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* FantasyCreep: A series grows more fantastical over time than it was when it started out.
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* TrilogyToneShift: A trilogy contains a thematically balanced first film, a darker second film, and a lighter third film.
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* BleachedUnderpants: A work clearly intended for adults is given an adaptation that is more kid-friendly and eschews the original's mature content.
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* SelfCensoredRelease: A work clearly intended for adults is given an adaptation that is cleaner and eschews the original's mature content.
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* RuderAndCruder: A series entry is more profane than the those before it.
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* RuderAndCruder: A series entry is more profane than the those ones that came before it.
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* The short indie visual novel/dating sim ''Carpe Diem'' has an AntiEscapismAesop, specifically [[spoiler:the girl you are romancing is an advanced AI, and the player character is not a stand-in for the player but a whole character in itself]], meaning that [[spoiler:it is more fulfilling to look for relationships in the real world than in games.]] Meanwhile, its sequel ''Carpe Diem Reboot'' (which, [[NonIndicativeName despite the title]], is not a reboot), completely reverses the concept and turns into a typical escapist fantasy: the scientist player character is a lazy otaku but also a world-class hacker and programmer, who gives the AI girl a physical android body so that he can live the romance of his dreams.
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Example Indentation In Trope Lists: All tropes in a list should be at the same level of indentation, and in alphabetical order. Sub-tropes should not be listed in sub-bullets beneath their parent tropes.
* CerebusRollercoaster: A work repeatedly shifts between mostly light and comedic and mostly dark and dramatic.
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** ReverseCerebusSyndrome: A dark, dramatic work becomes more episodic and comedic.
** CerebusRollercoaster: A work repeatedly shifts between mostly light and comedic and mostly dark and dramatic.
* DarkerAndEdgier: A series gets darker undertones over time or when a sequel/reboot/alternate continuity is noticeably darker (i.e. more violent, more sexual, more bleak themes) than its predecessor(s).
** CerebusRollercoaster: A work repeatedly shifts between mostly light and comedic and mostly dark and dramatic.
* DarkerAndEdgier: A series gets darker undertones over time or when a sequel/reboot/alternate continuity is noticeably darker (i.e. more violent, more sexual, more bleak themes) than its predecessor(s).
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** CerebusRollercoaster: A work repeatedly shifts between mostly light and comedic and mostly dark and dramatic.
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* ReverseCerebusSyndrome: A dark, dramatic work becomes more episodic and comedic.
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* ''Series/FullHouse'' started with some family-friendly undertones but otherwise a run-of-the-mill sitcom. Over time, it brought the family-friendly aspect more and more to the forefront until they were dropping {{Aesop}} anvils every episode. Complete with heavy {{Flanderization}} and a continual feed of new child actors.
** ''Series/FullerHouse'', its SequelSeries, has more adult content and self awareness than the original, complete with the cast [[BreakingTheFourthWall glaring at the camera]] when the current status of Michelle (who has not returned to the series) is brought up.
** ''Series/FullerHouse'', its SequelSeries, has more adult content and self awareness than the original, complete with the cast [[BreakingTheFourthWall glaring at the camera]] when the current status of Michelle (who has not returned to the series) is brought up.
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* ''Series/FullHouse'' started with some family-friendly undertones but otherwise a run-of-the-mill sitcom. Over time, it brought the family-friendly aspect more and more to the forefront until they were dropping {{Aesop}} anvils every episode. Complete with heavy {{Flanderization}} and a continual feed of new child actors. \n** ''Series/FullerHouse'', its SequelSeries, has more adult content and self awareness than the original, complete with the cast [[BreakingTheFourthWall glaring at the camera]] when the current status of Michelle (who has not returned to the series) is brought up.
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* Downplayed with ''Series/{{Taskmaster}}'', which is always a fairly light-hearted comedic variety show that keeps the same format throughout the show's run. However, each series has a RevolvingDoorCast of comedians and actors, meaning that the tone and style of comedy can change depending on who's on the show and how they connect with the format and the other contestants. For example, Series 4 is fairly cheery as everyone clicks well and tends to be fairly good-natured and supportive of one another while Series 7 is more manic, chaotic as everyone hurls themselves into the tasks, and a little more fractious as there are more clashing personalities around.
