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* The ''Franchise/DragonAge'' series had a major art overhaul between ''VideoGame/DragonAgeOrigins'' -- which was pretty standard fare MedievalFantasy style -- to ''VideoGame/DragonAgeII'' -- whose visuals are highly stylized, particularly in regards to the depiction of elves and the [[ProudWarriorRace Qunari]]. The series backpedaled on the stylization a bit with ''VideoGame/DragonAgeInquisition'', which tries to find the middle ground between the first two games' styles -- this overhaul was also partly a consequence of moving to a different UsefulNotes/GameEngine.
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* The ''Franchise/DragonAge'' series had a major art overhaul between ''VideoGame/DragonAgeOrigins'' -- which was pretty standard fare MedievalFantasy style -- to ''VideoGame/DragonAgeII'' -- whose visuals are highly stylized, particularly in regards to the depiction of elves and the [[ProudWarriorRace Qunari]]. The series backpedaled on the stylization a bit with ''VideoGame/DragonAgeInquisition'', which tries to find the middle ground between the first two games' styles -- this overhaul was also partly a consequence of moving to a different UsefulNotes/GameEngine.MediaNotes/GameEngine.
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Wick cleaning
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** The early games don't really have a well-defined style due to the limitations of the NES's graphics, but things got more varied in the 16-bit era. ''VideoGame/SuperCastlevaniaIV'' for the UsefulNotes/{{Super Nintendo|EntertainmentSystem}} established a very dark, grungy, and realistic look in both gameplay and its brief cutscenes. The following game, ''VideoGame/CastlevaniaRondoOfBlood,'' tossed this aside in favor of a bold, bright, anime-inspired look, which is especially prominent in the cutscenes. ''VideoGame/CastlevaniaBloodlines'' retained the bright colors but dropped the anime style.
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** The early games don't really have a well-defined style due to the limitations of the NES's graphics, but things got more varied in the 16-bit era. ''VideoGame/SuperCastlevaniaIV'' for the UsefulNotes/{{Super Platform/{{Super Nintendo|EntertainmentSystem}} established a very dark, grungy, and realistic look in both gameplay and its brief cutscenes. The following game, ''VideoGame/CastlevaniaRondoOfBlood,'' tossed this aside in favor of a bold, bright, anime-inspired look, which is especially prominent in the cutscenes. ''VideoGame/CastlevaniaBloodlines'' retained the bright colors but dropped the anime style.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the UsefulNotes/GameBoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
** ''Aria'''s sequel for the UsefulNotes/NintendoDS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
** ''Aria'''s sequel for the UsefulNotes/NintendoDS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the UsefulNotes/GameBoyAdvance, Platform/GameBoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
** ''Aria'''s sequel for theUsefulNotes/NintendoDS, Platform/NintendoDS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
** ''Aria'''s sequel for the
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** Then came ''VideoGame/KirbyCanvasCurse'', which went with a paint-like art style [[JustifiedTrope due to the fact that a paint sorcerer being is trying to turn Dream Land into a world of paint]]. The next game in the series, ''VideoGame/KirbySqueakSquad'', then reverted back to the art style of the UsefulNotes/GameBoyAdvance games.
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** Then came ''VideoGame/KirbyCanvasCurse'', which went with a paint-like art style [[JustifiedTrope due to the fact that a paint sorcerer being is trying to turn Dream Land into a world of paint]]. The next game in the series, ''VideoGame/KirbySqueakSquad'', then reverted back to the art style of the UsefulNotes/GameBoyAdvance Platform/GameBoyAdvance games.
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** From ''[[VideoGame/TheLegendofZeldaOcarinaofTime Ocarina of Time]]'' and ''[[VideoGame/TheLegendofZeldaMajorasMask Majora's Mask]]'' and their realistically proportioned (for a N64-era game), angular anime-style graphics, to the CelShaded design of ''[[VideoGame/TheLegendofZeldaTheWindWaker The Wind Waker]]''.
** ''[[VideoGame/TheLegendofZeldaTwilightPrincess Twilight Princess]]'' used a grungier version of the ''[[VideoGame/TheLegendofZeldaOcarinaofTime Ocarina of Time]]'' style.
** ''[[VideoGame/TheLegendofZeldaSkywardSword Skyward Sword]]'' has a semi-Impressionistic look that's basically a cross between the ''Wind Waker'' and ''Twilight Princess'' art styles, featuring the cel-shading and bright colors of the former with the realistic proportions of the latter.
** ''[[VideoGame/TheLegendofZeldaTwilightPrincess Twilight Princess]]'' used a grungier version of the ''[[VideoGame/TheLegendofZeldaOcarinaofTime Ocarina of Time]]'' style.
** ''[[VideoGame/TheLegendofZeldaSkywardSword Skyward Sword]]'' has a semi-Impressionistic look that's basically a cross between the ''Wind Waker'' and ''Twilight Princess'' art styles, featuring the cel-shading and bright colors of the former with the realistic proportions of the latter.
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** From ''[[VideoGame/TheLegendofZeldaOcarinaofTime ''[[VideoGame/TheLegendOfZeldaOcarinaOfTime Ocarina of Time]]'' and ''[[VideoGame/TheLegendofZeldaMajorasMask ''[[VideoGame/TheLegendOfZeldaMajorasMask Majora's Mask]]'' and their realistically proportioned (for a N64-era game), angular anime-style graphics, to the CelShaded design of ''[[VideoGame/TheLegendofZeldaTheWindWaker ''[[VideoGame/TheLegendOfZeldaTheWindWaker The Wind Waker]]''.
