter Sellers was still alive.
- A Feast for Crows and A Dance with Dragons succumb 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 dramatic arc to it. Feast and Dance, meanwhile, are criticized for (among other things) essentially very little happening because the focus is drawn so wide, with so much time spent describing characters and places that don't really matter.
- GRRM also ran into problems because he wasn't able to make a planned time-skip work, with the result that the Stark children who were young at the start of the series are still too young in the later novels.
- Similarly, while The Wheel of Time always suffered from a ridiculous number of subplots, dozens of viewpoint characters and massive wordcount 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 viewer'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.
Live Action TV
- The original Jump the Shark moment was merely the point at which Happy Days completely Flanderized Fonzie and lost track of its Fifties motif, both trends that had been present for a long time by that point.
- Most of the things Trekkies hate about Star Trek: Voyager and Enterprise were already very present in the much-lauded middle seasons of Star Trek: The Next Generation, and some can even be found in the Original Series; things like the anomaly of the week, the malfunctioning holodeck, the evil versions of regular characters, the shuttle crash plots, and the B-plots that feel like a soap opera. But it wasn't until later in the franchise that they really started to grate on viewers, since it finally started to seem like the same thing over and over again.
- The original sin in the BBC's Robin Hood was the moment that the writers became more interested in Guy of Gisborne (and specifically, his volatile relationship with Maid Marian) than with every single other character on the show. This led to more and more screen-time being devoted to Guy and Marian as a potential couple, until the point where the writers (presumably) realized that they'd gone too far with it, and needed to derail it pronto. Their solution was for Guy to stab Marian to death in a jealous rage at the end of Season Two. There are plenty of reasons why Season Three is considered terrible, but it's mainly because that without Marian, the story had absolutely no emotional centre. There was simply nothing left to care about, or to look forward to.
- Marian's death also left a place open for the introduction of the despised Kate, but that's a whole other can of worms...
- The Season 2 episode of Sliders, "Invasion", introduced the Kromaggs, a xenophobic species bent on dominating every Alternate Universe where humans were the dominant species on Earth. Most agree the episode wasn't that bad in and of itself. It was actually an interesting concept, until the Kromaggs became the sole focus of the series starting in Season 4 (after a season-long absence, no less).
- Jeopardy! has frequently used categories with Punny Names, but starting in the 1997-98 season, almost every category has some sort of pun, almost to the level of Win Ben Steins Money.
- Look back at the first two seasons of Dexter and you'll find everything that annoys viewers about the later seasons: sloppiness from both Dex and the cops; Debra being needy and grating; too much time spent on the secondary characters' problems; love interests you wish Dex would kill already; fumbled endings to plotlines. This was all easier to forgive when the show's premise was still brand new and exciting.
- Much of what was said about Dexter could also be applied to True Blood. Since so many people have wondered when the show took such a turn for the worse, others are quick to point out that, frankly, it's always been a drunken hayride in terms of being good and terrible at the same time. The only difference is now that they've gone through vampires, werewolves, fairies, etc., they've introduced everything and the thrill of discovery is over.
- Before Season Three's "In Name and Blood", Criminal Minds never revealed to the audience who the UnSub was before the team figured out who the UnSub was (besides "The Last Word", although that one still had one UnSub to be revealed at the end). Later episodes, including some hailed as classic episodes such as "Normal" and "The Uncanny Valley", would use this early reveal to good effect, illuminating some aspect of the UnSub that couldn't be brought out unless it was directly shown (such as the effects Norman Hill's wife's belittling had on Norman). However, as the series moved on the writers fell in love with the idea too much dragging it to the point where it is now where virtually every UnSub, even those who had no storytelling reason to be revealed, are revealed early to the audience, making the episode an exercise (sometimes painful) in watching the team try to catch the UnSub before it's too late. Fans often complain that this early reveal robs the show of what once made it good- the guessing game of who the UnSub was as a person- since now the audience now already knows the puzzle before it's finished.
