[[quoteright:350:[[VideoGame/MetroidPrimePinball http://static.tvtropes.org/pmwiki/pub/images/metroid_prime_pinball_350px.jpg]]]]
[[caption-width-right:350:Not quite {{Metroidvania}}.]]

->'''Gabe''': So if ''VideoGame/FinalFantasyX'' has the '''water sword'''... ''[[VideoGame/FinalFantasyVIII VIII]]'' had the '''gun''' sword... and ''[[VideoGame/FinalFantasyVII VII]]'' had the '''big''' sword... There was no ''IX''! They skipped a ''Final Fantasy''! There is no ''VideoGame/FinalFantasyIX''!\\
'''Tycho''': Was too. The guy had a tail.\\
'''Gabe''': Was it a '''sword''' tail?\\
'''Tycho''': No, I think it was just a regular tail.
-->-- '''''Webcomic/PennyArcade''''', [[http://www.penny-arcade.com/comic/2001/08/17 "Final Fantasy (x+1)"]]

Some media, such as ''Franchise/FinalFantasy'' or ''Franchise/{{Gundam}}'', are known for being long-running series with multiple incarnations. Within these series, there is always at least one installment that is drastically different to the rest. Most of the time, this installment will be considered the BlackSheep of the group.

The reasons for this particular installment being different vary, the most common generally being GenreShift and ArtShift. Games which acquire this status are different enough that it's hard to coherently compare them to other counterparts in the series. Many a FlameWar is likely to ensue over the relative quality of the title compared to its counterparts with the same license branding.

Will often happen specifically with the second incarnation of the series, often because the creators, not having realized the exact blend of their successful formula, will change it in such a way that many of the fans' favorite parts are removed. As a result, later sequels will take more influence from the first title than the second. EarlyInstallmentWeirdness can ensue if the first one is the oddball, and LaterInstallmentWeirdness if the game in question comes long after the series or franchise has fully established itself. Spin offs of a series can also fall into the trope unless the spin offs themselves start to create a series of their own.

See also CreatorsOddball, for Creators instead of franchises.

* OddballInTheSeries/VideoGames


* ''Franchise/{{Gundam}}'':
** ''Anime/MobileFighterGGundam'' drastically departs from the RealRobotGenre and war themes to delightfully and shamelessly embrace {{Shonen|Demographic}} and {{Super Robot|Genre}} tropes. Still manages to be popular and loved despite, or perhaps because of, this.
** ''Anime/MobileSuitGundam00'' reaches this by the movie, what with the aliens in a series that generally has zero signs of any extraterrestrial life no matter how far humanity spreads out into space.
** ''Anime/TurnAGundam'', due to the considerable differences in themes and settings. Slow paced, atmospheric, and largely set in a pseudo-UsefulNotes/WorldWarI landscape.
** ''[[Anime/MobileSuitGundamWing Gundam Wing]]'' is something of an edge case-- On paper it's pretty similar to the others, with more or less the same themes and plot elements. In execution, though, the ''tone'' is radically different, featuring loads of over-the-top action and a less-focused story due to the EnsembleCast.
** ''Anime/GundamBuildFighters'' takes place TwentyMinutesInTheFuture where Gundam is a fictional series, having technology to allow Gunpla figures to move and be controlled. It's by the the most LighterAndSofter series without the series' usual themes of WarIsHell.
* ''Franchise/{{Digimon}}:''
** ''Anime/DigimonTamers'' is the CyberPunk {{Deconstruction}} of what's normally a ScienceFantasy multiverse, and the only installment to avoid broad, archetypal character types in favor of more subtle personalities (or ''boring'' personalities, depending on what side of the BrokenBase you fall on). It also makes adult characters more prominent than usual, and, most famously, it's much ''much'' darker in tone.
** ''Anime/DigimonFrontier'' stands out as the only Digimon series with no partner Digimon, instead having the human characters fuse with spirits to become Digimon themselves.
* Within the "Baron" series, ''Chiisana Sūpāman Ganbaron'' qualifies. Unlike the [[Series/SuperRobotRedBaron previous]] [[Series/SuperRobotMachBaron installments]], which were SuperRobotGenre shows, Ganbaron is more of a typical HenshinHero show done in the vein of ''Franchise/{{Superman}}'' (albeit with the ability to call a CombiningMecha for help). Between the glut of ''Series/{{Ultraman}}'' [[FollowTheLeader imitators]] that came out at the time and the show's sponsor Bullmark going out of business, it went relatively unnoticed.
* ''Anime/PrettyCure'' has two potential examples:
** ''Anime/SmilePrettyCure'': There's no MythArc, the character designs are more cutesy and {{Moe}}, and there's a greater focus on slice-of-life and comedy (to the point that it almost feels like a parody). While it ''does'' have its fans, it's generally considered to be one of the weakest seasons.
** ''Anime/DokiDokiPrecure'': The main reasons are its KudzuPlot, lack of filler, and (attempted) subverting of most tropes associated with the franchise.