**''[[VideoGame/TheLegendofZeldaTwilightPrincess ''[[VideoGame/TheLegendOfZeldaTwilightPrincess Twilight Princess]]'' used a grungier version of the ''[[VideoGame/TheLegendofZeldaOcarinaofTime ''[[VideoGame/TheLegendOfZeldaOcarinaOfTime Ocarina of Time]]'' style.
**''[[VideoGame/TheLegendofZeldaSkywardSword ''[[VideoGame/TheLegendOfZeldaSkywardSword Skyward Sword]]'' has a semi-Impressionistic look that's basically a cross between the ''Wind Waker'' and ''Twilight Princess'' art styles, featuring the cel-shading and bright colors of the former with the realistic proportions of the latter.
**
**
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** The franchise made a permanent shift from the original WesternAnimation/MickeyMouse[=/=]WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the UsefulNotes/SegaGenesis[=/=]UsefulNotes/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti art-inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style.
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** The franchise made a permanent shift from the original WesternAnimation/MickeyMouse[=/=]WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the UsefulNotes/SegaGenesis[=/=]UsefulNotes/SegaSaturn Platform/SegaGenesis[=/=]Platform/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti art-inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style.
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[[folder:Web Comics]]
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* ''Franchise/MyLittlePonyGeneration4'' uses two-dimensional, stylized Flash animation. ''Franchise/MyLittlePonyGeneration5'', a DistantSequel, instead uses more detailed 3D models with more realistic anatomies.
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* ''WesternAnimation/FiremanSam'' has had three different artstyles in its run:
** Series 1 through 4, running from 1987 to 1994, had a simple toymation style with minimal facial expressions and jerky walk cycles, not unlike its cousin series ''WesternAnimation/PostmanPat''.
** Series 5, a revival airing through the early to mid 2000s, changes the style to be more similar to other British stop-motion shows of the era and makes more use of computer generated effects, such as the fire and smoke, as well as giving the characters smoother movement, lip sync, a wider range of facial expressions, and in some instances, new appearances. For example, Penny's hairstyle goes from a PrimAndProperBun to BoyishShortHair, and Norman and the twins get new outfits reflectice of the new time period.
** Series 6, which started in 2008 and is still airing today, is an AllCGICartoon. The characters have more realistic faces, and while most of them retain their appearances from Series 5, others, mainly Dilys Price and Mandy Flood, get complete makeovers. The movements start out a bit wonky, but as the series progresses, they become smoother.
** Series 1 through 4, running from 1987 to 1994, had a simple toymation style with minimal facial expressions and jerky walk cycles, not unlike its cousin series ''WesternAnimation/PostmanPat''.
** Series 5, a revival airing through the early to mid 2000s, changes the style to be more similar to other British stop-motion shows of the era and makes more use of computer generated effects, such as the fire and smoke, as well as giving the characters smoother movement, lip sync, a wider range of facial expressions, and in some instances, new appearances. For example, Penny's hairstyle goes from a PrimAndProperBun to BoyishShortHair, and Norman and the twins get new outfits reflectice of the new time period.
** Series 6, which started in 2008 and is still airing today, is an AllCGICartoon. The characters have more realistic faces, and while most of them retain their appearances from Series 5, others, mainly Dilys Price and Mandy Flood, get complete makeovers. The movements start out a bit wonky, but as the series progresses, they become smoother.
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* ''Franchise/MyLittlePonyGeneration4'' uses two-dimensional, stylized Flash animation. ''Franchise/MyLittlePonyGeneration5'', a DistantSequel, instead uses more detailed 3D models with more realistic anatomies.
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** The ''Anime/UnicronTrilogy'' had a similar thing going on with ''Anime/TransformersArmada'' being entirely in 2D, while ''Anime/TransformersEnergon'' made use of cel-shaded CG for the Transformers themselves ([[ArtShift occasionally switching to 2D or ditching the cel-shading for a few memorably scenes]]) and 2D for everything else. ''Anime/TransformersCybertron'' did the same but ditched the cel-shading entirely.
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** The ''Anime/UnicronTrilogy'' had a similar thing going on with ''Anime/TransformersArmada'' being entirely in 2D, while ''Anime/TransformersEnergon'' made use of cel-shaded CG for the Transformers themselves ([[ArtShift occasionally switching to 2D or ditching the cel-shading for a few memorably memorable scenes]]) and 2D for everything else. ''Anime/TransformersCybertron'' did the same but ditched the cel-shading entirely.
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*** This was again ditched for ''WesternAnimation/TransformersRobotsInDisguise2015'', which applied cel-shading to the CG, greatly lowered the frame rate of the animation and got rid of Primes RealIsBrown art style. The backgrounds were also now hand drawn and the character designs again got more G1 inspired.
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*** This was again ditched for ''WesternAnimation/TransformersRobotsInDisguise2015'', which applied cel-shading to the CG, greatly lowered the frame rate of the animation and got rid of Primes ''Prime'''s RealIsBrown art style. The backgrounds were also now hand drawn and the character designs again got more G1 inspired.
