"So we decided to make a Mario that made a fresh start by returning to its core principles. That's why we put 'New' in the title."A series has diverged from its original premise or formula, perhaps because it grew a beard and outgrew a few old gags. Or perhaps it jumped a shark or two to the detriment of itself. In any case, the series (in style, or tone, or premise, the characters are not necessarily literally going back) returns to an earlier format, maybe for a nostalgic/humorous looked at itself to poke fun at the behavior and actions of the characters early on in the series or maybe perhaps to fix some problems they've gained along the way. Expect to see long-running franchises do this repeatedly. And with differing ideas on what the 'roots' of a series are. See also Retool, Continuity Drift, Genre Throwback, Running the Asylum and Truer to the Text.
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Anime & Manga
- Dragon Ball:
- The Buu saga of Dragon Ball Z tries to go back to the humor from the beginning of the series, after a long time being a Fighting Series.
- This was also attempted with the beginning of Dragon Ball GT, but bad reception lead to it being steered back from that direction. As a result of this, the initial US broadcast and home video release skipped the first 16 episodes, condensing the more important things into a recap episode.
- Dragon Ball Super is likewise another crack at this, though trying to combine both the humor of the original series and the action of Z so as not to alienate the audience it built. Compared to the above two, its been much more successful in maintaining the lighthearted and comedic tones. s
- Axis Powers Hetalia began with a focus on World War II, but gradually moved beyond it as the series went on. When it was serialized in Birz magazine, it returned to the original setting.
- Yu-Gi-Oh! ARC-V stands out of the Yu-Gi-Oh! spin-offs because it shows the older ways of advanced summoning (Fusion, Ritual, Synchro and XYZ) alongside the newest (Pendulum summoning) and considers them as special. It also brings back old school's monsters and past archetypes, pleasing many fans.
- Digimon Adventure tri. is this for the Digimon franchise, returning back to the popular Adventure setting and featuring the original eight Digidestined back into the main roles once again along with their Digimon partners. It even features the remixed classic soundtracks, including the original opening and ending themes.
- Magic: The Gathering's 2009 core set, Magic 2010, marked a return to the flavor-driven design sensibility of the original Alpha and Beta releases.
- Every so often, when the main members of the Rogues Gallery just can't come up with particularly good ideas for capers and run-of-the-mill street crime in Gotham City spikes upward, Batman will be called upon to beat down ordinary muggers and two-bit murderers. This never seems to bore Batman, however, but to strengthen his resolve: it reminds him how his lifelong quest began in the first place.
Batman: (to a mugger as he handcuffs him) Slime like you made me... I owe you.
- Grant Morrison's Action Comics run from the New 52 was based around doing this for Superman. Like in the original Golden Age stories, his Superman was physically weaker and had an Anti-Hero streak, as well as a strong inclination towards social justice. This was justified by having his stories be a Prequel of sorts, showing Superman as a brash, young idealist.
- The 2008 miniseries Sub-Mariner: The Depths was an attempt at bringing Namor back to his original Golden Age roots, where he was a murderous Villain Protagonist instead of the Jerk Ass Revolving Door Anti-Hero he's best known as today. The mini-series was basically a horror story and Psychological Thriller rather than a superhero tale, with Namor depicted in a manner similar to Godzilla or the shark from Jaws. Curiously, Namor saves Dr. Stein at the end and brings him back to the surface, rather than killing him. It's implied that Namor did this because Stein is famous for providing rational explanations for unsolved mysteries, such as the Yeti, and ultimately he does so with Atlantis, declaring that it doesn't exist even though it does, with footage of it being recorded.
- Star Wars: Darth Vader (a Spin-Off of Marvel Star Wars (2015)) notably portrays Darth Vader as a high-ranking enforcer in the Imperial military, but not as the Emperor's unchallenged second-in-command; he's just as badass as ever, but several Imperial officers (including Cassio Tagge) outrank him, and he's forced to deal with constant cloak-and-dagger plots by Imperials who would happily take his position. While this might seem like a case of Villain Decay, it's actually much closer to Vader's original portrayal in A New Hope than almost any other Expanded Universe work before it. Despite his Memetic Badass reputation, A New Hope actually portrayed Vader as Grand Moff Tarkin's subordinate, several officers (including Conan Antonio Motti) weren't afraid to challenge him to his face, and there was no indication that he was the Emperor's top lieutenant. The Series Finale has Vader getting a massive promotion and being given command of his own flagship, finally bringing him to the status quo most people remember. The series is essentially the story of how Darth Vader became the badass, unchallenged Dragon that most people remember from The Empire Strikes Back.