- In Super Sentai and Power Rangers, the Red Ranger always has slightly more powers or upgrades than the rest of the team; such as a mecha that could fight by itself without the others (either a feature of his primary mecha or he receives a secondary one when the others don't), a motorcycle, a Super Mode, etc. This is often not a big deal, since the Red Ranger is the leader of the team, so him having Protagonist Powerup Privileges would be logical. However, this sometimes gets more and more out of hand until some seasons give Red such preferential treatment the series turns into "The Red Ranger and his Incompetent Friends."
- Another Power Rangers example is the use of Stock Superpowers during Disney's tenure. The first season to use them was Ninja Storm, where the Rangers were ninjas-in-training so it made sense that they could use Supernatural Martial Arts even when unmorphed. However, all the following seasons also gave their Rangers gratuitous extra superpowers, whether they had an [X]-in-training justification or not. This wore off when Saban took the franchise back - Samurai used the "in-training" justification (and had the excuse of it being a holdover from the source footage Shinkenger) and Megaforce just didn't have them.
- Deadwood gained acclaim in the first season as a raw take on the Western genre, featuring a stiff, Knight in Sour Armor sheriff (Bullock) that actually wanted to leave that job behind but felt pressed to reprise it, and a ruthless crime boss (Swearengen) that had a hidden tender side and whose intervention (while always self-interested) could actually be beneficial at times for the camp. There were also so many secondary Loads and Loads of Characters that the main one could be said to be the growing lawless camp itself, each season merely showing us life there for a week. By the second season there were people already complaining about the formula: Bullock became so stiff he turned completely unsympathetic while Swearengen became so soft and well intended he became weak and unlikeable, a view only reinforced by his "returning dark moment" in the Season 3 finale when he kills an innocent prostitute to pass her body for Trixie's and appease the Bigger Bad Hearst, making Swearengen too weak to fight Hearst or to kill Trixie, who was the one that put him in that situation. More and more characters with progressively uninteresting or non-existent backstories and personalities kept pouring into the camp, taking screen time from already established and more popular characters that where left with nothing to do; and even the "one week, one season" rule turned into a constraint, as plotlines that would be resolved in a couple of episodes in other shows became seasonal plotlines in Deadwood, since it would be unrealistic to resolve them in only a couple of days, requiring large amounts of padding to keep them going as a result. Finally, Deadwood's signature elaborate language became so elaborate, even in completely mundane situations, that people had trouble just to understand what the characters were saying.
- The production methodology that Saturday Night Live has had from the beginning (six days to come up with around an hour of comedy material minus musical guest segments and commercials) guarantees that the show will be inconsistent even on its best days. This also ties in with Web commenters who rip guest hosts and cast members for reading from cue cards and not memorizing their lines. Sketches are rewritten practically up to air time, with frequent changes in the 90 minutes between the dress rehearsal and the live broadcast, so everyone is forced to use cue cards. Some people are just better at not making it obvious.
- Though there is by no means consensus on Steven Moffat's writing (many still rate him very highly), his detractors tend to see his work on Doctor Who and even Sherlock in this light. With regards to Doctor Who, even Moffat-non-fans usually love the episodes he wrote during the run of previous showrunner, Russell T Davies: epsiodes like 'Blink' are beloved for their intricate plotting, creepy vibe and 'everybody lives' attitude. The context of Davies' wider series, which had an entirely different tone, made them stand out to good effect. When Moffat graduated to showrunner on Doctor Who, many fans feel that this stuff took over the show so that plot intricacy became alienating incoherence, the once-creepy elements (the Weeping Angels, the use of repeated phrases etc) were overused to the point of narm. As for Sherlock, many fans feel the third series is starting to show the same tendency: the elements Moffat used successfully in the first and second series (cleverness, twists, extreme personalities) starting to become a problem for the show.
- From Cracked: "4 Classic Rap Albums That Ruined Rap Music."
- The Notorious BIG's Ready to Die for "marry[ing] 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.
- 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.
- Some would argue that 00's era Jay-Z along with Ca$hmony Records are also to blame for homogenizing the rap genre as far as subject matter, tone, and fashion goes.
- 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.
- Some people have started to see "Believe" from Cher as the original sin that led to 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 techo-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.