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* ''VideoGame/PocketMirror'' has a modern anime/visual novel art style somewhat inspired by ''Manga/RozenMaiden'' and ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime.
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* ''VideoGame/PocketMirror'' has a modern an anime/visual novel art style somewhat inspired by ''Manga/RozenMaiden'' and ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime.
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* ''VideoGame/PocketMirror'' has a modern anime/visual novel art style somewhat inspired by ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime.
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* ''VideoGame/PocketMirror'' has a modern anime/visual novel art style somewhat inspired by ''Manga/RozenMaiden'' and ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime.
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* The original ''VideoGame/{{Octodad}}'' goes for a semi-realistic artstyle (or as much as a student project is able). ''Dadliest Catch'' retains similar proportions for the characters but is a lot more cartoony in its textures to fit the general wackiness of game.
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* ''VideoGame/PocketMirror'' has a modern anime/visual novel art style somewhat inspired by ''Franchise/PuellaMagiMadokaMagica''. The prequel, ''VideoGame/LittleGoodyTwoShoes'', shifts to a style resembling classic {{Shoujo|Demographic}} anime.
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Some reorganization
** ''VideoGame/SuperMarioWorld2YoshisIsland'' uses a crayon-inspired art style for the levels, characters, mooks and effects, diverting from the standard sprite-based colors and designs of ''VideoGame/SuperMarioWorld''. Also an InvokedTrope, because Creator/{{Nintendo}} originally planned the game to use an art style inspired by that of ''VideoGame/DonkeyKongCountry'' until [[Creator/ShigeruMiyamoto Miyamoto]] opposed the idea and presented the aforementioned style instead, which the company actually liked.
** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions.
** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions.
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** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions.
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* ''VideoGame/SuperMarioWorld2YoshisIsland'' uses a crayon-inspired art style for the levels, characters, mooks and effects, diverting from the standard sprite-based colors and designs of ''VideoGame/SuperMarioWorld''. Also an InvokedTrope, because Creator/{{Nintendo}} originally planned the game to use an art style inspired by that of ''VideoGame/DonkeyKongCountry'' until [[Creator/ShigeruMiyamoto Miyamoto]] opposed the idea and presented the aforementioned style instead, which the company actually liked.
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* ''VideoGame/Persona5'' received this in a slightly different way. While the direct sequel to the vanilla game, ''VideoGame/Persona5Strikers'' kept the game's art-style, the sequel to ''Royal'', ''VideoGame/Persona5Tactica'' spun the game into an art-style that wouldn't be out of place in the [[VideoGame/PersonaQShadowOfTheLabyrinth Persona Q]] series.
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* ''VideoGame/Persona5'' received this in a slightly different way. While the direct sequel to the vanilla game, ''VideoGame/Persona5Strikers'' kept the game's art-style, the sequel to ''Royal'', ''VideoGame/Persona5Tactica'' spun the game into an art-style that wouldn't be out of place in the [[VideoGame/PersonaQShadowOfTheLabyrinth ''[[VideoGame/PersonaQShadowOfTheLabyrinth Persona Q]] Q]]'' series.
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* ''VideoGame/Persona5'' received this in a slightly different way. While the direct sequel to the vanilla game, ''VideoGame/Persona5Strikers'' kept the game's art-style, the sequel to ''Royal'', ''VideoGame/Persona5Tactica'' spun the game into an art-style that wouldn't be out of place in the [[VideoGame/PersonaQShadowOfTheLabyrinth Persona Q]] series.
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Crosswicking
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** ''VideoGame/WarioWareGold'': In stark contrast to the previous ''VideoGame/WarioWare'' games, which more or less shared a similar artstyle to each other, ''Gold'' has a considerably more cartoonish artstyle that closely resembles a show on Creator/CartoonNetwork or Creator/{{Nickelodeon}}. This would become the standard artstyle for the series going forward.
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[[caption-width-right:270: From [[VideoGame/TheLegendOfZeldaTheWindWaker cute and cartoony]] to [[VideoGame/TheLegendOfZeldaTwilightPrincess grey and gritty]]. [[VideoGame/TheLegendOfZeldaSkywardSword The next game in the series would be somewhere in-between]].]]
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[[caption-width-right:270: From [[VideoGame/TheLegendOfZeldaTheWindWaker cute and cartoony]] to [[VideoGame/TheLegendOfZeldaTwilightPrincess grey and gritty]]. The [[VideoGame/TheLegendOfZeldaSkywardSword The next game game]] in the series would be somewhere in-between]].in-between.]]
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* ''VideoGame/MarioAndLuigi'': The switch between ''VideoGame/MarioAndLuigiSuperstarSaga'' and ''VideoGame/MarioAndLuigiPartnersInTime'' saw a minor increase in sprite size to take advantage of the NDS's bigger screens. Other than that, it's mostly the same art style. While ''VideoGame/MarioAndLuigiBowsersInsideStory'' averts this by having the same art style compared to ''Partners in Time'', ''VideoGame/MarioAndLuigiDreamTeam'' does not, being the sub series' VideoGame3DLeap with TwoAndAHalfD elements. [[note]]To be specific, it mixes 3D environments with sprites drawn in a certain art style as to not clash with the scenery. That, and it plays very much similarly to the past games.[[/note]]
* ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added Battle Courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring.
* ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added Battle Courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring.
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* ''Franchise/SuperMarioBros'':
** ''VideoGame/MarioAndLuigi'': The switch between ''VideoGame/MarioAndLuigiSuperstarSaga'' and ''VideoGame/MarioAndLuigiPartnersInTime'' saw a minor increase in sprite size to take advantage of the NDS's bigger screens. Other than that, it's mostly the same art style. While ''VideoGame/MarioAndLuigiBowsersInsideStory'' averts this by having the same art style compared to ''Partners in Time'', ''VideoGame/MarioAndLuigiDreamTeam'' does not, being the sub series' VideoGame3DLeap with TwoAndAHalfD elements. [[note]]To be specific, it mixes 3D environments with sprites drawn in a certain art style as to not clash with the scenery. That, and it plays very much similarly to the past games.[[/note]]
* ** ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added Battle Courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring.jarring.
** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions.
** ''VideoGame/MarioAndLuigi'': The switch between ''VideoGame/MarioAndLuigiSuperstarSaga'' and ''VideoGame/MarioAndLuigiPartnersInTime'' saw a minor increase in sprite size to take advantage of the NDS's bigger screens. Other than that, it's mostly the same art style. While ''VideoGame/MarioAndLuigiBowsersInsideStory'' averts this by having the same art style compared to ''Partners in Time'', ''VideoGame/MarioAndLuigiDreamTeam'' does not, being the sub series' VideoGame3DLeap with TwoAndAHalfD elements. [[note]]To be specific, it mixes 3D environments with sprites drawn in a certain art style as to not clash with the scenery. That, and it plays very much similarly to the past games.[[/note]]
** ''VideoGame/SuperMarioBrosWonder'' uses a slightly looser and more whimsical art style than its predecessors (particularly the ''VideoGame/NewSuperMarioBros'' series), resembling the style used for the franchise's 2D artwork translated directly to 3D. Most notable is its use of "texture mouths" for certain expressions.
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* The art style of ''WesternAnimation/GoWestALuckyLukeAdventure'' by Creator/{{Xilam}} was a radical departure from that seen in the much older ''WesternAnimation/LuckyLukeBalladOfTheDaltons'' (which itself evolved from ''WesternAnimation/LuckyLukeDaisyTown''), which stuck closer to the art style of the [[ComicBook/LuckyLuke comics]].
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* If you look up the Miraculous PV on youtube, then the original 3D trailer, then watch an episode of WesternAnimation/MiraculousLadybug, you'll see a serious art shift. The show went from animesque 2D animation to still-animesque-but-realistic CGI to to animesque 3D animation. There's also art-shifts within the show -- there are, in fact, four studios working on the show, and each one has their own style.
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* If you look up the Miraculous PV on youtube, then the original 3D trailer, then watch an episode of WesternAnimation/MiraculousLadybug, ''WesternAnimation/MiraculousLadybug'', you'll see a serious art shift. The show went from animesque 2D animation to still-animesque-but-realistic CGI to to animesque 3D animation. There's also art-shifts within the show -- there are, in fact, four studios working on the show, and each one has their own style.
* The Creator/{{Xilam}} animation style of ''WesternAnimation/TheNewAdventuresOfLuckyLuke'' is markedly different from the 1983/1991 ''WesternAnimation/{{Lucky Luke|1983}}'' series that stuck closer to the [[ComicBook/LuckyLuke comic books]] in both [[TruerToTheText story]] and art style.
* The Creator/{{Xilam}} animation style of ''WesternAnimation/TheNewAdventuresOfLuckyLuke'' is markedly different from the 1983/1991 ''WesternAnimation/{{Lucky Luke|1983}}'' series that stuck closer to the [[ComicBook/LuckyLuke comic books]] in both [[TruerToTheText story]] and art style.
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Fixing formatting errors.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the UsefulNotes/Gam BoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the UsefulNotes/Gam BoyAdvance, UsefulNotes/GameBoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
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* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it and the MiniMecha and other vehicles being more futuristic/fantastical in appearance. The 3rd and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
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* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it and the MiniMecha and other vehicles being more futuristic/fantastical in appearance. The 3rd third and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, art style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
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* [[VideoGame/HaloCombatEvolved The]] [[VideoGame/Halo2 first]] [[VideoGame/Halo3 three]] ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The fourth mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''VideoGame/Halo4'' and ''VideoGame/{{Halo 5|Guardians}}'', made by [[Creator/343Studios a different development studio]], also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
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* [[VideoGame/HaloCombatEvolved The]] [[VideoGame/Halo2 first]] [[VideoGame/Halo3 three]] ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The fourth mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''VideoGame/Halo4'' and ''VideoGame/{{Halo 5|Guardians}}'', made by [[Creator/343Studios [[Creator/ThreeFourThreeIndustries a different development studio]], also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
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*** ''VideoGame/TransformersRiseOfTheDarkSpark'' brought back the ''War For Cybertron'' aesthetic but the character designs were now much more inspired by the ones from the movies.
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*** ''VideoGame/TransformersRiseOfTheDarkSpark'' brought back the ''War For for Cybertron'' aesthetic but the character designs were now much more inspired by the ones from the movies.
