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Same Story, Different Names
An author makes a big hit. Then he proceeds to write more stories with essentially the same plot as their first hit.

Compare Spiritual Successor, which is more angled toward sequels than rehashing. See also Expy, Strictly Formula, Recycled Premise, and Recycled Script.

Examples:

Anime & Manga

Film
  • The Twilight Samurai and The Hidden Blade are both about a poor, extremely humble samurai who just wants to live a simple life. At the same time as he falls in love, he gets dragged into the violent world of politics against his will due to a rare technique of swordsmanship he possesses. Ultimately he uses his technique to escape from his predicament and gets married. Both films are written and directed by Yoji Yamada.
  • Writer/director Kurt Wimmer admitted to rehashing many of the same concepts in Ultraviolet from his previous film Equilibrium. Both are about a superhuman killing machine in a future dystopia who goes against a quasi-religious, fascist government that is built around fighting something (emotion/virus) that the hero possesses. The hero fights other superhuman enforcers in a number of Curb Stomp Battles to reach the #2 man, who turns out to A: have the same prohibited thing as the hero, B: be the real leader of the government, and C: be the toughest opponent of all.
  • Two films written and produced by John Hughes and directed by Howard Deutch in the late '80s, Pretty in Pink and Some Kind of Wonderful, have essentially the same plot but with most of the genders reversed. A poor teenager (Andie/Keith) has an unrequited crush on a rich classmate (Blaine/Amanda), unaware that her/his quirky platonic best friend (Duckie/Watts) is deeply in love with her/him and facing retribution from said rich kid's evil friend/boyfriend (Steff/Hardy). The difference is that, because the test audience didn't like the ending, in Pretty in Pink Andie ended up with Blaine; Hughes wrote Some Kind of Wonderful because he was upset at the Executive Meddling. Some Kind of Wonderful arguably ends up the better movie for it, too, since the story includes Hughes's personal appreciation for art and music, themes which were largely missing from Pretty in Pink.
  • Roger Corman's The Little Shop of Horrors is essentially Corman's A Bucket of Blood for botanists instead of artists. It's also a case of Same Score Different Names; Corman commissioned the score for both movies, and a later movie, The Wasp Woman, from the same guy. The composer, in the finest traditions of simply not caring, just handed over the score he wrote for A Bucket of Blood every time.
  • Tyler Perry receives a lot of criticism for this — just look at his page quote. His movies usually have a black woman in an abusive relationiship (or who was in one) who is a single mom. She will meet a nice working class man, and hate him at first because of that, but they will grow to like each other. Meanwhile, somebody will have a problem with their baby mama, somebody will be on drugs, Madea will discipline some children and there will be some incest involved. But at the end, there will be a church scene where everyone finds Jesus and all is well. His first movie, Diary of a Mad Black Woman actually received decent reviews, but his later movies have been poorly received by critics but made quite a bit of money.
  • In Singing In The Rain, Cosmo suggests to Don Lockwood that they take the film they'd already celebrated, and simply slap a new name on it. It reminds Lockwood of something Kathy had said just earlier.
  • Tarzan and Jungle Jim are the same story: a white Nature Hero lives in the jungle. It wasn't helped by the fact that Johnny Weissmuller starred in both of them.

Film-Animated
  • A lot of movies in the Disney Animated Canon have direct-to-video sequels with storylines that boil down to rehashes of their predecessors.