- The Hanna-Barbera action hero lineupnote has spent many more years as parodies of themselves than they spent as actual action heroes. Future Quest is possibly the most notable return to the characters' original premises in over two decades.
Films — Live-Action
- Looks to be the case with the James Bond franchise as of Skyfall: besides the reintroduction of Q by the end of film, MI-6 has moved into the Universal Exports offices from the older films, Moneypenny is reintroduced and there's a new (male) M.
- Godzilla (2014) goes back to the roots of the original, this one is being made Darker and Edgier to feel more like a horror film, with Godzilla being more of a terrifying force of nature and with the grim results of his rampage not being glossed over.
- X-Men: Days of Future Past undid the slightly more grounded feel and the established continuity of the first three or so films. This had the advantage of restoring much of the original status quo and introducing various elements more familiar to the fans of the comics or cartoon, like Xavier's hover wheelchair and the Sentinels. The trend continued in X-Men: Apocalypse, which looked at the team's pre-adult life and gave them their iconic costumes.
- Man of Steel's take on the Superman mythos is largely this, taking quite a few cues from Siegel and Shuster's earliest Superman comics from the 1930's. Clark Kent is presented as a working-class hero and a defender of the common man rather than an iron-jawed lawman, he's regarded with fear and suspicion by most authority figures, and he spends most of the movie feeling like an outsider. Even the movie's most controversial moment, when Superman snaps General Zod's neck, is actually very much in line with his Golden Age portrayal; in the early days of the comic, Superman wasn't quite the Technical Pacifist that he later became, and he had quite a few Shoot the Dog moments.note
- The Force Awakens was meant to be this for the Star Wars series. J. J. Abrams brought back Lawrence Kasdan to write the screenplay after he hadn't been involved with the franchise since Return of the Jedi, he made a special point of avoiding CGI whenever possible (bringing back the puppetry, models and animatronics that made the original trilogy famous), and decided to film it with traditional 35mm film—making it the first Star Wars movie since Return of the Jedi to be filmed in a non-digital format. The first trailer takes special care to emphasize the movie's Used Future aesthetic, which was a hallmark of the original trilogy. And the final plot took so much from the original movie (with some elements from Empire and Jedi) some felt it was downright a Recycled Script.
- Rocky V was an attempt to return to the grittier and more realistic tone of Rocky and Rocky II after the lighter tone of Rocky IV. They even brought back John G. Avildsen, the director of the first movie. It didn't work, and the movie was disowned by everyone, including Sylvester Stallone. Rocky Balboa and Creed were far more successful examples, combining the serious tone with Character Aged with the Actor.
- After the second and third movies in the Jurassic Park series focused on people navigating Isla Sorna and surviving the wild, uncontained dinosaurs there, Jurassic World returns to the first movie's focus on the logistics and ethics of operating a dinosaur theme park. The movie emphasizes this with specific themes and elements directly paying homage to it (even if unlike in the original, the park is opened to the general public), such as the overgrown ruins of the original park, a big entrance gate through which tourists enter the park, and even the return of the original Tyrannosaurus rex from the old park.
- The first attempt at remaking The Mummy downplayed the dread for pulpy Indiana Jones-esque adventure, and its success led to a trilogy. Then Universal decided to reboot the series with another remake in 2017 that will focus on what the Universal Horror used to be, to the point it is intended to launch a reimagining of the Shared Universe.
- Arrow in its fifth season made a conscious effort to return to being the gritty crime drama and "street-level show" it was in the first (and to a lesser extent, second) season, after two seasons of introducing sci-fi and mystical elements to the show in order to help establish the shared universe. Notable changes include a renewed focus on the organized crime element in Star City and Green Arrow abandoning his strict policy of Thou Shalt Not Kill, making him once again the lethal vigilante he was early in the show. Furthermore, the Big Bad of this season, Prometheus, is a skilled archer and Badass Normal more akin to Season One Big Bad Malcolm Merlyn than the nemeses of subsequent seasons. Also, Prometheus' origin is tied to Oliver's actions during Season One and is connected to the List, another early element of the show which has now been made relevant again.