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* The original ''[[VideoGame/BioShock1 BioShock]]'' and [[VideoGame/BioShock2 its first sequel]] are set during the [[TheSixties 60's]] in the DieselPunk influenced underwater city of Rapture. Their aesthetic is grimy, worn and dominated by foggy green and brown hues. ''VideoGame/BioShockInfinite'' changes setting to Columbia, a SteamPunk city in the clouds set during the 1910's, inspired by 1890's American neoclassical aesthetics. When compared to the originals, this setting is notably more pristine and has a vastly different colour palette of blues, oranges and pinks. This contrast is most obvious during [[spoiler: the brief return to Rapture near the end of the game]].
* ''VideoGame/BitTrip''. Compared to the Atariesque {{Retraux}} of the first 6 games, the ''Runner'' spinoff series starting from ''[=Runner2=]'' makes quite the cartoony VideoGame3DLeap.
* ''VideoGame/BitTrip''. Compared to the Atariesque {{Retraux}} of the first 6 games, the ''Runner'' spinoff series starting from ''[=Runner2=]'' makes quite the cartoony VideoGame3DLeap.
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* The original ''[[VideoGame/BioShock1 BioShock]]'' and [[VideoGame/BioShock2 its first sequel]] are set during the [[TheSixties 60's]] the 60s]] in the DieselPunk influenced underwater city of Rapture. Their aesthetic is grimy, worn and dominated by foggy green and brown hues. ''VideoGame/BioShockInfinite'' changes setting to Columbia, a SteamPunk city in the clouds set during the 1910's, [=1910s=], inspired by 1890's [=1890s=] American neoclassical aesthetics. When compared to the originals, this setting is notably more pristine and has a vastly different colour palette of blues, oranges and pinks. This contrast is most obvious during [[spoiler: the [[spoiler:the brief return to Rapture near the end of the game]].
* ''VideoGame/BitTrip''. Compared to the Atariesque {{Retraux}} of the first6 six games, the ''Runner'' spinoff series starting from ''[=Runner2=]'' makes quite the cartoony VideoGame3DLeap.
* ''VideoGame/BitTrip''. Compared to the Atariesque {{Retraux}} of the first
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** The early games don't really have a well-defined style due to the limitations of the NES's graphics, but things got more varied in the 16-bit era. ''VideoGame/SuperCastlevaniaIV'' for the Super Nintendo established a very dark, grungy, and realistic look in both gameplay and its brief cutscenes. The following game, ''VideoGame/CastlevaniaRondoOfBlood,'' tossed this aside in favor of a bold, bright, anime-inspired look, which is especially prominent in the cutscenes. ''VideoGame/CastlevaniaBloodlines'' retained the bright colors but dropped the anime style.
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** The early games don't really have a well-defined style due to the limitations of the NES's graphics, but things got more varied in the 16-bit era. ''VideoGame/SuperCastlevaniaIV'' for the Super Nintendo UsefulNotes/{{Super Nintendo|EntertainmentSystem}} established a very dark, grungy, and realistic look in both gameplay and its brief cutscenes. The following game, ''VideoGame/CastlevaniaRondoOfBlood,'' tossed this aside in favor of a bold, bright, anime-inspired look, which is especially prominent in the cutscenes. ''VideoGame/CastlevaniaBloodlines'' retained the bright colors but dropped the anime style.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the Game Boy Advance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
** ''Aria'''s sequel for the Nintendo DS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
** ''Aria'''s sequel for the Nintendo DS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
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** ''[[VideoGame/CastlevaniaCircleOfTheMoon Circle of the Moon]]'', the first installment for the Game Boy Advance, UsefulNotes/Gam BoyAdvance, went back to the anime look, this time with character designs by Kazuko Fujihara. The series' other two GBA titles, ''[[VideoGame/CastlevaniaHarmonyOfDissonance Harmony of Dissonance]]'' and ''VideoGame/CastlevaniaAriaOfSorrow'' both have Kojima on art duties and closely resemble ''Symphony''.
** ''Aria'''s sequel for theNintendo DS, UsefulNotes/NintendoDS, ''VideoGame/CastlevaniaDawnOfSorrow'', went for the anime look yet again, resulting in a huge visual shift between the two. The next DS game, ''[[VideoGame/CastlevaniaPortraitOfRuin Portrait of Ruin]]'', retained this, but the third, ''[[VideoGame/CastlevaniaOrderOfEcclesia Order of Ecclesia]]'', returned to Kojima's style despite the art actually being by Masaki Hirooka.
** ''Aria'''s sequel for the
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* ''VideoGame/DanceCentral''
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* ''VideoGame/DanceCentral''''VideoGame/DanceCentral'':
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** ''With Dance Central VR'' Harmonix brought the art style back to the 2D of the original ''Dance Central'' opening.
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** ''With Dance With ''Dance Central VR'' VR'', Harmonix brought the art style back to the 2D of the original ''Dance Central'' opening.
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* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it and the MiniMecha and other vehicles being more futuristic[=/=]fantastical in appearance. The 3rd and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
to:
* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it and the MiniMecha and other vehicles being more futuristic[=/=]fantastical futuristic/fantastical in appearance. The 3rd and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
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* Once ''Franchise/FireEmblem'' went portable with ''Videogame/FireEmblemTheBindingBlade'', the artstyle was significantly changed from the console-based predecessors. Character illustrations began to be done digitally and the designs slowly drifts away from the 90s fantasy flair of the Jugdral games. The in-game color palette is far brighter compared to the previous titles on the Super Famicom, a necessity due to the original model of the Game Boy Advance not being backlit.