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* Downplayed with ''Series/{{Taskmaster}}'', which is always a fairly light-hearted comedic variety show that keeps the same format throughout the show's run. However, each series has a RevolvingDoorCast [[RevolvingDoorCasting revolving door cast]] of comedians and actors, meaning that the tone and style of comedy can change depending on who's on the show and how they connect with the format and the other contestants. For example, Series 4 is fairly cheery as everyone clicks well and tends to be fairly good-natured and supportive of one another while Series 7 is more manic, chaotic as everyone hurls themselves into the tasks, and a little more fractious as there are more clashing personalities around.
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* Downplayed with ''Series/{{Taskmaster}}'', which is always a fairly light-hearted comedic variety show that keeps the same format throughout the show's run. However, each series has a RevolvingDoorCast of comedians and actors, meaning that the tone and style of comedy can change depending on who's on the show and how they connect with the format and the other contestants. For example, Series 4 is fairly cheery as everyone clicks well and tends to be fairly good-natured and supportive of one another while Series 7 is more manic, chaotic as everyone hurls themselves into the tasks, and a little more fractious as there are more clashing personalities around.
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* The first two games in the ''VideoGame/MaxPayne'' by Creator/RemedyEntertainment series were noir tales in the style of Creator/JohnWoo set in TheBigRottenApple, and featured a lot of references to respectively Myth/NorseMythology and ''Literature/ParadiseLost'', had rather cartoonish enemies [[EnemyChatter whose chatter]] which often functioned as comic relief, used graphic novel sequences in lieu of cutscenes, and had a story that was often self-referential and even bordered on SelfParody a couple of times. Enter the third game by [[Creator/TakeTwoInteractive Rockstar Games,]] which is based rather heavily on ''Film/ManOnFire'' and is set in Brazil, features enemies who deliberately are incomprehensible to anyone who doesn't understand Portuguese, and even then their dialogue is clearly not meant to be comical in any way, has normal cutscenes which are again based heavily on ''Man on Fire'''s visual style, and while the game sometimes does become self-referential, these moments are fewer and further in-between and are relatively downplayed.
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* The first two games in the Creator/RemedyEntertainment's ''VideoGame/MaxPayne'' by Creator/RemedyEntertainment series were noir tales in the style of Creator/JohnWoo set in TheBigRottenApple, and featured a lot of references to respectively Myth/NorseMythology and ''Literature/ParadiseLost'', had rather cartoonish enemies [[EnemyChatter whose chatter]] which often functioned as comic relief, used graphic novel sequences in lieu of cutscenes, and had a story that was often self-referential and even bordered on SelfParody a couple of times. Enter the third game by [[Creator/TakeTwoInteractive Rockstar Games,]] which is based rather heavily on ''Film/ManOnFire'' and is set in Brazil, features enemies who deliberately are incomprehensible to anyone who doesn't understand Portuguese, and even then their dialogue is clearly not meant to be comical in any way, has normal cutscenes which are again based heavily on ''Man on Fire'''s visual style, and while the game sometimes does become self-referential, these moments are fewer and further in-between and are relatively downplayed.
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The examples needed to be more organized.
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[[AC:Live-Action TV]]
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[[AC:Video Games]]
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* FilibusterFreefall: A body of work becomes an AuthorFilibuster.
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* IssueDrift: A work becomes political.
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Over time, works can change in tone. A formerly episodic comedic work can become a dark political satire with a strong plot arc. A dark work about a future dystopia can become a lighthearted adventure series.
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Over time, works can change in tone. A formerly episodic comedic work can become a dark political satire with a strong plot arc. A Or a dark work about a future dystopia can become a lighthearted adventure series.
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* ''Series/{{Roseanne}}'' started out as a very witty sitcom with elements of KitchenSinkDrama with a good deal of CharacterDevelopment, until [[{{RealLifeWritesThePlot}} behind the scenes drama]] derailed the entire show into A DenserAndWackier farce of its former self AND a heavy-handed Melodrama subject to MoodWhiplash. The last Season plays like one long GainaxEnding.
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* ''Series/{{Roseanne}}'' started out as a very witty sitcom with elements of KitchenSinkDrama with a good deal of CharacterDevelopment, until [[{{RealLifeWritesThePlot}} behind the scenes drama]] derailed the entire show into A DenserAndWackier farce of its former self AND a heavy-handed Melodrama subject to MoodWhiplash. The last Season season plays like one long GainaxEnding.GainaxEnding, especially with its TearJerker--hence why it was {{Retcon}}ned after the reboot and rebranding as ''Series/TheConners''.