- It's frequent that different hip-hop artists have elements that get out of hand over the course of their career:
- LupeFiasco was lauded for integrating political and social commentary themes and 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) have been accused of trying to do the same, but less subtly. 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 Crosses the Line Twice humor on his first albums, 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 Eleven, 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.
- 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 single's stars but it came to be that, in trying to duplicate the success of Shawn Michaels, the WWE broke up a lot of popular tag teams and instead of getting one good single's 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.
- WWE giving the women's title to Sable, a model who had not gone through developmental nor wrestled on the indies. Sable went beyond needing to be carried; she flat out refused to take bumps. Still, her popularity revived interest in the division and lead to talented wrestlers putting on good matches. The sin was actually having Sable win the title from Jacqueline, which setup Trish Stratus, another inexperienced model, getting the title when it was vacated. Trish became a respectable talent despite her beginnings for the record but WWE continued 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 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, everyone forgot about it. What everyone remembers is the 2004 quarter of a 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 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 runner ups.
- 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, RVD, Brock Lesnar, the New Age Outlaws, and Batista. Some have worked, some haven't, but as a whole, the sheer number of them are seen as damaging. It creates difficulty in creating storylines and building momentum due to their spotty appearances, which can damage the push of younger Superstars who are working with them; the sheer number of them 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.
- Mega Man 5 was the first game to not make any substantial change to the series formula (Mega Man 2 had items and eight bosses, Mega Man 3 had Rush and sliding, and Mega Man 4 had the charged buster shot and the Disc One Final Dungeon). The series became notorious for repetition not long after.
- It was also the first game to repeat the "twist reveal" that the Big Bad was Dr. Wily all along and make it completely unsurprising. 4 had the element of Wily supposedly dying in the previous game while introducing a completely new antagonist in Dr. Cossack, making the twist somewhat surprising. For 5 to suggest that Proto Man had suddenly undergone a complete Face-Heel Turn for no real reason, most gamers could easily guess how it was going to turn out.
- It's said that the Sonic Adventure games, while worthy installments in their own right, started a number of annoying trends exacerbated in the later 3-D Sonic games.
- Some consider the introduction of Tails in Sonic the Hedgehog 2, Knuckles in Sonic 3, and ESPECIALLY Amy Rose and Metal Sonic in Sonic CD, while well-liked additions to the series overall, to be the beginning of the Sonic franchise's (at times overexaggerated) troubles with Loads and Loads of Characters and juggling different styles of gameplay.
- Some others thought Sonic 3D Blast foreshadowed the problems with the 3D games. Gameplay is slowed-down and running controls are loose and slippery, while the "get to the end as fast as possible" goal was replaced with "find all of the birds and guide them to the exit". This possibly led to experimental gameplay mechanics like Big the Cat's stages in the Adventure games that deviated too much from the Sonic formula.
- Some also believe that SEGA's very loose policy on canonicity of side materials (most notably the TV shows and the comics) created a Broken Base as early as 1992—one year after Sonic was introduced—as Sonic fans started siding with one particular interpretation while viciously attacking the other ones, not unlike today's Broken Base with Sonic (only with gameplay more than story). During the 90s, however, Sonic fans had a common enemy in Nintendo and Mario, so the cracks didn't become visible to most until 2001 with Sonic Adventure. At this time, SEGA exerted greater enforcement over canonicity rendering all other storylines non-canon, followed shortly by SEGA's financial collapse and subsequent alliance with Nintendo. With the barriers torn down and no uniting force, the bickering became the Sonic fandom's most infamous trait.
- Also of note is the Cliché of Sonic (or sometimes his friends) using the Chaos Emeralds as an Eleventh Hour power up, as well as the cliché of Eggman being upstaged by a Monster of the Week that goes out of his control, that started around the time Sonic Adventure was released and was prominently overused in many of the Sonic games since. Later games started rectifying this by demoting the Emeralds back to bonus power-ups like in the original games.
- Guitar Hero Encore: Rocks the 80s: a poorly received Mission Pack Sequel to the excellent Guitar Hero II. Two years later, with Guitar Hero: Aerosmith, Guitar Hero: Metallica, Guitar Hero: Smash Hits, Guitar Hero: Van Halen, Guitar Hero: On Tour — Decades, Guitar Hero: On Tour — Modern Hits and Band Hero, there's a definite feeling that the series is drowning in a flood of Mission Pack Sequels.