* The first 3 ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The 4th mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''Halo 4'' and ''Halo 5'', made by a different development studio, also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
* The first 3 ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The 4th mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''Halo 4'' and ''Halo 5'', made by a different development studio, also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
to:
* Once ''Franchise/FireEmblem'' went portable with ''Videogame/FireEmblemTheBindingBlade'', ''VideoGame/FireEmblemTheBindingBlade'', the artstyle art style was significantly changed from the console-based predecessors. Character illustrations began to be done digitally and the designs slowly drifts away from the 90s fantasy flair of the Jugdral games.[[VideoGame/FireEmblemGenealogyOfTheHolyWar Jugdral]] [[VideoGame/FireEmblemThracia776 games]]. The in-game color palette is far brighter compared to the previous titles on the Super Famicom, a necessity due to the original model of the Game Boy Advance not being backlit.
*The first 3 [[VideoGame/HaloCombatEvolved The]] [[VideoGame/Halo2 first]] [[VideoGame/Halo3 three]] ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The 4th fourth mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''Halo 4'' ''VideoGame/Halo4'' and ''Halo 5'', ''VideoGame/{{Halo 5|Guardians}}'', made by [[Creator/343Studios a different development studio, studio]], also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
*
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* ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added battle courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring.
* ''Franchise/MegaMan'': The ''VideoGame/MegaManZero'' and ''VideoGame/MegaManZX'' series feature a radically different art style from the rest of the ''Mega Man'' franchise. You'd be forgiven for thinking thick armor and pupils fell out of fashion in favour of latex and chunky bracelets between the ''[[VideoGame/MegaManX X]]'' series and the ''[[VideoGame/MegaManLegends Legends]]'' series, if ''VideoGame/MegaManZero3'' didn't imply the art shift were retroactive via [[spoiler:Zero's old body (used by the BigBad) being his current one in a different colour, and not his ''Mega Man X'' appearance]].
* ''Franchise/MegaMan'': The ''VideoGame/MegaManZero'' and ''VideoGame/MegaManZX'' series feature a radically different art style from the rest of the ''Mega Man'' franchise. You'd be forgiven for thinking thick armor and pupils fell out of fashion in favour of latex and chunky bracelets between the ''[[VideoGame/MegaManX X]]'' series and the ''[[VideoGame/MegaManLegends Legends]]'' series, if ''VideoGame/MegaManZero3'' didn't imply the art shift were retroactive via [[spoiler:Zero's old body (used by the BigBad) being his current one in a different colour, and not his ''Mega Man X'' appearance]].
to:
* ''VideoGame/MarioKart8'' is one in itself, but also provides an interesting case of an art shift happening within the same installment. The original game tracks (and the ones from its DownloadableContent) all use a heavily detailed, pseudo-realistic art style, unlike the brightly colored, cartoonish settings of ''Mario Kart'' games past. The UpdatedRerelease ''Mario Kart 8 Deluxe'' kept this aesthetic for the newly added battle courses.Battle Courses. In ''that'' game's DLC, though, many of the new courses are lifted from ''VideoGame/MarioKartTour'' and use a slightly updated version of its simplified, stylized, low-detail art style, including for tracks that didn't have ''Tour'' counterparts at the time. Even brand-new courses like Sky-High Sundae use this art style. While it works better on some tracks than others, playing a course from the base game, then one from the DLC back-to-back can be pretty jarring.
* ''Franchise/MegaMan'': The ''VideoGame/MegaManZero'' and ''VideoGame/MegaManZX'' series feature a radically different art style from the rest of the ''Mega Man'' franchise. You'd be forgiven for thinking thick armor and pupils fell out of fashion in favour of latex and chunky bracelets between the ''[[VideoGame/MegaManX X]]'' series and the ''[[VideoGame/MegaManLegends Legends]]'' series, if ''VideoGame/MegaManZero3'' didn't imply the art shift were retroactive via [[spoiler:Zero's old body (used by the BigBad) being his current one in a different colour, and not his ''Mega Man X'' appearance]]. [[note]]Official word is that Zero's depiction compared to that of his ''X'' design (and all other aesthetic changes between series by proxy) is merely a stylistic choice and not meant to be a canonical redesign. Originally, series character designer Toru Nakayama ''had'' drawn the ''X'' series Zero in his own art style, but Creator/{{Capcom}} was unsatisfied with the results and gave him free rein to [[DependingOnTheArtist reinterpret Zero as he saw fit]].[[/note]]
* ''Franchise/MegaMan'': The ''VideoGame/MegaManZero'' and ''VideoGame/MegaManZX'' series feature a radically different art style from the rest of the ''Mega Man'' franchise. You'd be forgiven for thinking thick armor and pupils fell out of fashion in favour of latex and chunky bracelets between the ''[[VideoGame/MegaManX X]]'' series and the ''[[VideoGame/MegaManLegends Legends]]'' series, if ''VideoGame/MegaManZero3'' didn't imply the art shift were retroactive via [[spoiler:Zero's old body (used by the BigBad) being his current one in a different colour, and not his ''Mega Man X'' appearance]]. [[note]]Official word is that Zero's depiction compared to that of his ''X'' design (and all other aesthetic changes between series by proxy) is merely a stylistic choice and not meant to be a canonical redesign. Originally, series character designer Toru Nakayama ''had'' drawn the ''X'' series Zero in his own art style, but Creator/{{Capcom}} was unsatisfied with the results and gave him free rein to [[DependingOnTheArtist reinterpret Zero as he saw fit]].[[/note]]
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* ''[=OlliOlli=]'' has pixel-art graphics, while its sequel, ''[=OlliOlli2=]: Welcome to Olliwood'', uses a silkier, rounded look, like a modern Flash game. The third game, ''VideoGame/OlliOlliWorld'', goes full stylised cartoon with CelShading.