- Buffy the Vampire Slayer
- The fifth season finale ends with a battle against a demonic god for the fate of reality... but starts with Buffy killing a vampire in an alleyway. This is after she'd already blown up a giant demon snake in season three and fought off a man-made demon-cyborg in season four. Buffy even lampshades this by pointing out she hadn't done something so simple in a while.
- The final season likewise moved the action back to the now rebuilt Sunnydale High School where Buffy now works as a counselor.
- Charmed's Sorting Algorithm of Evil became somewhat more akin to a bell-curve. The first three seasons dealt with them battling warlocks and demons, the fourth had them battling the very Source Of All Evil, the fifth ended with them battling the classic Greek Titans, the sixth had them go against a Well-Intentioned Extremist Angel, and the seventh had them end destroying a past contender of the Source. By the eighth and final season, Word of God says that Billie and Christy, sibling female witches like the protagonists, was a great way to ground the show.
- Law & Order: Special Victims Unit was forced by Christopher Meloni's departure to go back to a more rounded set of characters instead of being centered around Stabler and Benson.
- Star Trek: Voyager was this for the Star Trek franchise after Star Trek: Deep Space Nine focused more on political intrigue and Darker and Edgier themes: A lone Federation starship exploring the dangerous unknowns and meeting new life and new civilizations.
- Doctor Who:
- The Third Doctor's tenure Retooled the series as a Spy Fiction show and made numerous changes like making the Doctor all suave and fashionable, giving him a Cool Car, having most of his adventures take place on Earth, and pairing him up with one main female companion with a gaggle of coworkers who could rotate in and out as needed. Season 12, after one transitional piece, took the show right back to the First and Second Doctor eras - the Doctor abandoned his job to travel in space, was back to having a boy/girl companion team (like most of the black-and-white era), gained a clownish and shambolic personality inspired by Patrick Troughton's portrayal while incorporating Hartnell's Blue and Orange Morality and more alien psychology, returned to the shorter serial length seen during most of the William Hartnell years, and rekindled the Hartnell-era practice of linking every story onto every other story with Cliffhangers directly in a run-on Arc format. One story in this season ("The Ark in Space") is a reworking of a proposed and unmade script submitted for William Hartnell's Doctor, and starts with a Hartnell-style first episode of the TARDIS crew wandering around solo trying to work out where they are. Another ("Genesis of the Daleks") is an origin story for the Daleks about them being locked in a nuclear war against the Thals, another thing done back in the Hartnell era. Initial plans were to cast an elderly Non-Action Guy in the role similar to William Hartnell, to break from the Third Doctor's Action Hero traits, but Tom Baker so impressed the producers and casting director that they ended up casting him even though he was at the time the youngest actor to take the role. In his first episode, the Doctor even has a significant line of Leaning on the Fourth Wall where he tells Harry that he is the Doctor - "the definite article" - with the implication that the last guy wasn't as much like the Doctor is as he is. A lot of these changes are dropped after Season 12 (like the lead-ons and the male companion) but most are kept.
- Season 17 was a conscious attempt to move away from the Arc-based storyline and Order Versus Chaos mythology of Season 16, and back to the idea of the Doctor going on loose adventures having fun and solving smaller-scale problems. He even had his direct control of the TARDIS removed in favour of the random travel associated with Hartnell and Pertwee.
- The Ninth Doctor's tenure, while very different in a lot of ways, stripped away a lot of continuity for a 'back to basics' approach and re-established points about the tone and the Doctor's character that had been part of the show right at the very beginning but were forgotten about later. The Doctor being a refugee from a terrible war who could never return home was part of the initial series premise (that got changed by Terrance Dicks when he actually got to write The Reveal) and agony over changing the past and the Dirty Business involved in world-saving were emblematic tropes of the early years that soon got buried by the Monster of the Week premise the show developed - and RTD dug them both back up again in order to connect new viewers to the Doctor. While the show drew a lot from the Expanded Universe, it was much closer in tone and feel to the old show than the books had become by that point.
- The Eleventh Doctor's tenure reintroduced a number of elements from the classic series that had been long gone. Series 7, itself a loose prologue to the 50th anniversary specials, saw the gradual reintroduction of the Doctor's face superimposed over the time vortex in the title sequence, the redesigned TARDIS interior based more closely on the First Doctor-era sets (albeit with better production design) and several 1960s and 1970s-era antagonists (the Great Intelligence, the Ice Warriors, the Zygons) were finally reintroduced into the show. Even the Eleventh's costume, bow tie and all, is based closely on the Second Doctor's old threads. The approach to the plots also hearkens back more to the older style of more isolated settings and horror-like stories as opposed to the bombastic, blockbuster-like style of Russell T. Davies — the Series 6 finale even has the Doctor saying that he had gotten "too big, too noisy" as of late.
