Follow TV Tropes

Following

Context Main / DerivativeDifferentiation

Go To

1[[FollowTheLeader Following the leader]] is ubiquitous in all media. The reasons for this vary, ranging from a desire to [[MoneyDearBoy attain some of the success of the original work]] to a desire to [[SincerestFormOfFlattery pay homage to a work that the creator of the derivative work adores]].
2
3This technique can be quite a double-edged sword, however. Some fans stay away from such derivative works, either because they know that [[SturgeonsLaw most imitations are bound to be bad]] or because the work is so similar that they feel no need to invest any time into experiencing more of the same, regardless of quality. If the derivative work is ''too'' obviously similar, it may even trigger a lawsuit from the creators of whatever work is being aped.
4
5So creators of derivative works find ways to make later installments less derivative, either in response to fan reaction or because their storytelling skills have improved to the point that they themselves no longer have to use derivation as a crutch. The work may still have some trappings that hint at its formerly derivative nature, but it's less likely that newcomers will easily be able to discern this.
6
7Related to GrowingTheBeard. Compare to SpiritualAntithesis. Has nothing to do with calculus.
8
9----
10!!Examples:
11
12[[foldercontrol]]
13
14[[folder:Anime and Manga]]
15* ''Franchise/DragonBall'' in its first arc was an irreverent retelling of ''Literature/JourneyToTheWest'' (with elements of ''Literature/{{Hakkenden}}'') that mashed up {{Fantasy}} with ScienceFiction elements. The second and fourth arcs were a parody of ''Film/SnakeInTheEaglesShadow'' (with the third arc being [[SeriesFauxnale a possible conclusion]] in case the manga was canceled) with the fantasy elements from its origins left over and even more science fiction tropes. Come the seventh arc (where the anime changed names to ''Anime/DragonBallZ''), the story introduces its versions of the Monkey King's "brothers" the [[EvilCounterpart Six-Eared Macaque]], [[TheGhost Red-Buttocked Baboon and Long-Armed Gibbon]]... as ''[[HumanAlienDiscovery aliens]]'', turning the story into a twisted version of ''Comicbook/{{Superman}}'' with even more science fiction tropes, and by the [[LongRunner ninth]] arc the story has turned into a more supernatural take on ''Film/TheTerminator''. Since then, ''Dragon Ball'' as a whole has become less derivative and more of its own beast. Most attempts to continue the series beyond arc ten (''Anime/DragonBallGT'', ''Videogame/DragonBallOnline'', ''Anime/DragonBallSuper'') either draw on the distinctive elements of the world it created or try to build on said world in ways that do not blatantly draw from another series, and there are several {{non serial movie}}s which either rehash well known ''Dragon Ball'' plots or spin new ones out of ''Dragon Ball'' conventions.
16* ''Anime/{{Gasaraki}}'' started out as a clone of ''Anime/NeonGenesisEvangelion'', but evolved into more of a spiritual predecessor to ''Anime/CodeGeass''.
17* ''Manga/JoJosBizarreAdventure'' began as a clone of ''Manga/FistOfTheNorthStar'' (and {{Dracula}}, oddly enough). This changed with the advent of [[PsychicPowers Stands]], and the series drifted away from its inspiration. The eponymous [[GenerationalSaga Joestar line]] even grew progressively less like Kenshiro with each generation.
18* ''[[VideoGame/PriPara [=PriPara=]]]'' began as Takara Tomy's version of ''VideoGame/{{Aikatsu}}'', but as the show went on and became more popular, it became an idol show that was very different from the other popular ones at the time, doing things Aikatsu! did not including a whole season based on five-person lives, different versions of the idol world in the show existing and even some concepts that are similar to MagicalGirl anime such as taking care of a magical baby and the girls getting a magic wand to change their dresses.
19* ''Franchise/{{Pokemon}}'' and ''Franchise/YokaiWatch'' are rival {{mon}} JRPG series where you play as a KidHero fighting with a team of monsters. Their anime adaptations decided to go in two completely different directions. While the ''[[Anime/PokemonTheSeries Pokémon]]'' anime more-or-less adapts the games and is an action-focused series, the ''Anime/YokaiWatch'' anime ditches most of the game's plot in exchange for a comedic SliceOfLife series about schoolboy Nate's life alongside yo-kai. The two anime became even less alike when ''Yo-Kai Watch'' ended and was replaced with the DarkerAndEdgier, more action-oriented spinoff ''Anime/YokaiWatchShadowside''. Unlike the [[NotAllowedToGrowUp forever ten]] Ash, Nate [[KidHeroAllGrownUp grew up]]. The Yo-kai Watch (or rather, the role as the Yo-kai Watch Holder[[note]]as Kaira had all Yo-kai Watches in the world to be destroyed, and only those ancient watches (originally conceived as "Mirrors") made by the Genyou were still around.[[/note]]) was [[PassingTheTorch passed onto]] his teenage [[SpinOffspring daughter]]. This no longer stands as the revival ''Yo-kai Watch!'' replaced ''Shadowside'', was latter replaced by the spin-off series ''Yo-kai Gakuen Y: Close Encounters of the N Kind'', and then it got revived ''again'' as ''Yo-kai Watch♪''.