Literature
  • Julian Comstock and Spin.
  • Dan Brown. Except for the settings and MacGuffins of each story, they're all the same. The Da Vinci Code, Angels and Demons, Digital Fortress, Deception Point — all written by the same exact formula to a hundred details of specificity.
  • Agatha Christie sometimes did this in short stories.
    • The plot of "The Market Basing Mystery" (1923) was used to create its novella length Distaff Counterpart "Murder in the Mews" (1937).
    • The short story "The Plymouth Express" (1923) was expanded and reworked into the novel The Mystery of the Blue Train (1928) with a change of killer and motive.
    • "The Submarine Plans" (1924) was expanded to create "The Incredible Theft" (1937).
    • The plot of "The Kidnapped Prime Minister" (1924) was reused in "The Girdle of Hippolyta" (1939), with the victim changed from a male politician to a young schoolgirl and a corresponding change of motive.
    • The central plot device of the Harley Quin short story "The Sign in the Sky" (1925) is also the key device in the Hercule Poirot novel Taken at the Flood (1948).
    • The plot of the Miss Marple short story "The Blue Geranium" (1929) was reused in the Hercule Poirot short story "The Lernaean Hydra" (1939).
    • "The Mystery of the Baghdad Chest" (1932) was expanded to create "The Mystery of the Spanish Chest" (1960).
    • The Hercule Poirot short story "Yellow Iris" (1937) was expanded, reworked, and reused as the Colonel Race novel Sparkling Cyanide (1945) with a change of killer and motive.
    • The plot of the Miss Marple novel The Moving Finger (1942) was reused in the Hercule Poirot novel The Clocks (1963) by replacing the letter with a telephone call and changing the victim from a maid to an office worker. The anonymous letter plot was replaced with a mystery / espionage plot for The Clocks.
    • In Cards on the Table, Ariadne Oliver is asked if she's ever reused a plot, and Poirot instantly mentions "The Lotus Murder" and "The Clue of the Candle-Wax" - which from the descriptions are her versions of Murder on the Links and "The Adventure of the Submarine Plans".
  • Gordon Korman made his name with This Can't Be Happening at Macdonald Hall! featuring Crazy Awesome Bruno Walton and his Only Sane Man roommate, Boots O'Neill. In addition to writing several sequels to the book, he also wrote several other "Crazy Awesome Guy and his Only Sane Man best friend get up to Crazy Enough to Work schemes" books before eventually branching out. Such as:
    • I Want to Go Home = summer camp version.
    • Who Is Bugs Potter? and its sequel = this time they're musicians.
    • Our Man Weston = with twins.
    • Don't Care High = A Bruno and Boots-esque team at the world's most apathetic high school.
    • A Semester in the Life of a Garbage Bag = this time, the Bruno Expy has the world's worst luck and is trying to finagle a trip to the world's luckiest island.
    • Of course, some of his books he wrote in junior/senior high, which is a bit of an excuse.
  • Almost all of the fantasy novels by L.E. Modesitt Jr., and even some of his science fiction novels, feel like the same story with a different coat of paint. Luckily for him, it's still a pretty good story (and it's really nice paint).
  • Julian F. Thompson's big hit was The Grounding of Group Six, about five teenagers whose Rich Bitch parents paid a school to have them killed off. The guy hired to do the killing does a Heel-Face Turn when he realizes that the kids aren't the monsters he was told they were. Then they all run off and hide in the woods, form True Companions, and Pair the Spares. He also wrote several other books on the "five or six kids get dumped by parents, run off together to the woods, form True Companions and Pair the Spares" theme, such as:
    • Gypsyworld = takes place in another world, and some of the kids were gotten rid of by their parents and some were just stolen, but the gypsies won't tell them which was which. Otherwise, same as Group 6 but with an eco-theme.
    • A Band of Angels = kids on the run again from the government.
  • Most of David Gemmels books feature and old hero who becomes a mentor to a young hero, a fiery damsel who is rarely in distress, a magical order, and a hopeless battle.
  • Most of David Eddings' work is like this, following a very clear High Fantasy outline with lots of Expys, Lampshade Hanging, and snark (though he did tend to play around a bit with what personalities occupied what roles- in The Belgariad, for example, The Hero is a farmboy Chosen One and the Big Bad is a God of Evil in the traditional Satanic vein; in The Elenium, the roles are held by a Knight in Sour Armor and an Eldritch Abomination, respectively).
    • There's a beautiful Lampshade Hanging in The Mallorean (the sequel to The Belgariad), where the characters realise they're following the same prophecy again.
  • Jack McDevitt: Some Adventurer Archaeologists find a clue leading them to a lost location full of ancient knowledge. There's probably a government or corporation messing things up, whether unintentionally or malignantly. Someone WILL sacrifice him or herself, either for their comrades or to protect the knowledge (Sometimes this is by way of Redemption Equals Death (see the next item). There will be a Face-Heel Turn or a Heel-Face Turn. One or two couples will develop - generally someone in one such will die, leaving their partner devastated. When they find the cache, some huge catastrophe will destroy all of what they find except when they can carry while running away, or they'll be an epoch too late. Either way, their discovery changes everything.
  • Goosebumps. It's a given that the main character will be 12 years old, that they will be unpopular, and that they are doing at least one of the following things: moving to a new house, going to camp, visiting relatives, or working on a school project. They will encounter strange and spooky things but will make it out fine, until the last second where the surprise Twist Ending kicks in and they turn out to be dogs or something.
  • Ken Follet's The Pillars of the Earth and World Without End both take place in the same fictional priory in medieval England. They are both about a genius architect whose building project and love life are constantly threatened by conservative townsfolk, the church, politics, and petty rivalries.
    • His Novels The Eye of the Needle and The Key To Rebecca, both feature elite German spies who have information that could turn the war in the favour of the Axis. Both are are handy with hidden blades.
  • Jodi Picoult's books all have the same (general) formula after she wrote My Sister's Keeper, which was(and still is) her most successful book: People (usually centering on the woman) living a normal life(in some New England town), something big happens/happened to them (i.e. husband is cheating, child is arrested) and there ends up being a court case either involving family members (i.e a family member committed a crime) or involving family members suing each other. Usually the court case involves children or teens. Expect one child to be severely ill and wiser than their years. The parents will/already did forget about the other child, if there is one. It is often a Tear Jerker, but is successful because of that(the judge/jury feels sorry for the defendant). Usually there is a Shocking Swerve near the end, and somebody dies. Examples include: Vanishing Acts, House Rules, Handle with Care, and more.
  • Sarah Dessen's books almost always follow this formula: . The girl has an annoying, messed up family situation (usually moves a lot), girl doesn't know how to deal with it, girl meets boy, boy fixes everything in girl's hypothetical world, and then there's always that moment when Girl and Boy are going to have a falling out, but they'll be back together by the end. Only some of her earliest novels (That Summer, Someone Like You, Dreamland) don't follow this formula.
    • Her latest novel, The Moon and More, does change up this formula some ( in that the main character doesn't end up with either of her love interests), and promptly got flack from fans for mixing things up too much.
  • Karel Čapek did this with his play R.U.R. and the novel War with the Newts. The major difference was that in the one case, the robot rebellion involved actual robots (well, sort of...) and in the other case, involved a strange race of sentient newts that were enslaved/treated like robots. Because of the different media, though, both works stand pretty well on their own (though R.U.R. is far more famous, if only because it originated the term "robot").
  • Vivian Vande Velde's Dragon Bait and Companions of the Night tell virtually the same story: a teenage female protagonist with a Missing Mom suffers a false accusation due to coincidental circumstances, and subsequently both her and her father's lives are endangered. Enter a Tall, Dark and Snarky Really 700 Years Old supernatural male lead who offers to guide the heroine in her quest for vindication. Despite the man's general dangerousness and untrustworthiness, the heroine accepts because she has no one else to turn to, and she quickly finds herself growing attached to him as he leads her around. This culminates in the capture of both the male lead and the heroine by the main villain. The villain is killed in such a way that the heroine is not (fully) responsible. The heroine then saves the male lead from his one weakness - daylight - and the books end on an ambiguously positive note. The difference? The male lead in Dragon's Bait is a dragon; in Companions of the Night, he's a much more marketable vampire.
  • Children's books by Laura Numeroff and Felicia Bond hardly even bother with different names. Start with If You Give a Mouse a Cookie, then try If You Give a Bear A Brownie. If you liked that, you're sure to like If You Give A Cat A Cupcake!
  • Cassandra Clare. So far, both of her series have been about an ordinary teenage girl who learns she has magical powers her conveniently absent parents hid from her. Unable to go home, she finds herself living at the local Extranormal Institute and gets into a love triangle between a Deadpan Snarker and a Nice Guy. The villain, who has mysterious ties to her parentage, aims to Take Over the World with the help of her evil older brother.
  • P. G. Wodehouse admitted to this trope several times, at one point complaining that a reviewer had "called attention to the thing I try to hush up – viz., that I have only got one plot and produce it once a year with variations."
  • Mercedes Lackey has several series that are just the same story happening two or three times in a row. For instance, the Mage Storms trilogy.
  • Quite a number of Raymond Feist's books follow the plotline of (1) one or two misfit boys get in trouble, (2) they randomly come across the ongoing battle against that evil wizard who keeps reincarnating throughout the series, (3) they get recruited by the shadow council, a group of powerful magicians, (4) they end up in a magical resort where Everybody Has Lots of Sex, (4) the powerful magicians oppose the evil wizard, (5) the misfit boy(s), despite being way out of their league, happen to influence a key event causing victory, and (6) evil wizard escapes again.
  • Dean Koontz novels, especially the ones from the 80's and 90'd, will have a highly competent, basically good hero who is slightly depressed and withdrawn because of bad experiences in his past, who in the course of the plot will meet a woman who is either very confident and outgoing or extremely shy and sheltered but who also has enormous inner strength, they're always both very Christian and end up in a relationship. The villain is usually a pure evil monster with a scientific explanation, or a human man who believes himself to be a new god or somehow superior to the rest of the world. Then there's a choice of cute kid, noble (or actually magical) handicapped person, or cute, noble, highly intelligent dog (always a lab or golden retriever), or some combination of the above.