- Peter Capaldi era:
- Series 8's casting of Peter Capaldi as the Twelfth Doctor was a further move in this direction, bringing the Doctor back to the Cool Old Guy /Grumpy Old Man aesthetic of the character in the show's early days. Tellingly, Capaldi ties with William Hartnell for the oldest actor ever to take the role, but he follows Matt Smith — the youngest actor ever to take it. This is all heavily lampshaded in Twelve's debut story "Deep Breath", where Vastra points out to Clara that the Doctor has been an old asexual alien for far longer than he's been a handsome young Chick Magnet in a bow tie. His stories go on to take even more cues from the Classic series, with heavy use of major Internal Homage ("The Tenth Planet", "Tomb of the Cybermen", "The Moonbase", "Robot", "The Ark in Space", "Genesis of the Daleks", "Terror of the Zygons", "Pyramids of Mars", "The Android Invasion", "The Deadly Assassin", and "The Invisible Enemy" all contribute major plot points and setpieces to various stories), longer actor-driven scenes returning to the series' theatrical history, and more use of Practical Effects and People in Rubber Suits (although much better-looking than the ones in the Classic series!). Series 8 even has two teachers at Coal Hill School and a disruptive Coal Hill School pupil serving as companions to varying extents, directly referencing the original companion team of Ian, Barbara, and Susan. (The Spinoff Class, which debuted between Series 9 and 10, is set at Coal Hill; Twelve appears in its first episode.)
- The modern series brought longer episodes than classic Who — 45 minutes or longer compared to 25 minutes or lessnote — but also more single-episode stories, meaning fewer cliffhanger episode endings. For Series 7 Steven Moffat eliminated cliffhangers altogether, and this held for Series 8 until the Season Finale: a two-parter with a classical cliffhanger in the middle that also brings back some classic series villains for the first time in Twelve's tenure. Series 9 is almost entirely multi-part stories. Series 10 returns to a mix of one-off and multi-part stories, partially to break in new companion Bill, and the first two episodes hearken back to the Hartnell era by being one-offs with endings that lead into the next episode's opening scene! (In DWM, Moffatt explained that whenever they feel comfortable making Doctor Who, it's a sign they should try doing it differently.)
- Series 10's writing is, while modern, more 'Classicish', focusing less on relationships and more on adventures, and with episode plot mechanics being less concerned with gimmicks and more concerned with which corridors the characters should be running down. One episode in this series, "Empress of Mars", is a Genre Throwback (to a Brian Hayles-penned Pertwee story) of a kind that hasn't been seen in the new series before; and a Classic writer was commissioned to write for the revival for the first time (Rona Munro).
- The 2016 revival of The X-Files seems to be doing this. Mulder and Scully are broken up, and back working as FBI agents. On the behind the scenes side, the show will return to filming in Vancouver, and feature episodes written by early season writers such as Darin Morgan.
- Once Upon a Time spent seasons three through five pitting the heroes against all manner of villains, including Peter Pan, Hades, and Mr Hyde and sending them to all sorts of magical lands, including Neverland, The Underworld, and Camelot. Season Six takes the series back to Storybrooke and pits the heroes against Rumpelstiltskin and (a version of) The Evil Queen, the villains who started it all, making it feel it a lot more like the early seasons. It even recreates several iconic shots from Season 1.
- Starflyer 59's album I Am the Portuguese Blues was a deliberate throwback to their first three albums: lots of guitar distortion and no keyboards, in contrast with the Synth-Pop-influenced sound they had evolved into since then. (In fact, most of the tracks were unreleased demos from that era, re-recorded for this album.) Its cover art (a solid color, with no text at all) was also a reference to those first three albums.
- Loreena McKennitt started off singing traditional Celtic songs and slowly expanded to include other cultures, becoming more of a World musician. In 2010, she released an album composed of traditional Celtic songs.
- The Beatles and Let It Be. It bears pointing out that the Let It Be project was originally called Get Back because this was precisely the idea (and that of course is also the reason the song was called "Get Back"). This was an attempt to return to the sort of spontaneous, energetic rock and roll they'd played at the beginning of their career - as opposed to the sophisticated and intricately produced music they'd moved on to. The recording sessions were a disaster, and they largely abandoned the "back to basics" approach for their last recorded album, Abbey Road.