* ''Comicbook/UltimateAdventures'' is the only series in Creator/MarvelComics' Comicbook/UltimateUniverse not based on one of their existing franchises, instead focusing on Hawk-Owl and Woody, an AffectionateParody of [[Franchise/{{Batman}} a certain superhero]] and [[Comicbook/{{Robin}} sidekick]] belonging to [[Creator/DCComics their competitor]]. Genuinely seen as SoOkayItsAverage, it apparently wasn't popular enough for them to try repeating this with other characters.

* ''Film/IndianaJonesAndTheTempleOfDoom'' is quite different from the other films in the Franchise/IndianaJones series. Whereas the rest of the films have Indy trotting the globe trying racing to find an artifact before aggressive government agents from an enemy of America, this story has Indy stuck in India fighting thuggee cultists. The tone is also very different, with a wacky child sidekick and several scenes dedicated solely to gross-out reactions.
* ''Franchise/{{Halloween}}'':
** ''Film/HalloweenIIISeasonOfTheWitch''. Where every other movie is a slasher flick about Michael Myers, the third installment is about a crazy Halloween mask maker who wants to use magically bombing masks and Stonehenge to kill children. The original intent was to turn ''Halloween'' into an anthology series, but fans rebelled and the series reverted back to focusing on Michael Myers.
** The seventh film doesn't take place in Haddonfield (aside from the prologue), and occurs over several days, rather than one.
* After ''Franchise/FridayThe13th'' went over to Creator/NewLineCinema, two instances of oddballs were made in a row:
** ''Film/JasonGoesToHellTheFinalFriday'', the ninth film, where instead of a hockey masked killer and/or a Crystal Lake Locale, Jason becomes a body stealing demon thing for most of the film.
** ''Film/JasonX'' had Jason being his familiar self again, but otherwise the film was a deliberately campy effort which send him into space.
* ''Franchise/ANightmareOnElmStreet'' has ''Film/ANightmareOnElmStreetPart2FreddysRevenge'', where Freddy is not quite the horrific figure of [[Film/ANightmareOnElmStreet1984 the original]], nor the quipster he would become in ''[[Film/ANightmareOnElmStreet3DreamWarriors 3]]'', and instead attacks people in reality, rather than in dreams, and manipulates the protagonist to do his bidding. It is also the only film in the series with a male protagonist.
* The ''Franchise/{{Godzilla}}'' series has a few oddballs here and there.
** ''Film/AllMonstersAttack,'' also known as ''Godzilla's Revenge,'' is a surreal ClipShow where a kid suffering from bully problems at school daydreams about Godzilla (or rather, daydreams about footage of Godzilla taken from the previous movies). It's unclear whether it's meant to take place in the same universe as the other movies or in the real world, but either way, it's nothing like anything else in the franchise.
** ''Film/GodzillaVsHedorah'' is a disturbing art-house film which alternates between live-action and animated segments, has a scene where a character randomly hallucinates that all of the people in a club have transformed into fish, a scene where Godzilla ''flies using his atomic breath'' (which never happens again), several psychedelic montages using weird split-screen effects, and the only appearance of the word "fuck" in the series (only in the dub, obviously). In general, it' a ''very'' strange and nearly incomprehensible movie that sticks out from the others so much that its director was permanently banned from ever working for Toho Studios again.
** ''Film/{{Godzilla 1998}}'' is an American reboot which presents a different version of Godzilla who looks and acts nothing like the Japanese one (even lacking the character's trademark atomic breath) attacking New York. Fans have labeled this creature as GINO ("Godzilla In Name Only") while Toho has named it Zilla, as it does not deserve to be called a god.
** ''Film/GodzillaFinalWars'' was meant to be a celebration of the franchise's 50th anniversary though the film itself barely feels like it belongs in the series. It's more of a general sci-fi thriller focusing on martial arts and motorcycle chases, putting the monsters in the background. It has more in common with ''Film/TheMatrix'', ''Film/Terminator2JudgmentDay'', and ''Film/IndependenceDay'' than with the previous Godzilla films.
* ''Film/StarTrekIVTheVoyageHome'' is the oddball for the ''Franchise/StarTrek'' movie series. Whereas every other movie is set in the 23rd century and features Captain Kirk & company flying around the galaxy on the Starship ''Enterprise'', this movie takes place almost entirely in the mid 1980's, on Earth, with the crew being FishOutOfWater, trying to literally "Save The Whales" (and hence becoming the TropeNamer for SpaceWhaleAesop).