Music
  • The critically/fan-acclaimed albums for Metallica tend to be down to an 8-9 song formula. Ride the Lightning, Master of Puppets, ...And Justice For All, and Death Magnetic all follow a similar structure to the music, with varying music lengths based on how advanced CD/LP technology is at the time. Each opens with a song that sounds like most of the rest of the album that also has an unusual intro (acoustic, fade-in, heartbeat) before the album's title track if it has one. Track four is generally lighter or slower ("One"note  and "The Day That Never Comes"note  have identical song structures) and the peniltimate track is an instrumental.
  • King Crimson tends to cycle with two-three albums sounding similar to each other, followed by a New Sound Album. Examples being the similarities for Lark's Tongue in Aspic, Red, and Starless and Bible Black.

Theatre
  • The Kabuki plays of Chikamatsu Monzaemon, a man regularly referred to as the 'Japanese Shakespeare'. Courier for Hades, Love Suicides at Amijima, and Love at Sea all follow the same plot: a man (usually poor or made poor at the beginning of the story) is in love with a courtesan, but doesn't have enough money to pay her ransom. The protagonist has a rival, who wants the courtesan for himself, and so the protagonist steals money to pay the ransom. None of the characters in any of these plays live happily ever after. Oh Monzaemon, you really know how to work a crowd.

Live-Action TV
  • Many television shows have basically the same plot in every episode.
  • Van Kooten En De Bie: Their TV show had several different names over the years, but was always known as "Van Kooten en De Bie" and essentially the same format: the duo discussed what was in the news that week and then showed sketches or pre-recorded interviews with their characters in between.

Video Games
Running the AsylumDerivative WorksSeries Minus Series Core
Seen It AllApathy IndexShaped Like Itself

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