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* ''[=OlliOlli=]'' has pixel-art pixel art graphics, while its sequel, ''[=OlliOlli2=]: Welcome to Olliwood'', uses a silkier, rounded look, like a modern Flash game. The third game, ''VideoGame/OlliOlliWorld'', goes full stylised cartoon with CelShading.
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* A minor one between ''VideoGame/RaymanOrigins'' and ''VideoGame/RaymanLegends'': in the former, the characters had a more cartoony style with flat colors and clearly visible outlines, but in the latter the characters have an art style reminiscent of a oil painting.
* ''VideoGame/ResidentEvil7'' marks the point at which the ''Franchise/ResidentEvil'' series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the 00's and early 10's, to more realistic character designs based directly on scans of real actors[=/=]models[[note]]characters in [=RE=] 4 to 6 were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new [=RE=] Engine which had this as one of its key features. This carried on to other games in the engine, including remakes of older titles such as ''Resident Evil 2'', ''3'', and ''4''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance).
* ''VideoGame/ResidentEvil7'' marks the point at which the ''Franchise/ResidentEvil'' series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the 00's and early 10's, to more realistic character designs based directly on scans of real actors[=/=]models[[note]]characters in [=RE=] 4 to 6 were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new [=RE=] Engine which had this as one of its key features. This carried on to other games in the engine, including remakes of older titles such as ''Resident Evil 2'', ''3'', and ''4''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance).
to:
* A minor one between ''VideoGame/RaymanOrigins'' and ''VideoGame/RaymanLegends'': ''VideoGame/RaymanLegends'' -- in the former, the characters had a more cartoony style with flat colors and clearly visible outlines, but in the latter the characters have an art style reminiscent of a oil painting.
*''VideoGame/ResidentEvil7'' ''VideoGame/ResidentEvil7Biohazard'' marks the point at which the ''Franchise/ResidentEvil'' series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the 00's [=2000s=] and early 10's, [=2010s=], to more realistic character designs based directly on scans of real actors[=/=]models[[note]]characters actors/models[[note]]characters in [=RE=] 4 to 6 ''VideoGame/ResidentEvil4'' [[VideoGame/ResidentEvil5 to]] ''[[VideoGame/ResidentEvil6 6]]'' were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new [=RE=] Engine RE Engine, which had this as one of its key features. This carried on to other games in the engine, including [[VideoGameRemake remakes of older titles titles]] such as ''Resident ''VideoGame/{{Resident Evil 2'', ''3'', 2|Remake}}'', ''[[VideoGame/ResidentEvil3Remake 3]]'', and ''4''.''[[VideoGame/ResidentEvil4Remake 4]]''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance).
*
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* ''VideoGame/SonicTheHedgehog'':
** The franchise made a permanent shift from the original WesternAnimation/MickeyMouse/WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the UsefulNotes/SegaGenesis/UsefulNotes/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti-art inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style.
** The franchise made a permanent shift from the original WesternAnimation/MickeyMouse/WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the UsefulNotes/SegaGenesis/UsefulNotes/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti-art inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style.
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* ''VideoGame/SonicTheHedgehog'':
''Franchise/SonicTheHedgehog'':
** The franchise made a permanent shift from the originalWesternAnimation/MickeyMouse/WesternAnimation/FelixTheCat-inspired WesternAnimation/MickeyMouse[=/=]WesternAnimation/FelixTheCat-inspired designs by Naoto Oshima using during the UsefulNotes/SegaGenesis/UsefulNotes/SegaSaturn UsefulNotes/SegaGenesis[=/=]UsefulNotes/SegaSaturn era to the [[NoodlePeople noodly]]/graffiti-art inspired noodly]]/graffiti art-inspired redesigns by Yuji Uekewa with the release of ''VideoGame/SonicAdventure''. These designs were also used for ''VideoGame/SonicTheHedgehog4'', which is billed as a direct sequel to the Genesis games which use the aforementioned Oshima art style.
** The franchise made a permanent shift from the original
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* ''VideoGame/SuperMarioWorld2YoshisIsland'' uses a crayon-inspired art style for the levels, characters, mooks and effects, diverting from the standard sprite-based colors and designs of ''VideoGame/SuperMarioWorld''. Also an InvokedTrope, because Nintendo originally planned the game to use an art style inspired by that of ''VideoGame/DonkeyKongCountry'' until Miyamoto opposed the idea and presented the aforementioned style instead, which the company actually liked.