20[[/folder]]
21
22[[folder:Asian Animation]]
23* ''Animation/CrazyCandies'': The first season is notorious for copying a number of ''WesternAnimation/SpongeBobSquarePants'' episodes and jokes, so for Season 2 they largely stopped doing that apart from at least one episode. In Season 6, they gave the series a story about Marshyo and Jackey finding ingredients to cook gourmet foods for Mr. Seed - ''[=SpongeBob SquarePants=]'' didn't have any significant overarching plot like that.
24* ''Animation/DobyAndDisy'': Season 2 got rid of the FakeInteractivity segments and fleshed out the character personalities to be more original than ''WesternAnimation/DoraTheExplorer''. Every season from that one onwards has its own topic to teach that isn't English (similar to how ''Dora'' teaches Spanish), such as Chinese characters, music, and problem solving.
25* ''Animation/FlowerAngel'': The character personalities and the way that magical girl powers work, as well as some pieces of lore such as a MissingMom, were similar to ''Manga/CardcaptorSakura'' in the first season, but in Season 2, more focus was put on the fairy world and more magical girls were put in protagonist roles alongside An'an - among other things - to correct this problem.
26* ''Animation/OurFriendXiongXiaoMi'' could be described very easily as a Chinese ripoff of ''WesternAnimation/PeppaPig'', with its similar art style and the main character living in a house on a grassy hill and going on simple adventures with his animal friends. The second season, ''A Little Artist Xiong Xiao Mi'', has an educational element ''Peppa Pig'' didn't have - teaching viewers how to draw animals.
27[[/folder]]
28
29[[folder:Comic Books]]
30* In his first appearance, [[{{Franchise/Batman}} the Bat-Man]] was pretty much Literature/TheShadow with wings, with a bit of ''Franchise/{{Zorro}}'' mixed in as well. Then he got his own backstory, decided he didn't like guns, recruited a kid sidekick, and generally became his own person.
31* Similarly, ''ComicBook/GreenArrow,'' was straight-up Batman (that is, the guy Batman had become by then.) Rich playboy, check; Arrowcave and Arrowcar (yes, they were really called that) to go with the Batcave and Batmobile, check; red-clad KidSidekick adopted by the hero, check; every single gadget Batman is known for but with an arrow theme instead of a bat theme, check. He became his own person by becoming more playboyish and more political, and seldom becoming quite as isolated and brooding as Batman even when his stories were just as dark.
32* ComicBook/MartianManhunter is an alien hero with a cool cape, a ton of powers that can vary from "ten humans could probably do the same thing" to "could take out the Death Star with his pinky" levels DependingOnTheWriter, one thing that can weaken him, and is sometimes the LastOfHisKind. ''That'' doesn't remind you of ''anyone'', does it? This results in a lot of writers not knowing what to do with him, but in many versions, the reason he and Superman aren't the same character is all down to personality - dead-serious (sometimes TheComicallySerious), sometimes more overtly "alien" with a more formal way of talking, using his shapeshifting powers to maintain ''multiple'' human identities while his true self is definitely his hero persona (it's been a ''very'' long time since Clark Kent was considered just a disguise to let Superman find out about crimes before the general public) and, if ''WesternAnimation/JusticeLeague'' and ''Series/Supergirl2015'' are any indication, more comfortable giving orders. Even in the beginning, their stories were quite different, with a greater focus on detective work. In any work where they appear together, the only thing Ma and Pa Kent's farmboy and the imposing alien soldier will probably have in common is "likes capes."
33* ComicBook/{{Deadpool}} used to be ComicBook/{{Deathstroke}} in red until they made him insane to the point of fourth wall–breaking and gave him his own fighting style. Interestingly enough, Deadpool also qualifies as an {{Inversion}} of this trope in that he held onto an element that his inspiration has since discarded. Namely, he keeps wearing leather and spandex whereas Deathstroke has undergone CostumeEvolution into a more armored appearance.
34* The lead character of Creator/PeterDavid's ''ComicBook/{{Fallen Angel|2003}}'' was widely assumed to be a lawyer-friendly version of ComicBook/{{Supergirl}} from his recently completed series, but was eventually distinguished.
35* In ''ComicBook/{{PS238}}'', many of the background superheroes are obvious walking shout-outs. For example, Ron's father Atlas is obviously Comicbook/{{Superman}}, down to being raised by an older couple on a farm... until it's discovered that, to his own surprise, [[spoiler:he's not the LastOfHisKind, he's a HiddenBackupPrince]]. His personality also winds up being rather different as he becomes more aloof and distant from his family, [[spoiler:culminating in a divorce from Ron's mom and him taking the throne of his home planet]].