- A little backstory here: Rocks the 80s was made by Harmonix (also the makers of the first two games) under contract after Activision bought the Guitar Hero series. Neversoft (under Activision) made Guitar Hero III and onward. So Rocks the 80s might have shown signs of problems to come, but it wasn't made by the same company that made the later games.
- On the Rock Band side, Harmonix have continued this trend on their own with Rock Band Track Packs (bare-bones game discs with songs taken from the game's vast DLC library, for players stuck on consoles with no DLC or who want to get the songs for slightly cheaper) and band-specific sequels with artists like The Beatles and Green Day.
- Mortal Kombat only completely entered its Dork Age when it smashed into the Polygon Ceiling, but the third game shows at least some of the weaknesses of later installments: overreliance on dial-a-kombo,note unmemorable and often easy-to-hate new characters, the complete shattering of the Eastern-ish theme (which resulted in people realizing how ridiculous some of the characters looked), and the bosses suddenly getting cheaper. Yet there's still a lot of fans and defenders of this one.
- World of Warcraft, this is the case with its creeping layers upon layers of retcons, the Horde/Alliance Conflict Ball, and the increasingly immersion-breaking self-aware humor. You could say that the worst excesses of Wrath of the Lich King existed in embryonic form in The Burning Crusade, and likewise, the worst excesses of Cataclysm can be found in a weaker form in Wrath of the Lich King. The Sudden Sequel Syndrome of Orcs is also thought to have originated in Cataclysm, and Mists Of Pandaria.
- Most of the above was present when WoW launched. The real Original Sin came in Warcraft III, where Blizzard first began to rely on massive retcons in lieu of moving the story forward in a logical fashion.
- Weather effects in Pokémon have been around since Gen II, but at the time of their introduction, Weather-based teams were not very popular because altering weather would only last five turns, and the effects were rarely worth the time spent setting up. Gen III introduced abilities, among which were several weather-related ones: Drought/Drizzle/Sand Stream, which caused weather effects that would last indefinitely until another move or ability was used to cancel them out; along with other abilities like Swift Swim that doubled certain stats in certain weather conditions. However, Drought/Drizzle were exclusive to two Legendary Pokemon that could not be used in most forms of competitive play, and sand stream was (at the time) weaker and harder to use than the other two, so this wasn't a huge issue. Gens IV and V, however, have since added even more weather-based abilities, moves and items, including giving Drought/Drizzle to non-banned Pokemon and introducing strong Sandstorm users such as Garchomp, Excadrill and Landorus. The result is the Gen V metagame is so dominated by weather teams a few of the larger Pokémon communities have had to place bans on certain Pokémon and combinations, and have even discussed banning weather (or at least weather-inducing abilities) outright. Game Freak nerfed weather abilities themselves in Generation VI, by limiting ability-caused weather to five turns, as a weather-altering move would do.
- Likewise, "Mythical Pokémon" (Pokémon only attainable through real life limited-time-only events) have been around since Gen I's Mew. Mew was added in at the last minute and wasn't meant to be obtainable, hence why not having it had no bearing on Pokédex completion. As of Gen VI, the number of Mythicals has increased to thirteen, and while they still don't affect Pokédex completion, it is still irritating to completionists due to how gratuitous their status is (these Mythicals have no valid reason to be restricted to nigh-unobtainable status nowadays as they're not last minute additions like Mew was) and how contradictory it is to the original slogan of the series (you can't "catch 'em all" if a fair number of them are all but locked off to you, can you? note ).
- American Wasteland may have marked the exact moment when the Tony Hawk series' franchise zombification became irreversible, but the things that sent it and later games off the rails can be seen as far back as Underground (and even Pro Skater 4), when the series was still on top of the world. By adding the ability to walk around on foot and drive around in vehicles, Underground started the series' trend towards over-reliance on gimmicks like the "Nail the Trick" feature and Ride's use of an expensive skateboard peripheral, and became less about the actual skateboarding — something that was made readily apparent when Skate came out without any of these gimmicks and proved that they were unnecessary.