- Orbital first rose to prominence making acid techno—then they switched to a style based on eclectic sampling, while straddling the line between ambient and rave music. (Another attempted style change, 2001's darker drum 'n bass-heavy album The Altogether, was not as well-received.) For their 2004 release, Blue Album—at the time, meant to be their last album ever—they returned to the acid techno sound of their early years. The song "One Perfect Sunrise" was a modern counterpart to their classic "Halcyon + On + On". Even the title, Blue Album, was a reference to Orbital's first two albums, which were officially self-titled but unofficially known as Green Album and Brown Album.
- They Might Be Giants' 2011 album "Join Us" brought back some of the drum machines and synths from their first few albums.
- Ratt's 2010 album "Infestation" brought back the band's classic hard rock sound.
- Elton John did this twice:
- In 1983, after a bit of a Dork Age of inconsistent albums and slow sales, with some Executive Meddling involved, Elton reunited his core band of Davey Johnstone (guitar), Dee Murray (bass) and Nigel Olsson (drums), the core musicians who backed Elton on his classic 1972-75 material, hiring Bernie Taupin back as full-time lyricist, and delivered a consistent and '70s-nostalgic set of material with subtle synth touches. The album that resulted, Too Low For Zero, and the memorable Music Videos he filmed to promote the albums, lead to Elton's comeback in The '80s.
- In 2001, after another bit of a Dork Age of inconsistent synth-and production-heavy, AOR-geared albums, Elton, infuenced by listening to Ryan Adams' Heartbreaker album, decided to write a full album of strong material with a "stripped-down" sound, Songs From The West Coast, aimed more at his singer-songwriter roots than the pop charts. It gained moderate sales, but earned him his strongest reviews in years and restored much of his reputation as an artist. It also paved his direction over his career for the next 14 years and counting.
- Of Montreal has done this twice. 2002's Aldhils Arboretum and 2013's Lousy with Sylvianbriar are both built around straight forward rock songs (well, straightforward by Kevin Barnes standards) that harken back to the band's early indie days. What's more, both albums followed a series of elaborate concept albums.
- Good As I Been To You (1992) by Bob Dylan marked his return to his roots by being the first solo acoustic studio album he recorded since Another Side of Bob Dylan (1964).
- Disintegration (1989) marked The Cure's return to their Goth Rock roots after several years of a more accessible commercial sound. Producers feared it would become a flop, but it actually was a huge critical and commercial bestseller.
- Metallica had a somewhat rocky experience with this in the 00's. After dabbling with commercial hard rock on "The Black Album" and then bluesy post-grunge on Load and ReLoad during the 90's, 2003's St. Anger was hyped as a return to the band's thrash metal roots. The results were... disappointing, to say the least (for starters, the songs rarely had any guitar solos, a huge and detrimental difference). Fortunately, five years later, the band released Death Magnetic, which was indeed their long-promised return to the sound and style of their 80's material (albeit with some appropriately modern touches). 6 years later, Hardwired... to Self-Destruct went ever further with the "roots" motif, given the main inspiration was the band's debut album Kill 'Em All.
- Juno Reactor's The Golden Sun of the Great East returns to the duo's psytrance roots, following the more eclectic and experimental Shango, Labyrinth, and Gods and Monsters albums.
- Front Line Assembly, following forays into Industrial Metal, IDM, drum n bass, and ambient, revisited their EBM/electro-industrial stomping grounds with Echogenetic.
- By the singles released thus far, Midnight Resistance's third album looks to be returning his dark synthpop roots, after the more mainstream guitar-focused The Mirror Cage.
- CKY's fifth album The Phoenix deliberately returns to a style far more in line with the band's first two albums, being written to be a follow-up to the band's second album Infiltrate. Destroy. Build. and building off of its sound.
- Apoptygma Berzerk were one of the founding bands of the Future Pop subgenre of Industrial in the '90s, but in the 2000s, they made a total Genre Shift to Indie Rock. Then in the 2010s, they reverted to industrial electronica with the Exit Popularity Contest album.
- Guitar Hero Live ditched the bass guitar and drums that were added in Guitar Hero: World Tour, but it kept the vocals and introduced a new guitar controller.
- This is the entire premise of Crash Bandicoot N. Sane Trilogy.