36* The pirates in ''ComicBook/{{Asterix}}'' started off as straight-up redraws of the characters from ''ComicBook/BarbeRouge'', apart from art style. Notably, in some of Baba's early appearances, he looks almost exactly like the original, photorealistic one, apart from [[BlackFace bright-red lips]]. Then one of them, Erix, got [[PutOnABus removed from the crew]], and the remaining crew got increasingly grotesqued until they all ended up looking really different to their original inspiration, especially Baba.
37* UsefulNotes/{{India}} has a large and thriving comic-book industry, largely depending on original superhero characters such as Nagraj and Shaktimaan. American icons such as Franchise/{{Batman}}, Franchise/{{Superman}} and Franchise/WonderWoman have crossed over to Indian comics - but not always in a licenced and approved way. In unauthorised versions, the Indian Superman takes sadistic pleasure in dreaming up prolonged and painful deaths for the villain, while the normally chaste Wonder Woman[[note]]the character as originally created had a lot of bondage/discipline elements, but the erotic aspects of that were kept as subtext... a '''lot''' of subtext, but still subtext[[/note]] is allowed active sexual expression (within the limits of Indian moral attitudes). Meanwhile, Shaktimaan crossed over to American comics, but as a minor character representing India in a sort of international League of Superheroes. His portrayal in the American adaptation similarly changed to reflect American taste.
38* ''ComicBook/XMen'' started out as a pretty naked copy of ''ComicBook/FantasticFour'': they had matching uniforms and origins, the team included [[KidAppealCharacter a goof with element powers]], [[BoisterousBruiser a rough-edged strongman]], [[NonActionGuy a serious-minded genius leader]], and [[FauxActionGirl a profoundly useless woman]], they battled a cloaked LargeHam archvillain, and there was an emphasis on the group being unpopular in society as they went on weird science adventures. After the revamp of ''Giant-Size X-Men'', the team more or less went its own way: the matching uniforms vanished, the roster changed significantly and many characters were altered (particularly Magneto, who went from a cackling loon to an AntiHero), and the series developed its signature focus on prejudice and soap opera dramatics.
39* ComicBook/TheThing and ComicBook/TheIncredibleHulk were originally very similar characters; it's been suggested that the Hulk was created because Lee recognized that Ben Grimm was the most interesting member of the team. Both were created by a scientific accident, both were physically monstrous and super-strong, both wore little clothing, both were violent and antiheroic outcasts, both would frequently turn into a regular human, and both sought a means of turning back to normal permanently. However, in an odd case of this trope, it was the original one, the Thing, who did most of the differentiating: he stopped turning back into a human, went through CharacterDevelopment, and became far more of a well-adjusted and well-connected BoisterousBruiser, with his monstrousness being downplayed to the point of being almost cuddly and beloved among the populace (though he's still unhappy about his appearance at times). The Hulk, meanwhile, mostly just kept the monstrous traits, dialed down his intellect from "thuggish" to "HulkSpeak", and added a connection to rage (causing his transformations and increasing his strength) to tie his abilities together.
40* Creator/AlanMoore's run on ''ComicBook/{{Miracleman}}'' (previously called ''Marvelman'') is a famous example. The series was originally created by Mick Anglo in the mid-1950s as a blatant British clone of the popular American superhero comic ''[[ComicBook/{{Shazam}} Captain Marvel]]'', which had recently been temporarily cancelled at the time due to [[ScrewedByTheLawyers legal difficulties]]. Much later, Moore famously revived it in the 1980s as a shockingly grim {{deconstruction}} of the superhero genre written for an adult audience, which could perhaps best be described as "''Captain Marvel'' retold as a '''{{horror}} story'''". Beyond the tonal shift, he also took the premise and core characters in a noticeably different direction, allowing the series to establish more of an identity of its own. In addition to being a deconstruction of the original series, Moore's run is also a sequel taking place after a decades-long TimeSkip, allowing the KidHero Micky Moran to become a married adult man, and allowing his sidekick Kid Marvelman to undergo a truly disturbing FaceHeelTurn. It also {{retcon}}s his origin story, revealing that he actually got his superpowers from a secret government experiment called "Project Zarathustra".