* ''Creator/{{Disney}}'':
** ''Disney/ChickenLittle'' sticks out like a sore thumb, thanks to its lack of songs, rather cynical (and sometimes downright mean-spirited) tone, and its poor and pop-culture ridden writing, partially due to it attempting to capitalize on the FracturedFairyTale genre made popular by ''WesternAnimation/{{Shrek}}''.
** ''Disney/AtlantisTheLostEmpire'' was also treated as such back when it first came out, being more of a straight-up action movie or sci-fi epic rather than something for children. Unlike ''Chicken Little'', however, it has since been VindicatedByHistory.
** When it comes to movies about Literature/WinnieThePooh, ''WesternAnimation/PoohsGrandAdventure'' was a bit of a surprise to people thanks to its complex plot, [[DarkerAndEdgier noticeably darker tone]], and being a character study of Pooh and his friends. While some (especially critics) thought this was too much for a Winnie The Pooh movie, ''Pooh's Grand Adventure'' [[TropesAreNotBad is still just as well liked as the other Pooh movies]] that have come out both [[Disney/TheManyAdventuresOfWinnieThePooh before]] and [[Disney/WinnieThePooh after]] it, with some Pooh fans hailing it as the best.
** Only two Franchise/DisneyPrincess movies have the protagonist as someone other than the princess: ''Disney/{{Aladdin}},'' where it's the titular "Disney Prince," and ''Disney/SleepingBeauty,'' which is especially interesting for making the good fairies, who would be sidekicks or mentors in any other Disney fairy tale, into the main characters.
* ''Film/TerminatorSalvation'' is the only film in the series that does not have TimeTravel as a central plot device. ''Salvation'' instead focuses on the war between Skynet and the resistance, with most of the time travel shenanigans being relegated to John's backstory.
* ''Film/TheIncredibleHulk'', the second film in the Franchise/MarvelCinematicUniverse, is a pretty big oddball in that series. First of all, unlike the rest of the movies preceding ''Film/{{The Avengers| 2012}}'', it was distributed by Universal rather than Paramount, meaning Disney[[note]]who acquired the distribution rights for the rest of the MCU from Paramount in 2013[[/note]] doesn't have the rights to either sell it on home video[[note]]save [[http://www.blu-ray.com/movies/Marvel-Cinematic-Universe-Phase-One-Avengers-Assembled-Blu-ray/46675/ this OOP boxset]] of MCU Phase One movies[[/note]] or make sequels. Furthermore, the film breaks from the MCU formula by establishing the Hulk's origin story via a montage in the opening credits (allowing it to share BroadStrokes continuity with the [[Film/{{Hulk}} 2003 film]]) rather than in the movie proper. It has a much darker tone than the series is known for, and the ComicBook/{{SHIELD}} presence that linked all the other Phase One films together was reduced to an EasterEgg in this film. Add on the fact that Creator/EdwardNorton was replaced by Creator/MarkRuffalo, and that Ruffalo's Hulk looks and behaves much differently from Norton's, and you might not even think ''TIH'' is an MCU film at all, the only real sign being [[spoiler:the cameo from Tony Stark]], which was the first confirmation that yes, the MCU ''was'' a thing that was happening. To this day, {{Call Back}}s to the events of ''TIH'' are far rarer than callbacks to any other film in the series, to the point that Thunderbolt Ross was featured in ''Film/CaptainAmericaCivilWar'' for the explicit purpose of assuring audiences that ''The Incredible Hulk'' is still {{canon}}.
* ''Film/{{Halloweentown}} High,'' the third film, actually takes place almost entirely in our world, with [[OurMonstersAreDifferent Halloweentown residents]] coming over as foreign exchange students. It's also set over at least several weeks instead of just Halloween night, unlike its predecessors (but like its sequel). In addition, Gwen suddenly drops her [[DoesNotLikeMagic dislike of magic]] and Marnie's {{Love Interest|s}} for this film [[WhatHappenedToTheMouse is never mentioned again]]. (The sequel also tries to [[{{Handwave}} ignore any consequences]] of this film [[TheUnmasquedWorld breaking the Masquerade]] so that Marnie still can't be happy in the human world.)