* ''VideoGame/TeamFortress1'' has a realistic art style (or at least [[TechnologyMarchesOn as realistic as technology would allow for at the time]]) due to sharing an engine with ''VideoGame/QuakeI'' and ''VideoGame/HalfLife1'', and opts for a modern military aesthetic. ''VideoGame/TeamFortress2'' forgoes this style in favour of a cartoonish style reminiscent of [[TheSixties 60's]] pop-art and Pixar-esque character design. This shift in art style accompanies a deliberate [[DenserAndWackier tone shift]] from seriousness to an utter lack of it.
* ''VideoGame/TeamFortress1'' has a realistic art style (or at least [[TechnologyMarchesOn as realistic as technology would allow for at the time]]) due to sharing an engine with ''VideoGame/QuakeI'' and ''VideoGame/HalfLife1'', and opts for a modern military aesthetic. ''VideoGame/TeamFortress2'' forgoes this style in favour of a cartoonish style reminiscent of [[TheSixties 60's]] pop-art and Pixar-esque character design. This shift in art style accompanies a deliberate [[DenserAndWackier tone shift]] from seriousness to an utter lack of it.
to:
* ''VideoGame/SuperMarioWorld2YoshisIsland'' uses a crayon-inspired art style for the levels, characters, mooks and effects, diverting from the standard sprite-based colors and designs of ''VideoGame/SuperMarioWorld''. Also an InvokedTrope, because Nintendo Creator/{{Nintendo}} originally planned the game to use an art style inspired by that of ''VideoGame/DonkeyKongCountry'' until Miyamoto [[Creator/ShigeruMiyamoto Miyamoto]] opposed the idea and presented the aforementioned style instead, which the company actually liked.
* ''VideoGame/TeamFortress1'' has a realistic art style (or at least [[TechnologyMarchesOn as realistic as technology would allow for at the time]]) due to sharing an engine with ''VideoGame/QuakeI'' and ''VideoGame/HalfLife1'', and opts for a modern military aesthetic. ''VideoGame/TeamFortress2'' forgoes this style in favour of a cartoonish style reminiscent of [[TheSixties60's]] 60s]] pop-art and Pixar-esque character design. This shift in art style accompanies a deliberate [[DenserAndWackier tone shift]] from seriousness to an utter lack of it.
* ''VideoGame/TeamFortress1'' has a realistic art style (or at least [[TechnologyMarchesOn as realistic as technology would allow for at the time]]) due to sharing an engine with ''VideoGame/QuakeI'' and ''VideoGame/HalfLife1'', and opts for a modern military aesthetic. ''VideoGame/TeamFortress2'' forgoes this style in favour of a cartoonish style reminiscent of [[TheSixties
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* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it. The 3rd and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
to:
* The first ''[[VideoGame/FirstEncounterAssaultRecon F.E.A.R.]]'' game takes place TwentyMinutesIntoTheFuture, but has an overall modern day design in regards to characters, equipment, and environments with the exception of the rare plasma sniper rifle or MiniMecha. The sequel, ''F.E.A.R. 2'', has a much more cyberpunk anime aesthetic, with enemies wearing futuristic armor with glowing bits all over it.it and the MiniMecha and other vehicles being more futuristic[=/=]fantastical in appearance. The 3rd and final game, ''F.E.A.R. 3'', is mostly consistent with ''F.E.A.R. 2'''s art-style, but the overall aesthetic is massively more grungy and sleazy, as though it was the second game filtered through a few thousand hours of Rob Zombie and Slipknot.
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* The first 3 ''Franchise/{{Halo}}'' games, which form the "classic trilogy", have a consistent art style. The 4th mainline game, ''VideoGame/HaloReach'', uses a somewhat different art style, with the human characters having much bulkier and "busy-looking" armor while the Covenant characters were more alien and feral-looking also with spikier and more complex armor. ''Halo 4'' and ''Halo 5'', made by a different development studio, also took the series' art style and character design in a completely new direction, which was heavily criticized by long time fans. ''VideoGame/HaloInfinite'' would return to the more classic art style of the original trilogy games as part of its RevisitingTheRoots approach.
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* ''Resident Evil 7'' marks the point at which the series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the 00's and early 10's, to more realistic character designs based directly on scans of real actors[=/=]models[[note]]characters in [=RE=] 4 to 6 were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new [=RE=] Engine which had this as one of its key features. This carried on to other games in the engine, including remakes of older titles such as ''Resident Evil 2'', ''3'', and ''4''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance).
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* ''Resident Evil 7'' ''VideoGame/ResidentEvil7'' marks the point at which the ''Franchise/ResidentEvil'' series shifted from semi-stylized {{Animesque}} character designs typical of Japanese games from the 00's and early 10's, to more realistic character designs based directly on scans of real actors[=/=]models[[note]]characters in [=RE=] 4 to 6 were also based on real models, but strongly stylized through handcrafted 3D model editing[[/note]], due to the shift to the new [=RE=] Engine which had this as one of its key features. This carried on to other games in the engine, including remakes of older titles such as ''Resident Evil 2'', ''3'', and ''4''. This has resulted in some oddities, such as Chris Redfield being completely unrecognizable in ''Resident Evil 7'' (his appearance was changed in later games to more closely match his classic appearance).