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This is especially true in episodic media, such as [[LiveActionTV live-action]] shows, ComicBooks or WebComics, where their long-running status and, in the first two cases, changes in writing teams can cause marked changes in tone over time.
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This is especially true in episodic media, such as [[LiveActionTV live-action]] shows, LiveActionTV, ComicBooks or WebComics, where their long-running status and, in the first two cases, changes in writing teams can cause marked changes in tone over time.
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This is especially true in episodic media, such as LiveActionTV, ComicBooks, and WebComics, where their long-running status and, in the first two cases, changes in writing teams can cause marked changes in tone over time.
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This is especially true in episodic media, such as LiveActionTV, ComicBooks, and [[LiveActionTV live-action]] shows, ComicBooks or WebComics, where their long-running status and, in the first two cases, changes in writing teams can cause marked changes in tone over time.
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* LighterAndSofter: A work becomes lighter.
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* LighterAndSofter: A work becomes lighter.more lighthearted and kid-friendly.
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* TamerAndChaster: A work started sexy but becomes tame with the time or in its adaptations.
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* TamerAndChaster: A work started sexy but becomes tame with reduces the time or in its adaptations.amount of sexual content.
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* KinderAndCleaner: A work removes some or all of the cursing in a future installment.
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%% Rogue Launched Trope; Remove comment once properly launched.
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* KinderAndCleaner: A work removes some or all of the cursing in a future installment.
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* RuderAndCruder: A series entry is more profane than the those before it.
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Rogue launched and unlaunched; spelling error is convincing for deletion.
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* RuderAndCruder: A work becomes more raunchy and vulger.
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* RuderAndCruder: A work becomes more raunchy and vulger.
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* The first two games in the ''VideoGame/MaxPayne'' by Creator/RemedyEntertainment series was noir tales in style of Creator/JohnWoo set in TheBigRottenApple and featured a lot of references to respectively Myth/NorseMythology and ''Literature/ParadiseLost'', had rather cartoonish enemies [[EnemyChatter whose chatter]] which often functioned as comic relief, used graphic novels sequences in lieu of cutscenes, and had a some story was often self-referential and even bordered on SelfParody a couple of times. Enter the third game by [[Creator/TakeTwoInteractive Rockstar Games]], which is based rather heavily on ''Film/ManOnFire'' and is set in Brazil, features enemies who deliberately are incomprehensible to anyone who doesn't understand Portuguese, and even then their dialogue is clearly not meant to be comical in any way, has normal cutscenes which are again based heavily on ''Man on Fire'''s visual style, and while the game sometimes do become self-referential these moments are fewer and further in-between and are relatively downplayed.
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* The first two games in the ''VideoGame/MaxPayne'' by Creator/RemedyEntertainment series was were noir tales in the style of Creator/JohnWoo set in TheBigRottenApple TheBigRottenApple, and featured a lot of references to respectively Myth/NorseMythology and ''Literature/ParadiseLost'', had rather cartoonish enemies [[EnemyChatter whose chatter]] which often functioned as comic relief, used graphic novels novel sequences in lieu of cutscenes, and had a some story that was often self-referential and even bordered on SelfParody a couple of times. Enter the third game by [[Creator/TakeTwoInteractive Rockstar Games]], Games,]] which is based rather heavily on ''Film/ManOnFire'' and is set in Brazil, features enemies who deliberately are incomprehensible to anyone who doesn't understand Portuguese, and even then their dialogue is clearly not meant to be comical in any way, has normal cutscenes which are again based heavily on ''Man on Fire'''s visual style, and while the game sometimes do does become self-referential self-referential, these moments are fewer and further in-between and are relatively downplayed.
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* BleachedUnderpants: A work clearly intended for adults is given an adaptation that is more kid-friendly and eschews the original's mature content.
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** FriendlyFranchiseSomberSpinoff: When a normally lighthearted franchise has dark spin-offs.
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** FriendlyFranchiseSomberSpinoff: When a normally lighthearted franchise has dark spin-offs.
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added one word to convey the meaning of tone shift better. It doesn't have to be permanent, but it must be long lasting.
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Changes to tone are not always permanent; in order to qualify, they must be long-lasting. A single dark episode in an otherwise light and fluffy show is '''not''' a Tone Shift.
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Changes to tone are not always permanent; permanent, but in order to qualify, they must be long-lasting. A single dark episode in an otherwise light and fluffy show is '''not''' a Tone Shift.
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* TamerAndChaster: A work started sexy but becomes tame with the time or in its adaptations.