- The Sonic the Hedgehog series has had multiple brushes of this, arguably due to the series' prolonged hurdles it has constantly stumbled into in the 3D space.
- Shortly after the release of Sonic Adventure 2 —which continued Sonic's trajectory into 3D gameplay and more elaborate and darker storylines— came the release of the first Sonic Advance, which played in 2D and served as a basic recreation of the earliest Genesis games (taking after Sonic the Hedgehog 2 in particular) in stage design, game mechanics, and a simple plot. (Advance is however more of a downplayed example, as it wasn't explicitly stated to be based off of the originals and comes with its own fair share of changes, such as having the character designs and aesthetics introduced in Adventure and onwards.) While considered not quite as good as the Genesis originals, Advance generally gets approval as a solid Spiritual Successor.
- Sonic the Hedgehog 4 was the first Sonic game specifically billed as a direct attempt at going back to basics, and was also the first 2D Sonic game released on consoles since Sonic 3 & Knuckles. However, the game actually turned out to closer resemble the modern Sonic games in gameplay rather than the originals (including but not limited to the game's very different physics, having speed boosters, and having the Homing Attack mechanic), while also using the modern character designs. It was largely lambasted for having missed the point of the original games completely and for general sequelitis.
- Half of the premise of Sonic Generations is that Sonic from the Classic era games is brought forward in time to the present, and also marks the first time Sonic's original design from that era is used in a new game. While still considered not perfect (with issues cited in his physics and level design), Classic Sonic's gameplay is generally considered to be superior to Sonic 4 and genuinely enjoyable in its own right.
- The second direct attempt at going back to the roots was made with Sonic Mania, which went the full retraux route of having 32-bit sprites reminiscent of the 16-bit sprites of the Genesis games, exclusively using the original designs, and billing itself as a direct sequel to Sonic 3 & Knuckles (and thus knocking Sonic 4 into Canon Discontinuity). Mania was praised by reviewers and fans alike as a genuine return to form and for having succeeded where the past throwback Sonic titles had failed.
- After over ten years of collecting Stars and Shine Sprites in 3D, New Super Mario Bros. 1 marked Mario's return to 2D gameplay and the original Super Mario premise of having to reach the end of the stage, flagpole at the end and everything. This idea was so successful that it not only spawned its own series of sequels, this linear gameplay style was transferred to the 3D installments: loosely into the two Galaxy games and fully-adhered to in Super Mario 3D Land and Super Mario 3D World, which were themselves described by the two developers as having the exact game design style transferred to 3D. Things then came full circle when the shift to linear 3D Mario titles resulted in Nintendo's returning to Mario's 3D roots; with the open-ended exploration of Super Mario 64 and Super Mario Sunshine revisited with the development of Super Mario Odyssey.
- Marvel vs. Capcom: Infinite returned to the 2-on-2 bouts that were first featured in X-Men vs. Street Fighter, making it easier for newcomers. It also brought back the Infinity Gems (now renamed "Infinity Stones"), a gameplay mechanic that hadn't been used since Marvel Super Heroes back in 1995.
- Mega Man 9 and Mega Man 10: By that time, Mega Man games had complex storylines and complicated gameplay. These two games kept their plots simple and plays almost exactly like an extension of Mega Man 2, even keeping the NES appearance. In fact, these two games were designed by the same people who made the original Mega Man games.
- Halo has done this a number of times over the years:
- While Halo 2 and Halo 3 added all sorts of new aspects like duel-wielding and fully rechargeable heath (instead of just the shields), Gaiden Game Halo 3: ODST and prequel Halo: Reach deliberately scaled them back, hewing closer to the original gameplay model presented by Halo: Combat Evolved.
- Halo 5: Guardians once again features a pair of protagonists, an idea that was tried in Halo 2 but was not expanded upon. Also, Halo 5's Arena-mode multiplayer was designed to reflect the original trilogy's multiplayer, resulting in the complete removal of the Armor Abilities, loadout customization, and ordinance drops introduced in Reach and Halo 4.
- Halo Wars 2 features aesthetics more reminiscent of Bungie-era Halo than 343 Industries' take. This is even justified by the story: the Spirit of Fire's UNSC forces have just come out of a 28-years-long stay in cryosleep, while the Banished broke away from the Covenant before the events of Halo 2.