- Going back further, 3 featured the revert. Now you can do air on a quarter-pipe and link it into a manual, making the expected combos longer (and riskier, since bailing cancels out the whole thing) even for relatively casual players who didn't make as much use of the long grind and manual chains in the earlier games. Further still, the way combos are scored (powerful multipliers awarded for each little trick, losing everything for bailing), all the way back to the first game, could be considered an Original Sin.
- Resident Evil:
- Resident Evil 4 set the series on a far more action-packed course as opposed to the Survival Horror genre that it had pioneered. It introduced upgradeable weapons and had downed enemies dropping ammo and other loot for the first time, as well as featuring such scenes as Leon suplexing enemies and leaping through a laser grid in a manner that would make Keanu Reeves proud. While these changes were divisive even then, RE4 was still scary enough that longtime fans could ignore them and appreciate the much-needed improvements to gameplay that it made; it's not too controversial within the fandom to list RE4 as one's favorite RE game.
However, the next "main" installment, Resident Evil 5, took these changes even further and fully moved the RE series from Survival Horror to Third-Person Shooter, featuring nearly non-stop action at the expense of scares, abundant ammunition supplies that made ammo conservation a much more minor concern (and thus reducing tension), and over-the-top Action Hero protagonists — a shift that was met with a mixed reception from fans and critics. The following game, Resident Evil 6, was a full-blown action shooter and the low point for the series. Furthermore (as argued here), RE's transition from horror to action wound up impacting the entire Survival Horror genre, especially at the big-budget levels, as games like Silent Hill: Homecoming and the Dead Space sequels imitated it.
- Another, and earlier, likely Original Sin may have been the film adaptation, which was, at the time, one of the most action-packed zombie movies ever made, and certainly more action-heavy than the games that preceded it. Its sequels only further amped up these elements, to the point where the RE movies are now described strictly as action films with zombies in them. The success of the film series likely colored people's expectations of the games, leading to later installments of the latter, such as RE4, incorporating more of the former's stylistic elements.
- After eight years in rest since Super Metroid, the series was revived with two well-received games, one of them being Metroid: Fusion. Despite the positive reception, a point of criticism from fans was its stronger focus on a story, it was even the first time Samus interacted with another character. This was seen as a turning point for the entire series to shift towards more plot-driven games, like Metroid Prime 3. Other M brought the debate on whether or not this is a good idea to a flame-war-stricken head, particularly due to how it characterizes Samus Aran.
- There's also the matter of more and more gratuitous sexualization of Samus as the series has gone on. The series has always rewarded good gameplay with Samus out of her armor and in skimply clothing, but in the earlier games it was much more about the Tomato Surprise than Fanservice and most players wouldn't even see it because it required a very good performance. Ever since Metroid Zero Mission introduced a skintight undersuit for her, however, suitless Samus has become just a thing that happens because fanservice, at times in contexts some fans consider inappropriate and/or degrading.
- Medal of Honor, as discussed in this article, contained early versions of many of the things that later military shooters would be criticized for — most notably, its desaturated color palette and how that style became associated with "realism" even in settings where it didn't make sense.
- While the aforementioned Resident Evil and Mega Man are already good examples of this, Capcom, their developer/publisher, as a whole has become reviled over the years. Yet, many of the bad practices seen now in the company have been a part of Capcom since the beginning. Capcom Sequel Stagnation, for example, along with some questionable business decisions that have been a part of the company long before their current situation, had been glossed over by most gamers and Capcom fans for quite some time before then, even though they were in some ways worse than they are today.