* The fourth Literature/HerculePoirot novel, ''Literature/TheBigFour'' takes a break from the usual murder mystery scenario and reads more like a thriller, where Poirot must stop a secret organisation from taking over the world.
* ''Literature/RingForJeeves'' in the Literature/JeevesAndWooster series by Creator/PGWodehouse - the novel features only Jeeves as a character (Bertie Wooster is absent), it's the only Jeeves and Wooster novel told in the third person (Bertie being narrator of all the other books and stories) and the story is set in the post-WWII Britain instead of usual vague GenteelInterbellumSetting, with quite unpleasant implications for the upper class protagonists, who have to actually [[RealityEnsues start to work for living]]. [[ActuallyPrettyFunny It's quite funny]], just [[TheyChangedItNowItSucks different from the classical Wodehouse]], into whose signature StrictlyFormula novels reality intrudes quite disturbingly.[[note]]Wodehouse freely admitted he was writing basically "musical comedies without music", and some of his fans even in the 1930S acknowledged that many elements of his humour and settings were more like taken from [[TheEdwardianEra early 1910s]].[[/note]]
* The tenth James Bond novel, ''Literature/TheSpyWhoLovedMe'', is told from the FirstPerson perspective of the Bond girl, rather than the usual third-person perspective focusing on Bond. Fleming didn't like the result--the movie with that title is InNameOnly, on his request--though fans of the books generally think that it was an interesting experiment.
* ''Literature/TheLostYearsOfMerlin'''s fourth book, ''The Mirror of Merlin,'' is a mild example--it's not as StrictlyFormula as the others (dispatching with the [[PropheciesRhymeAllTheTime rhyming prophecy]] and with a subtler RaceAgainstTheClock), and is a bit less InNameOnly in its approach to Arthurian legend (due to Merlin meeting [[spoiler:[[MyFutureSelfAndMe his future self]] and a young Arthur through TimeTravel]]).
* In the choose-your-own-adventure ''[[Literature/TimeMachineSeries Time Machine]]'' series, ''The Rings of Saturn'' is the only book that is set in the future rather than the past, and thus doesn't try to teach the reader anything about history.
* ''He Who Hesitates'' is the only novel in the ''Literature/EightySeventhPrecinct'' series that is told from the villain's point of view.
* Of Ludwig Bemelmans' original six ''Literature/{{Madeline}}'' books, ''Madeline's Christmas'', is the only one that features magic and fantasy. Subsequent books by his grandson John Bemelmans Marciano have also included fantasy elements, but of the original six, especially compared to the {{Slice of Life}} tone of the first book, the Christmas story is a definite oddball. Unsurprisingly, the AnimatedAdaptation gives it an extensive rewrite, replacing the magic with a MaybeMagicMaybeMundane scenario more tonally in-line with the rest of the series.
* ''Literature/TheBible'': ''The Song of Songs" is much different from the other books of The Bible. It is a highly sexual love poem, which has no mention of God.
* ''Literature/ShadowsForSilenceInTheForestsOfHell'' isnít too out of place in ''Literature/TheCosmere'', having a decently similar tone and style to the other entries. However it has one notable exclusion that makes it an Oddball; itís the first (and so far only) story in the whole series where [[TheConstant Hoid]] ''never'' appears or gets mentioned at all.