41[[/folder]]
42
43[[folder:Film]]
44* The 1954 film ''Film/{{Gojira}}'' had plenty of unique elements to set it apart from the earlier AttackOfTheFiftyFootWhatever stories which inspired it such as ''Film/KingKong'' and ''Film/TheBeastFromTwentyThousandFathoms''. The use of PeopleInRubberSuits instead of StopMotion to portray Franchise/{{Godzilla}} was unusual at the time, while the grim, [[DoesThisRemindYouOfAnything allegorical]] destruction of UsefulNotes/{{Tokyo}} and the then-unique-in-TheFifties anti-nuclear message could only have come from [[UsefulNotes/NuclearWeapons post-Hiroshima]] UsefulNotes/{{Japan}}. Nonetheless, it still clearly followed the formula set by those other giant monster movies: monster causes havoc in a city, humans brainstorm a way to stop it, and the monster is thus killed, imprisoned, or otherwise neutralized. ''Film/GodzillaRaidsAgain'' and ''Film/KingKongVsGodzilla'' barely diverged from this formula by introducing other monsters to both fight Godzilla and cause more trouble for humans. ''Film/MothraVsGodzilla'' saw the beginnings of major divergences from the formula both by turning the ''Godzilla'' films into a SharedUniverse with other Creator/{{Toho}} creations (starting with Film/{{Mothra}}) and having at least one of the monsters being clearly on the side of the humans. ''Film/GhidorahTheThreeHeadedMonster'' saw the biggest divergence yet, [[HeelFaceTurn turning Godzilla into a good guy]] and having him team up with other monsters against a greater threat. Since then, the franchise's focus has usually been on Godzilla doing most of the work to take down the bad guys while humans help him out.
45* ''Film/{{Gamera}}'' began his life as a very obvious cash-in on the success of Godzilla. Exactly like ''Film/Godzilla1954'', ''Film/GiantMonsterGamera'' has a giant reptilian monster with a fiery BreathWeapon awakened by a nuclear blast and then destroys Tokyo while the humans try to stop him, although while Godzilla was a little more grounded, Gamera was a little more out-of-the-box, being able to fly with rocket jets and instead of being killed, he's trapped in a rocket and sent to Mars. The sequel, ''Film/GameraVsBarugon'', continued this copy-cat trend as it's basically ''Film/GodzillaRaidsAgain'' with the SerialNumbersFiledOff, although again, with a slightly more outlandish monster. The Showa films following ''Film/GameraVsGyaos'' started diverging further, for better or for worse, aiming more towards children, having a strictly MonsterOfTheWeek formula, and a lighter sci-fi tone, while Godzilla went all over the place in tone and plot. By the Heisei series, the two series diverged even more. Godzilla maintained his atomic origins, but lost his heroic nature, becoming a neutral monster that humanity was often forced to ally with against even worse monsters, but ultimately still antagonistic. Gamera meanwhile kept his heroic nature but lost his nuclear origin, continuing his more fantastical sci-fi themes. While Godzilla ended up having a large RoguesGallery and allied kaiju which reappear again and again, Gamera has almost never had an opponent appear twice in a film (with the sole exception of [[ArchEnemy Gyaos]]) and never acquired any kaiju allies.
46[[/folder]]
47
48[[folder:Literature]]
49* ''Literature/TheBeginningAfterTheEnd'' is heavily based on ''Literature/MushokuTensei'' with its premise, story elements, and characters being lifted nearly wholesale from that novel, especially in its first few volumes. However, over time it becomes ''far'' DarkerAndEdgier compared to its inspiration given how its plot revolves around a DivineConflict and as such has very high stakes for an {{Isekai}} novel, if not being one of ''the'' darkest works in the entire genre. The novel is not shy from showing the horrors of war and its toll on the protagonists, features some [[HateSink truly despicable]] villains whom the protagonists have difficulty overcoming, and makes liberal use of AnyoneCanDie.
50** Even though it continues to lift a few elements from the latter in said later volumes - such as [[spoiler:the protagonist meeting people from his past life, the enigmatic deity who helps the protagonist turning out to be EvilAllAlong, and the protagonist learning that he is a ParadoxPerson due to the circumstances of his reincarnation involving a StableTimeLoop]] - it gives these elements a much different execution, oftentimes to a much darker extreme.
51*** For example (involving the first of these), [[spoiler:when Rudeus meets Nanahoshi, he's shocked to see her as not only was she one of the students he died saving, but she had been the companion of Orsted who had [[TorsoWithAView punched a hole in Rudeus's chest]] the last time they met. However, Nanahoshi proves to pose no harm to him as she only wants to return home. In stark contrast, Arthur learns that the BigBad Agrona had not only reincarnated him but also his past life childhood friends - Nico and Cecilia - whom he had ReforgedIntoAMinion and twisted them into despising Arthur for an incident in their past lives]].
52** To elaborate on its protagonist, Arthur himself seems to be a carbon copy of Rudeus at first - both are adult men who died only to ReincarnateInAnotherWorld, became a extremely talented mage and adventurer at a young age thanks to retaining their past mindset, and attract the attention of several LoveInterest[=s=] - with the [[VirtuousCharacterCopy only initial major difference]] being that Arthur is a CelibateHero who spurns most girls due to the mental age gap in sharp contrast to the perverted ManChild that is Rudeus at first. However, Arthur diverges considerably from Rudeus as the story progresses. While Rudeus ends up becoming TheArchmage who expands on his original powerset, Arthur is a MagicKnight who [[spoiler:ends up losing his original powerset only to RePower himself with an even stronger powerset and [[CameBackStrong Come Back Strong]]]].