- The Final Fantasy series; after VI was a steampunk world that coined the term Magitek, VII and VIII shifted to a modern-esque setting with electricity spaceships and cities. IX then brought things back to a medieval setting of castles, airships and villages. As well, while VII and VIII had a three-character party system where they were as unique in battle (or not) as the character customized them, IX went back to the style of four party members with pre-set skills as earlier games had done.
- Atelier Rorona is intended to be this for the Atelier series. After the more standard Eastern RPG style of Atelier Iris and Mana Khemia games, Atelier Rorona returns to the simulation, alchemy-based gameplay of the first five games (which are only available in Japan).
- The Legend of Zelda:
- The Legend of Zelda: A Link Between Worlds was a return to the 2D roots of the series after years spent refining the mechanics of the 3D iterations of the series, and the experimental 2.5D games for Nintendo DS. It also harkens back to the much more non-linear titles of the franchise's early years, going so far as to reintroduce two concepts (buying a quest-important items outside of dungeons and the ability to enter dungeons in any order) that hadn't been seen since the very first game. And the title, of course, is deliberately evocative of the Super Nintendo-era A Link To the Past, as are the visual style and The Overworld.
- With The Legend of Zelda: Breath of the Wild, series producer Eiji Aonuma explicitly stated that his goal was to make a Wide Open Sandbox comparable to the original NES game, in stark contrast to the increasing linearity that the 3D installments had been presenting since The Legend of Zelda: Ocarina of Time. This is to the point where the sweeping shot of Link looking out at the mountains at the start of the game deliberately mirrors artwork from the first game's instruction booklet◊. It is even possible to go straight to the final boss early on, skipping a large majority of the game's story, if you so wish.
- Thief: Deadly Shadows was in many ways a blend of the sensibilities of the first two games, but it recalls the style of the first one a bit more, without being a homage. It has a tighter story focus, more firmly medieval set dressing with less overt steampunk, a slightly more supernatural tone, and a smaller, humbler assortment of gadgets. All this while also keeping the narrative and gameplay focus on The City and on the mundane heist missions, just like the second game.
- To date, nearly every game based on the Alien series has taken its cues from the later movies (Aliens onward), featuring badass Space Marines facing waves of Xenomorphs with BFGs. Alien: Isolation revisited the franchise's Survival Horror roots, pitting a lone everyman protagonist against a single alien in a dark spaceship, just as the 1979 original did. As the production staff has stated in interviews, practically everything in the game (from architecture to sound effects) is inspired by the original Alien in some way.
- After struggling with the difficult-to-program and (initially) overpriced PlayStation 3, many people have observed that Sony's strategy with the PlayStation 4 returns to the principles that made the original PlayStation so successful, such as a developer-friendly system architecture and a competitive price point. This is alluded to by Mark Cerny in a press conference; since the PlayStation 2, Sony's architecture got progressively harder to work with and games took longer to develop for them. With the PlayStation 4's architectual simplicity, they returned to the swiftness of the original PlayStation.
- Ratchet & Clank:
- Ratchet & Clank Future: Tools of Destruction is purported to be this by the developers. After a war-like third entry and a darker game-show-arena fourth entry, Tools distilled the series down to the core elements that worked the best from all four previous titles, whilst also adding in a few new ideas of its own and a larger emphasis on the plot. While later games went in different directions again, the tone and basic gameplay never deviated far from what Tools of Destruction established.
- Full Frontal Assault was coined as being this for the camera angle after All 4 One used an on-rails third-person camera, while Into the Nexus was this for the gameplay overall.
- DiRT Rally was deliberately developed as a technically up-to-date, no-nonsense Nintendo Hard rally simulation game, in the vein of the Colin McRae Rally series and once-rival titles such as Richard Burns Rally. Codemasters kept the game's existence under wraps until the last minute, in order to give fans of their older rally titles a real surprise. Given the positive reception of the game, it seems to have payed off.
- Grand Theft Auto: San Andreas does this within the game itself, and in-universe. Early in the game you would be killing rival gangs in Los Santos, taking over their territories. During the game you will end up buying properties in San Fierro, getting a share in a casino in Las Venturas, etc... - until Sweet reminds you of where you came from. Then, once you return to LS, you'll start shooting Ballas and conquering their territories again.
- DOOM returned the Doom franchise to its fast-paced and action-packed run-and-gun roots, in sharp contrast to how the previous main entry, Doom 3, was more of a survival-horror game.