[[folder:Live Action Television]]
* ''Radio/OurMissBrooks'': The last season of the television series, the product of ExecutiveMeddling. Madison High School turns out to have been in Los Angeles. Not the City of Madison - as had been the case before. What's more, it's immediately being torn down for a new freeway. Miss Brooks and Mr. Conklin start working at Mrs. Nestor's private school. These changes were [[CanonDiscontinuity completely ignored]] by the radio series. Our Miss Brooks ended with a [[TheMovie theatrical]] [[GrandFinale series finale]] that followed the radio continuity and ignored the final TV season entirely.
* ''Series/{{Roseanne}},'' upon being told that they only had one more season, decided "whatever, let's have some fun" and {{Re Tool}}ed things by having the lower middle-class family win the lottery. A string of {{Bizarro Episode}}s ensue, including one where Roseanne fight terrorists on the roof of a train while wearing a sports bra. Even when it wasn't being weird, it made some controversial decisions, such as revealing that Dan had been having an emotional affair with another woman. This all leads up to its finale, which infamously [[spoiler:[[AllJustADream reveals that Dan died of his heart attack and most, if not all, of the series was actually a novel Roseanne wrote, based loosely on her life]]]]. However, the show has since been UnCancelled, and the last episode, at least, [[CanonDiscontinuity will apparently be ignored]].
* ''Series/StarTrekDeepSpaceNine'' is very different from the other ''Franchise/StarTrek'' series, due to being the only one set on a station instead of a starship ("Fort Apache In Space" as opposed to "Wagon Train to the Stars"), and relying heavily on the use of the StoryArc. Instead of a weekly PlanetOfHats, most of the focus is on the Federation's interaction with one planet, Bajor, and said planet's internal politics. It also acts as a {{deconstruction}} of the utopian Federation Gene Roddenberry envisioned. As such, it's pretty polarizing among ''Trek'' fans, but also has a following among people who don't necessarily like the other series.
* ''Franchise/KamenRider''
** ''Series/KamenRiderAmazon'' was a major departure from the traditional Showa-era Kamen Rider formula, having the main character transformed via mystical spells instead of using "traditional" belts. The Rider cuts the enemies in a gruesome way instead of letting them explode in most cases, and had inexperience at riding motorcycles. At the finale, the Rider [[ButNowIMustGo had to leave]] instead of staying in Japan like other Showa Riders did.
** ''Series/KamenRiderKuuga'', which began the Heisei-era formula, places as much emphasis on the actions of the police force as on the titular hero, has a mysterious ancient enemy whose motives are only fully understood in hindsight or on a second viewing, never has the hero declare his finishing moves, never uses the name "Kamen Rider" outside of the opening song, treats the growing [[DestructiveSaviour destructive power]] of the main character as concerning or even detrimental, [[DeconstructedTrope deconstructs]] the idea of [[spoiler:the main character's powers coming from the same source as the enemy]], and [[spoiler:doesn't even have a traditional FinalBattle where the hero and BigBad show off the full extent of their abilities and powers, instead going for a bloody fist fight in the snow]]. Also, [[DistantFinale the final episode]] is set after everything's over and involves going back and revisiting all the main characters to see how they've moved on afterwards, instead of being the final battle.
** ''Series/KamenRiderRyuki'' was pretty much ''Kamen Rider'' InNameOnly back in 2002. However, it fell victim to SeinfeldIsUnfunny, and most of the elements that made it unique when it was new (such as a Franchise/SuperSentai-esque TransformationTrinket, grey moral tones, varied suit designs, etc) are quite passé now. The ''Highlander''-esque plot, however, still makes it quite unique amongst the franchise, or at least until ''Gaim'' touched that again.
** ''Series/KamenRiderHibiki'' was vastly different from the other ''Franchise/KamenRider'' Series, to the point where it was originally supposed to be it's own show before Toei decided to put it as the next Rider. ''Everything'' is a departure from the previous shows. The Rider barely looks like a rider, his main weapons are drumsticks, he lacks the bike in which he has his name, and the signature move for the Riders is nixed in favor for beating the monster to death like a taiko drum (he actually puts a taiko drum on the monster to boot). Because of this, it created a BrokenBase with the fandom of Riders, and the ExecutiveMeddling that was done to try and make Hibiki more like Kamen Rider seemed to make it worse in eyes of the half that liked Hibiki.
** ''Series/KamenRiderExAid'' is a MedicalDrama in the form of a {{Tokusatsu}} show, with the Riders having a Video-Game motif, SuperDeformed base forms, and masks with giant anime-style eyes.
* The ''Franchise/UltraSeries'' has had its share of unorthodox series:
** In a franchise about giant superheroes, ''Series/UltraQ'' is a ''Twilight Zone''-styled mystery show featuring all sorts of strange creatures (not necessarily {{Kaiju}}) and paranormal phenomenon menacing ordinary people, rather than superhero-type action. Stranger still, it was the first entry in the franchise before the GenreShift!
** 1967's ''Series/UltraSeven'' is rather strange compared to other Showa entries. Asides from not being called ''Ultraman Seven'', the show rarely featured {{Kaiju}}, preferring alien invaders (not always capable of turning giant-sized au contraire to series norm) as the weekly villains. It was also quite serious in comparison to its family-friendly contemporaries, covering themes ranging from dictatorships to genocide to war, as well as being more a la ''Star Trek'' than ''Superman''. Still, Ultraseven has proven to be even more popular than the original Ultraman with more appearances as well as some sequels and spinoffs of his own.