53** While its inspiration does have its fair share of dark moments, most notably Turning Point IV wherein Rudeus learns of [[spoiler:the BadFuture in which he becomes a monster and loses everyone he loves thanks to falling for Hitogami's machinations]], the novel itself tends to have far more dark moments, and ones that happen in real time if not in the past. Case in point, from Volumes 7 to 8 the main cast - Arthur and Tessia in particular - undergo a ''massive'' TraumaCongaLine wherein [[spoiler:TheBadGuyWins, conquers their homeland and kills many of their loved ones. On top of that, Arthur gets stranded in an alien land, left powerless, and forced to live incognito among Agrona's minions, while Tessia gets captured and turned into the vessel for Cecilia as part of Agrona's plan followed by her homeland being destroyed by the JerkassGods in an ultimately futile bid to stop Agrona]].
54* ''Literature/TheGoldenKeyOrTheAdventuresOfBuratino'' effectively repeats ''Literature/TheAdventuresOfPinocchio'' for the first few pages, but then starts diverging until a complete breakoff after the AFoolAndHisNewMoneyAreSoonParted scene.
55* The first two books of the ''Literature/InheritanceCycle'' took place in a very by-the-numbers HighFantasy world, with each and every single one of its distinguishing features being lifted from some other fantasy book, and the plots of the two books being [[MayTheFarceBeWithYou nearly beat-by-beat recreations]] of ''Film/ANewHope'' and ''Film/TheEmpireStrikesBack''. Not only did TrilogyCreep kick in and split the third book into two, but the final two books greatly expanded the world into genuinely original directions, and a plotline with much less than the expected adherence to ''Film/ReturnOfTheJedi''.
56* ''Literature/TheLordOfTheRings'' is so very much the 800-pound gorilla of High Fantasy that any work in that genre written since ''is'' going to be compared with it (and with Creator/JRRTolkien's other works), for better or worse. Still, the... influence... is pretty visible in some works.
57** The ''Literature/{{Shannara}}'' series started off as fairly derivative of ''The Lord of the Rings'', with the largest distinction being the former's AfterTheEnd setting. ''Literature/{{The Sword of Shannara|Trilogy}}'' even took its general plot structure straight from ''The Lord of the Rings''. As the series went on, however, the books developed more original plots, including an UrbanFantasy trilogy.
58** If you only read the first novel of ''Literature/TheWheelOfTime'' you could be forgiven for dismissing it as ''The Lord of the Rings'' with some light gender politics. The setting and metaphysics become much more distinct, and the gender politics ''much'' more pronounced, as the series continues.
59* The early books in the ''Literature/SwordOfTruth'' series were typical HighFantasy books that borrowed many elements from ''Literature/TheWheelOfTime'' (itself somewhat derivative of ''[=LotR=]''), but developed a unique feel in ''Soul of the Fire'' with the introduction of {{UsefulNotes/Objectivis|m}}t themes.
60* ''Literature/TalesOfTheMagicLand'' started off as a loose translation of ''Literature/TheWonderfulWizardOfOz'', but later books in the series are original works that use said translation as a basis.
61[[/folder]]
62
63[[folder:Live-Action TV]]
64* The Russian version of ''Series/MarriedWithChildren'' recycled all the scripts from all 11 American seasons and then had a contest for suggestions to write more.
65* The Russian version of ''Series/TheNanny'' was so popular that the producers actually hired the original American writers to write 25 more episodes.
66* The first twelve episodes of ''Series/TheOfficeUS'' were simply reworkings of the scripts of [[Series/TheOfficeUK the British version]], and not very well received. [[BritishBrevity Then they ran out of source material]], and once the US series found a voice of its own many of the characters were completely unrecognisable (particularly Michael Scott, who became much more of a well-intentioned buffoon than the [[UnsympatheticComedyProtagonist venal and unpleasant]] David Brent), which created a lot of EarlyInstallmentWeirdness in the first season.
67* Likewise, the first season of ''Series/ParksAndRecreation'' was very much ''The Office'' [[RecycledINSPACE in the public sector with a female lead]]. Starting in the second season the show dropped its reliance on CringeComedy and found its own identity.
68* In America, ABC piloted a 1980 Harvey Korman vehicle, ''Snavely's,'' which was not only based on the BBC's ''Series/FawltyTowers'' but said pilot was a scene-by-scene word-by-word duplicate of a ''Fawlty Towers'' episode. It would be tweaked and be greenlit for series under the new name ''Amanda's'' (with Bea Arthur in the John Cleese role).
69[[/folder]]
70
71[[folder:Music]]
72* This trope is common in general with a fair number of enduringly popular musicians, who generally begin their careers heavily borrowing from either music that they admire or music that happens to be commercially successful at around the start of their career. However, as time goes on they begin to craft a better sense of identity for themselves, oftentimes drawing in influences from other musicians and/or genres and organically melding them in with their old style to form something more distinct (when they don't just undergo a complete GenreShift, that is).