- Mario Kart, being the respectable, long-running franchise it is, of course has some skeletons in its closet. The Spiny Blue Shell that debuted in Mario Kart 64 and Mario Kart Super Circuit was actually a quite honest and balanced weapon in those two games, since it worked like a blue shell that hit every other racer in front of the one who threw it; however, in Mario Kart: Double Dash!!, the item was given an overhaul, where it was given wings, thus only hitting whoever is leading the race, and the possibility to explode, which means a damage that takes longer to recover. While normal damage (i.e. being hit by a normal shell) only takes two seconds or so to recover, an explosion flat-out stops the kart, and it takes roughly five to ten seconds to gain speed once again. The fact it explodes on contact, alongside the fact that it only hits the leader (although the explosion can hit nearby racers), means the only kart getting any benefits whatsoever is the one in second place, which often happens — unsurprisingly — to surpass the one at the head of the race. This "feature", already problematic when playing MK:DD!! in single player, was even more frustrating in the DS sequel, Mario Kart DS, and outright plagued single player races in Mario Kart Wii, where getting hit by a Spiny Blue Shell inches before the race ended was so common, that unlocking characters and/or karts requiring Golden Cups at 150cc difficulty was nearly impossible. Thankfully, the Nintendo 3DS outing of the series, Mario Kart 7, while still having the Blue Shell explode upon hitting the first-place driver, also stripped it of its wings, thus reverting it to its pre-Double Dash! form: now the shell hits everyone else in the processnote .
- The franchise also dipped in and out of this trope with two of the games. Mario Kart: Double Dash!!, aside from changing how the Spiny Shell worked, introduced a new gimmick that forced players to use 2 characters at once (one for driving and one for using items). This wasn't bad in single player since you did everything at once, but if you had to play with a friend, you really needed to communicate and have good timing in order to race properly. The introduction of 2 players per kart also meant the amount of items in play was doubled, leading to item spam in the whole race and increasing the chances of getting an item that screws everyone else over. Mario Kart Wii amplified the problem with items by introducing more items that can either screw everyone over or screw one person over if he/she can't shake the item off. On top of this, the game had 12 players in a race instead of the standard 8, which meant more items popping up and causing chaos. The game also introduced bikes, which became everyone's favorite thing to use because abusing the wheelie mechanic made bikes go faster than karts, regardless of stats. It wasn't until Mario Kart 7 that Nintendo balanced things again and got rid of mechanics that did not work.
- The coins mechanic was heavily disliked by players for nearly every game it appeared in. Super Mario Kart used coins as a way to boost speed and you'd lose coins for being hit or going off course and being bumped would also make you lose coins. Mario Kart Super Circuit brought the coins back and they doubled as a requirement to be met if you wanted to get the best rank. Mario Kart 7 had the coins return once more, though they would only give you a slight speed boost and you wouldn't spin out from a bump if you had no coins. However, coins were needed to unlock parts for your karts and it gotten really ridiculous with some parts requiring thousands or even beyond ten thousand coins to unlock. Mario Kart 8 not only retained the coin system and unlocks that the previous game used, but now coins can be an item you can pick up, which means your measly 2 coin bonus will not protect you from the red shell the person behind you will use.
- BioWare romance plots back then had been rather subdued, some romantic requirements having different requirements to set off a relationship (especially in Baldur's Gate where playing nice is a good way to have your advances rejected by your prospective love interests). By Dragon Age II certain party members had little or no role in the story beyond their romance, which caused the game to suffer.
- Likewise, their focus on epic storylines, intricate plotting, and massive worldbuilding started hitting a brick wall as early as Jade Empire, where there were far too many characters and background for such a short game. Spread out over three games in Mass Effect, the plotlines became increasingly complex, but the realties (read: limitations) of CRPG technology led to having to railroad a Gainax Ending to the series. It's also biting them hard with Star Wars: The Old Republic, where their ambitious writing (8 character classes, each with their own story arc) and production values (top-tier voice talent) has led to a very satisfying process of leveling from 1-50, but budget cutbacks from Electronic Arts means they've abandoned the individual class stories, leaving a generic, repetitive grind (the story arc only differs by faction) for anything past the initial story arc.
- As pointed out on 1d4chan, the first two Mass Effect games, while still extremely good, had quite a few omens of the problems that arose in Mass Effect 3; powers being made redundant, story vital characters and events being left to DLC, a drop in character development, EA butting in where they don't belong, and a decrease in making vital choices. All of these things were present over the first two games but were either barely noticeable or well controlled. The third game was merely the point where these issues really started impacting the quality of the game.