** 1974's ''Series/UltramanLeo'' seems like a fairly typical Showa entry at first glance, but, as the show makes it obvious from the start, it isn't. It's a lot less silly and light-hearted than its contemporaries with character death, minor horror, and disturbing examples of violence being standard. The title hero hailed L76 rather than the typical M78 and preferred martial arts style attacks over dazzling beams of energy. It also [[{{Deconstruction}} deconstructed]] many of the ideas of the series from before it. Unfortunately, these elements proved to be bad for its run as it proved to have the poorest ratings in the franchise's history!
** 1980's ''Series/UltramanEighty'' had its first half as an oddball, being just as focused on Takeshi's life as a teacher and his relationships with staff and students as on his battles with kaiju. However, ratings dipped in the mid-tens, causing the rest of the series to be retooled into a far more standard Ultra show. Producer Noboru Tsuburaya [[DoingItForTheArt specifically meant]] to use the first half as an attempt at a school dorama as well as a tokusatsu, and he later said the second half of the series was an OldShame for him due to not living up to his original vision, and the first half of the show only got a resolution in ''Series/UltramanMebius'' some 26 years later.
** ''Series/UltramanCosmos'' in 2001 has the BadassPacifist hero put more emphasis on saving the monsters rather than destroying them directly like others, and fights very defensively. It's regarded as one of the lightest shows in the series aside some spin-offs.
** 2004's ''Series/UltramanNexus'' aimed for a much older audience than the average Ultra series. This is made most obvious by the extremely dark elements from horrifying monster killing innocents to lots of angst to the massive amount of {{Deconstruction}} on the ideas typical to Ultraman shows. Monsters were not weekly enemies this time, but took a miniature story arc to kill too. This is even stranger when one considers that this show was the result of Tsuburaya trying to completely remake their iconic character! Like ''Leo'', it also got screwed hard though, forcing Tsuburaya on a more lighthearted path it hasn't strayed off too much since.
** Tsuburaya shifted gears in 2007 from superheroes to {{Mon}}s with ''Series/UltraGalaxyMegaMonsterBattle''. Although technically more of a spinoff to the main franchise, it had the same giant monster battles, only without the Ultramen involved, instead using the many monsters from the history of the franchise to battle each other a la Pokemon. This time, the hero was a man named Rei who had the mysterious ability to command monsters by capturing them in a Battlenizer; his partner of choice was the [[BreakoutCharacter ever-popular]] Gomora. Also, it took place on alien worlds populated by rampaging hordes of Kaiju or aliens with Rei's powers, instead of Earth. This new aspect of the franchise uni-multi-verse would carry on into the Ultraman shows.
** 2007 also has ''Series/UltraSevenX'', which is much darker than ''Nexus'' and being more SpyFiction-oriented. The defense team in the story is an AntiVillain [[EvilAllAlong All Along]], and [[AttackOfThe50FootWhatever the giant monster/alien fights]] are rare. Unlike ''Leo'' and ''Nexus'' though, ''Seven X'' was put in OtakuOClock to avoid getting screwed.
** 2013's ''Series/UltramanGinga'' was the first proper Ultraman series since ''Ultraman Mebius'' in 2006. It took some strange turns with the formula though. First off, there's no defense team, but instead a group of childhood friends hanging out at their former, soon-to-be-demolished elementary school (think ''Anime/DigimonFrontier''). Second, it used Spark Dolls, toys of monsters and Ultras that could be used by people to transform into the monster or Ultra trapped in the toy form, meaning it was not uncommon to see the monsters used by the good guys fighting the villainous monster of the episode. Third, and least significant but still noteworthy, the franchise had begun relying heavily on their most popular monsters (Zetton, Red King, Eleking, etc.) to regularly antagonize the heroes, but this time, the iconics either never appeared or were DemotedToExtra in favour of more obscure monsters. It wasn't terribly well-received with fans, so perhaps that's why Tsuburaya returned to the normal formula with the SequelSeries ''Ultraman Ginga S'' (albeit still using the Spark Dolls).
** 2016's ''Series/UltramanOrb'' again skews the typical Ultra style in favor of the main hero being a wanderer, Gai Kurenai, helped out by a team of amateur paranormal investigators, against a mysterious demon who can take human form named Jugglus Juggler and his card-summoned Kaiju. All the main cast are played by actors with backgrounds in tokusatsu, something which hadn't been done in the ''Franchise/UltraSeries'' in quite a while. Juggler and Gai have several untransformed fight scenes, and their relationship has often been compared to Franchise/KamenRider's tradition of having villains who fight the hero both transformed and untransformed. Also, Gai gets his powers to transform from other Ultra heroes fairly late in the series, and there is a significant, ''Anime/DigimonTamers''-esque CerebusSyndrome that takes hold starting with Episode 12.
** 2017's ''Series/UltramanGeed'' pays homage to ''Series/UltramanLeo'' in multiple ways: The series has Ultraman Zero as a mentor to Geed in much similar way to Seven's relationship with Leo, he is significantly injured in combat and takes on a more vulnerable human form to mentor a younger Ultra. The series breaks several conventions of the franchise in the first 5 eps alone. BigGood Ultraman King [[spoiler: is killed in the beginning of the first episode as part of the backstory to how Belial ended up on Earth after the Crisis Impact which destroyed most of the universe, and Ultra beings are normally not KilledOffForReal.]] The show also has Riku's monster hunter friend/potential love interest Raiha discover his identity of Geed within minutes of meeting him, and Zero's human identity to mentor Geed with, Reito, has a family, yet another Ultra no-no.