73* Music/TheBeatles began their careers aping rock 'n' roll artists such as Music/ElvisPresley, Music/FatsDomino, and Music/ChuckBerry, whose music had become popular in Liverpool thanks to import records. However, as time went on, the band incorporated greater influences from WorldMusic, ClassicalMusic, and the burgeoning psychedelia and AvantGardeMusic scenes, developing a more psychedelic-symphonic sound that would come to define much of their most famous work.
74* Similarly to the Beatles, Music/DavidBowie's early work was an audible imitation of 1950's American rock 'n' roll (owing to the work of Music/LittleRichard being Bowie's inspiration for becoming a musician), and his [[Music/DavidBowie1967 first]] [[Music/SpaceOddity two]] albums respectively took noticeable cues from art hall pop and folk rock. However, starting with ''Music/TheManWhoSoldTheWorld'' in 1970, his work would take on a much more unconventional and theatrical edge, which would continue on in many different forms throughout the remainder of his career.
75* Music/DepecheMode's early career was simply spent imitating the teen-oriented brand of SynthPop that was becoming popular in the early 80's, with their [[Music/SpeakAndSpell first]] [[Music/ABrokenFrame two]] albums lacking much to let the band stand out from their peers despite their own success. However, songwriter Martin Gore's growing interest in {{industrial}} rock and the band's acquisition of a Synclavier led to [[Music/ConstructionTimeAgain third]] and [[Music/SomeGreatReward fourth]] albums taking on a brand of AlternativeDance distinctly harder and more mechanical than that of other bands in the movement, with Depeche Mode increasingly orienting themselves in a more Gothic and melodramatic direction as their careers went on.
76* Music/JoyDivision began their career as an imitator of Music/TheSexPistols, with rough, terse PunkRock that distinguished itself solely through Ian Curtis' abstract and poetic lyrics. However, upon singing onto Creator/FactoryRecords and joining forces with batshit insane genius producer Martin Hannett, the band developed a more cavernous, minimalistic sound that would become the TropeCodifier for British PostPunk, with their second and final album ''Music/{{Closer}}'' in particular being intensely far-removed from any semblance of punk and featuring a more hauntingly primeval sound.
77** After Joy Division renamed themselves Music/NewOrder in the wake of Curtis' 1980 suicide, the band initially attempted to simply continue what they started with their debut album ''Music/{{Movement}}'' often being described as a sonic continuation of ''Closer''. However, ambivalent reactions from fans and critics [[VindicatedByHistory (at first)]] led the band to distance themselves from their past, eventually finding a niche in a distinctly Gothic mix of SynthPop and AlternativeRock that would lead to the band becoming the TropeMakers for AlternativeDance.
78* Both Music/MichaelJackson and Music/{{Prince}} started out their adult solo careers drawing from the {{disco}} boom of the late 1970's (Jackson had been doing traditional pop as a solo musician since the age of 14, but his first work as an adult artist wouldn't be until ''Music/OffTheWall'' in 1979); both musicians later crafted their own unique brands of pop once the 80's came around, with Jackson bringing in R&B influences and Prince drawing from a combination of SynthPop and {{funk}} (codifying the "Minneapolis Sound" in the process). Both artists' work would continue to grow exponentially further apart from one another and from their previous work as time went on, to the point where those accustomed to the singers' later work will be surprised to learn that they were both standard disco artists once upon a time.
79* Music/MachineGirl first drew attention during the rave revival and footwork trends of the 2010s. Album by album, they began to distinguish themselves by fusing their previous sound with punk rock and grindcore style instrumentation.
80* [[Music/DJRozwell KFC Murder Chicks]] began as a clear homage to rock-rave crossover music, drawing from Music/MachineGirl and Music/TheProdigy. It wasn't until ''Loss Prevention Reloaded'' and ''KFCMC'' that they began differentiating themselves by taking elements from breakcore and black metal.
81* When Music/{{Radiohead}} first put out ''Music/PabloHoney'' in 1993, one of the most common reactions to the album was that it did little to make itself stand out, being seen as just another {{grunge}} album whose only real highlight was the widely successful "Creep". The band's [[Music/TheBends next]] [[Music/OKComputer two]] albums, meanwhile, would take on a much more unique sound that brought AlternativeRock in a more brooding direction that resulted in Radiohead ''leading'' the rock zeitgeist rather than riding its coattails. When the band realized this and immediately grew to resent it, they shook their sound up further with the electronic PostRock of ''Music/KidA'' and ''Music/{{Amnesiac}}'', developing their own brand of experimental art rock that would come to define their later output.
82* Music/TalkTalk managed to pull this off to a surprisingly dramatic and effective degree, given that their studio backlog consists of just five albums within the span of less than a decade. Beginning their careers as stock SynthPop artists whose first two albums were frequently accused by the press of ripping off Music/DuranDuran, the band radically shifted sound to an organic and elaborate art pop sound with their third album, ''The Colour of Spring'', in 1986. The band then took this multiple steps further in quick succession, with the jazzy PostRock of ''Music/SpiritOfEden'' in 1988 and ''Music/LaughingStock'' in 1991, the latter of which was practically its predecessor but exaggerated. Comparing their first album to their fifth, and it can be difficult to tell that they're both by the same band.