- Dead Rising 4 takes place back in the city of Williamette, CO and once more stars Frank West (the protagonist of the original Dead Rising). It also takes place in a mall (same as the original game), however it's a different mall (Williamette Memorial Mall as opposed to Williamette Parkview Mall) and it's 16 years after the events of Dead Rising (one year after Dead Rising 3).
- The Driver series started off as a pure driving game and a homage to classic Car Chase scenes. As the series went on however it began to Follow the Leader of Grand Theft Auto, with mixed results. Come Driver: San Francisco: gunplay and on-foot gameplay is gone, and all the new mechanics focus purely on driving. The final result is considered the highlight of the series, and one of the most unique driving games out there.
- In Dragon Ball Xenoverse's pre-flight dialogue, Broly behaves much closer to his original characterization in Broly – The Legendary Super Saiyan than in its two sequels. After years of his more infamous portrayal as a mindless rage monster only capable of Pokémon Speak, Broly is much closer to his much earlier Blood Knight portayal.
- While Resident Evil 7: biohazard differs in its first-person camera, it's a throwback to the first game, Resident Evil, instead of the increasingly action-focused direction Resident Evil 4 started. Several classic mechanics return, such as scarce ammo and health items, convoluted puzzles and locked doors, and frequent backtracking in a residence full of evil.
- Since leaving the World War II setting in 2008, Call of Duty been to the present day and beyond (with a short jaunt to the Cold War in Black Ops). The 2017 game will finally return the series to the staple Allied vs. Axis conflict that started it all.
- Ace Combat, after a decade away from making mainline games in its established Strangereal universe, in which there were rather divisive games that for fans felt like a Follow the Leader of Call of Duty and an Allegedly Free Game, respectively, is apparently back to the style and setting of the PS2 era that earned it its fans with Ace Combat 7: Skies Unknown.
- The Irate Gamer, since the jump to HD, had an ongoing storyline. Towards the end of the storyline, Bores created some non-sequential episodes that were closer to the earlier videos.
- After its initial gimmick of mashing two or more popular weapons into a single weapon fell flat with the fans, Man At Arms: Reforged went back to the original series' premise of simply forging weapons from various fantasy series.
- Joueur du Grenier: The X-Perts 2016 episode is done in the style of the videos from the beginning of the series, poking fun at their low quality and mocking several tropes used at the time.
JdG: What's happening? Why is the picture so small? Why is it misshaped? Why is everything ugly and gross? AND WHY IS THE SOUND SATURATING WHEN I SPEAK LOUDER?!
Seb: I think we're back in 2010... Oh fuck, my voice, shit!
- According to its creators, Ben 10: Omniverse was an attempt to return the franchise as a whole back in alignment with the original Ben 10 series. Omniverse tones down the Darker and Edgier aspects and drastically changed the art to a less realistic style as compared to Alien Force and Ultimate Alien. The show frequently has flashbacks to adventures of 11 year-old Ben (that occurred a year after the events the Original Series) and reintroduces characters and aliens seen in the original series. It ended up diving the fanbase even more than the previous versions, leading to a full-on Continuity Reboot with the purely comedic Ben 10 (2016)...which continues to break the fanbase.
- My Little Pony: Friendship Is Magic zigzags this by returning to the adventure stories that were seen in the first generation of the franchise in certain episodes, but is mostly comprised of the Slice of Life style seen in most other MLP shows.
- Though some fans initially wrote it off as a Spinoff Babies show, the first two seasons of X-Men: Evolution are essentially this for the X-Men mythos, returning to the original premise of the comics: a High School drama about teenage mutants learning to control their powers while dealing with the typical struggles of growing up.
- While The Spectacular Spider-Man took a lot of aspects from across Spidey's canon, it specifically drew many storylines and plotlines from the comic's earliest days: making it very much a high school drama, with Gwen Stacy and Liz Allan beating out Mary Jane for the spot of Peter's main Love Interests (and returning the latter to her original flirtatious party-girl personality while making her Peter's minor love interest, who would have became the main love interest had the show continued). The show is even credit as "created by" Stan Lee and Steve Ditko, and only "adapted" by Greg Weisman and Victor Cook.
- The 3-2-1 Penguins! episodes "12 Angry Hens", "Kennel Club Blues", "Oh, Mercy", and "Promises, Promises" had only one of the twins going on the mission like they did in the direct-to-video episodes instead of both of them.
- After decades of dark, serious Batman stories, Batman: The Brave and the Bold revived the goofy silliness of the Silver Age stories.