- ( They point out that this applies to Dragon Age as well only to a much sharper degree; every base breaking aspect of the second game was present in Origins. There was pointless DLC, divisive or unlikeable characters, and the first expansion pack "Awakening" was visibly rushed and had loads of gamebreaking bugs. Thing is, there it was all kept in check and plenty of work was put into Origins to ensure it came out good. Dragon Age II was every problem with Origins made blatant due to EA forcing Bioware to bum rush the game out. As good as Bioware is, a game of the same quality level of Dragon Age Origins being completed in less than a year just wasn't going to happen.
- Quick-Time Events, one of the biggest Scrappy Mechanics in modern video games, can be traced all the way back to the beloved Dragon's Lair, whose gameplay was nothing but quick-time events, and can be seen in its more modern form in other well-liked games like Die Hard Arcade and Shenmue before Resident Evil 4 popularized the concept.
- Grand Theft Auto III was hardly the first violent, M-rated video game to raise eyebrows; Doom, Mortal Kombat, and Duke Nukem have it beat on that front by several years. However, it was the first such game to become a mainstream pop culture sensation on the level of Pokémon or Super Mario Bros.. It was both acclaimed by critics and railed against by Moral Guardians for the then-unprecedented freedom it offered to gamers, which included all manner of violence and debauchery. Ignoring the many direct ripoffs that came out in the early-mid '00s, the success of GTA III has been pointed to as a Medium Original Sin, responsible for the proliferation of Rated M for Money attitudes among both developers and gamers who demanded more "mature" (i.e. "rated M for Mature") content in games.
- David Cage has always had great moments in his games, but even back in Indigo Prophecy, there was a note that the overriding plotline was just weird, and didn't fit with the previous scenes. At the time, this could be forgiven due to Executive Meddling forcing the developers to rush the game out the door before they came up with a proper ending, leading to the Gainax Ending that it ultimately had. However, Heavy Rain had the strange foreshadowing with no payoff, and in Beyond: Two Souls, the plot is in a chopped-up order and doesn't fit together at all. While Beyond still has quite a few fans, if the trend continues, the Original Sin will be revealed. Cage plots by imagining cool, individual scenes, but doesn't seem to know how to put them together in a sensible fashion.
- The first game in the New Super Mario Bros. series re-using most of the Video Game Settings from Super Mario Bros. 3note was generally not seen as a big flaw. However, all of the settings from NSMB were later re-used in three more games (maybe even four) with little variance, and as a result the lack of originality is one of the biggest critisisms for the entire sub-series.
- SquareEnix's updated rereleases and ports of some of their older games once got a great deal of excitement from many RPG fans, especially those in the US and Europe. It gave many people the chance to play some of Square's classic catalog but with far less of the No Export for You, "Blind Idiot" Translation, and financial difficulties of hunting down certain SNES cartridges that RPG fans dealt with before the very end of The Nineties. In some cases, Square even remade entire games for the purposes of rereleasing them. However, during the later half of the 2000s, many of these same consumers started complaining about this practice. It became viewed as oversaturation, partially due to the huge numbers of systems that these games were playable on. Between 2005 and 2011, Square Enix rereleased Final Fantasy IV alone 4 times, for example. The Troubled Production of both Final Fantasy XII and Final Fantasy XIII and the lack of a game to really fill that gap did not help either.
- While Yu-Gi-Oh! The 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.
- 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 1970's, and Tom and Jerry: The Movie.
- 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 The Simpsons started, they were 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 primary 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; 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.
- As the 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 Four-Arms 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 most 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.
- A common complaint about modern day episodes of Sponge Bob Square Pants is the tendency to overhype regular episodes as huge specials. This trend started back during season 3 of the show, which is often considered to be during the show's golden age.
- Pre-uncancellation Family Guy 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 a much of a problem.
- 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 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 very first episode to the point it became a Romantic Plot Tumor and the rest of the plot, including the main antagonist and the social forces behind his movement, felt rushed and underutilized, and the ending of the first season wound up feeling like a Deus ex Machina that the protagonist had handed her to her rather than earning.