83* Music/TenThousandManiacs began their career as a stock PostPunk band, playing Music/GangOfFour and Music/JoyDivision covers before imitating that sound on their ''Human Conflict Number 5'' EP. Once the band began putting out proper studio albums, they shifted direction to an AlternativeRock sound that melded together elements of JanglePop, FolkMusic, and pop rock, a far cry from their more abrasive early sound and a shift that contributed heavily to their commercial success during the waning years of the pre-''Music/{{Nevermind|Album}}'' era of alternative rock.
84[[/folder]]
85
86[[folder:Role-Playing Games]]
87* ''Roleplay/DinoAttackRPG'' started off as [[FollowTheLeader a near-clone of]] ''Roleplay/AlphaTeamMissionDeepFreezeRPG'' [[RecycledInSpace in a different setting]], but eventually adopted its own unique style starting with the introduction of the StoryArc formula.
88[[/folder]]
89
90[[folder:Tabletop Games]]
91* ''TabletopGame/Warhammer40000'' used to just be ''TabletopGame/{{Warhammer}}'' [[RecycledInSpace with space ships]] before adding its own mythos and creatures.
92** Although this has zigzagged quite a bit. Early on, there was a lot of effort to differentiate the two, with ''Warhammer 40,000'' having several races killed off or quietly forgotten about while others with no connection to ''Warhammer Fantasy'' were introduced. But later, the two drifted back together with the [[KillerRobot Necrons]] turning into expies of the [[AncientEgypt Tomb Kings]], and ultimately with the events that killed off ''Fantasy'' and replaced it with ''TabletopGame/WarhammerAgeOfSigmar'' being exactly paralleled in ''40K''. As of ''Age of Sigmar'' and 8th edition ''40K'', the two are less differentiated than at any time since their original launch.
93** For that matter, while it was never a straight copy, earliest versions of Warhammer Fantasy had parts obviously cribbed from Literature/TolkiensLegendarium or ''TabletopGame/DungeonsAndDragons''. The Wood Elves, living in a forest just one letter short of "Lorien", needed a few editions to gradually move away from (ironically enough) the elves of Mirkwood.
94* In its original manga appearance, ''TabletopGame/YuGiOh'' was very clearly a simplified BlandNameProduct version of ''TabletopGame/MagicTheGathering'' with the mana system taken out, down to being named "Magic and Wizards" and borrowing a few creature designs. As it moved from a one-off game to a focus of the plot, it started showing off more and more elements that had no roots in ''Magic'', such as Trap cards and various means of monster-summoning that used other monsters as resources. ''Anime/YuGiOhGX'' further shifted the game's art direction towards anime-esque ScienceFantasy as opposed to ''Magic'''s ''D&D''-esque StandardFantasySetting, and placed a greater focus on archetypes, or small groups of cards that share a part of their name. Another major differentiation came due to ''Yu-Gi-Oh'' lacking the rotation format that ''Magic'' uses, meaning that it sees a significantly greater level of PowerCreep. Nowadays, the only thing the two games have in common is that they're both competitive card games with a fantasy theme.
95[[/folder]]
96
97[[folder:Video Games]]
98* Creator/{{SNK}}'s ''VideoGame/ArtOfFighting'' was perceived by gamers to be a cheap cash-in of rival company Creator/{{Capcom}}'s ''Franchise/StreetFighter''. Despite this, ''Art of Fighting'' set itself apart by introducing several new gameplay mechanics such as taunting, the addition of a spirit gauge to regulate use of specials, along with [[LimitBreak Supers]] and {{Desperation Attack}}s. The game's scaling feature also became a series trademark. Capcom later incorporated some of these same features, beginning with ''[[VideoGame/StreetFighterII Super Street Fighter II Turbo]]'', the first game in the series to feature Super Combos and a secondary meter for regulating them. ''VideoGame/StreetFighterIV'' would then add its own revenge moves in the form of Ultra Combos, which can only be used after the character has sustained enough damage, making them the ''SF'' equivalent of Desperation Attacks.
99* ''VideoGame/BanjoKazooie'' never tried to hide its similarities to ''VideoGame/SuperMario64'', but fans didn't mind too much because the game was pretty good anyway. As gamers started to get tired of the CollectAThonPlatformer formula set up by ''VideoGame/SuperMario64'', however, Rare decided to go in a different direction with ''VideoGame/BanjoTooie''. The sequel contained more interconnected areas to make it resemble a {{Metroidvania}} more than anything. ''VideoGame/BanjoKazooieNutsAndBolts'' abandoned the PlatformGame trappings altogether, introducing customizable vehicles as the central gameplay concept instead.