* UsefulNotes/SuperBowl 50 is the first one to use the Arabic numeral instead of the Roman numeral, because the logo designers could not come up with an aesthetically pleasing logo that incorporated the Roman numeral L.

[[folder:Web Original]]
* ''LetsPlay/TwitchPlaysTouhoumonAndMoemon'', in addition to being the only time that ''LetsPlay/TwitchPlaysPokemon'' used romhacks that replaced the Pokémon with {{Cute Monster Girl}}s, was a dual run in which all inputs controlled both games. Furthermore, because of the difficulty inherent in this, democracy was made easier than ever to obtain. The expectation was that there would be battles between people trying to progress each game, but instead there was mostly just "work on one, then the other", and the idea of a dual run has never been revisited.

[[folder:Western Animation]]
* ''WesternAnimation/BeastMachines'' is this in the larger context of the ''Franchise/{{Transformers}}'' canon. Instead of ďgiant warring robots that turn into vehicles or animalsĒ, the series involves [[GreenAesop technorganic beings fighting evil, anti-nature drones]] in a VillainWorld setting. Nothing quite like it has ever been attempted again, mainly because [[FranchiseKiller itís failure led directly to the end of the Beast Era and the Generation One timeline]]. Itís rather [[DarkerAndEdgier dark and serious tone]] also used to be considered unusual, though far darker entries in the franchise have arisen since.