100* The original ''VideoGame/{{Burnout}}'' was extremely similar to the arcade game ''VideoGame/ThrillDrive'' in all respects, to the point it was pratically a SpiritualAdaptation of it. ''Burnout 2'' differentiated itself with a more definite art direction and a greatly increased focus on the NitroBoost mechanic; ''Burnout 3: Takedown'' further shook things up by introducing the combat mechanic that would define the series for mainstream audiences.
101* Similar to the ''Franchise/RatchetAndClank'' example below, Creator/{{Rare}} created Conker, in hopes of making another exploration-heavy series with platforming and collection sidequests starring a cute protagonist. After their rivals mocked the company for seeming to create another formulaic series, they kept the gameplay but reinvented the product as ''VideoGame/ConkersBadFurDay'', [[DarkerAndEdgier completely changing the tone]] from a cutesy mascot with clean, shiny graphics to a [[GrossoutShow deliberately unappealing]], [[SirSwearsALot profanity-ridden]] BlackComedy with a protagonist that talked, and wasn't at all shy about voicing his displeasure about the rivers of feces, frequent hangovers, alien invasions, a suicidal fork with a bad sex life, the giant poop monster that sang opera tunes, and any number of surreal and definitely not child-friendly madness the game had to offer.
102* Creator/{{Nintendo}}'s ''VideoGame/DonkeyKong'' arcade game was born out of this kind of serendipity; Nintendo, still trying to get their foot in the American game market in 1981, tried releasing a standard ''VideoGame/SpaceInvaders'' clone called ''VideoGame/RadarScope'' in the arcades; while it did well overseas, it completely flopped in the US and left them stuck with thousands of unsold cabinets. This prompted them to place Creator/ShigeruMiyamoto in charge of improvising another game to replace ''Radar Scope'' (while converting the unsold cabinets into new games) and, instead of making another cookie cutter ShootEmUp or MazeGame, created one of the earliest,[[note]]but not the first; ''Space Panic'' from 1980, is generally considered the first platformer game[[/note]] and certainly one of the most important platformer games in history. The game was originally conceived as a ''ComicStrip/{{Popeye}}'' title, but changed when Nintendo couldn't secure the rights: Popeye became Mario, Olive Oyl became Pauline, and Bluto became Donkey Kong.
103* ''VideoGame/FinalFantasyI'' is a shameless clone of the 1st edition of ''TabletopGame/DungeonsAndDragons'', right down to copying practically every monster design from D&D's bestiary. Beginning with ''VideoGame/FinalFantasyII'', though, [[Franchise/FinalFantasy the series]] began to craft its own identity.
104* The ''VideoGame/GianaSisters'' series has had this occur. ''VideoGame/TheGreatGianaSisters'' was such a blatant clone of ''VideoGame/SuperMarioBros1'' that Nintendo successfully got it removed from store shelves (putting a very arrogant TakeThat to ''Mario'' on the cover hurt the game ''far'' more than it helped). When ''VideoGame/GianaSistersDS'' came out decades later, it was nothing like ''Franchise/SuperMarioBros'', and later ''VideoGame/GianaSistersTwistedDreams'' came along and introduced mechanics such as DualWorldGameplay and heavier emphasis on melee abilities. Numerous critics noted the {{irony}} that a game that started off as a knock-off ended up being revived on a Nintendo platform then later becoming one of the most original {{platform game}}s of 2013.
105* The first ''Franchise/{{Halo}}'' game, ''VideoGame/HaloCombatEvolved'', was initially planned as a RealTimeStrategy. Between that preliminary design and the release of the final product, however, Creator/{{Bungie}} probably deemed a RTS with humans fighting alien zealots and both fending off a parasitic swarm to be a tad bit too similar to ''VideoGame/StarCraft'', hence the shift to a FirstPersonShooter. They would eventually revisit the RTS roots with ''VideoGame/HaloWars''.
106* ''VideoGame/KCMunchkin'' for the Magnavox Platform/Odyssey2; the first installment is an obvious clone of VideoGame/PacMan (although there are a fair amount of differences between it and its inspiration already, most notably the ability to create your own maze), enough that a year after it was released, Atari, who had just released their own port for the 2600, successfully sued to get it pulled from shelves. To continue the series, a sequel, ''VideoGame/KCsCrazyChase'', was released, which [[WritingAroundTrademarks redesigned the lead character]], and revamped the gameplay to where your goal is to chase and eat a giant [[VideoGame/{{Centipede}} centipede]] throughout the maze to get power ups and win (not only distinguishing it from Pac Man, but also serving [[TakeThat as a sly jab at Atari]]). It also supports the Odyssey 2 voice module.
107* Creator/{{SNK}} did it again, this time with a specific character of ''VideoGame/TheKingOfFighters'' - in his debut in ''VideoGame/TheKingOfFighters2001'', K9999 was basically [[CaptainErsatz almost identical to]] ''Manga/{{AKIRA}}'''s Tetsuo Shima, to the extent that everybody attributed subsequent attempts to [[BuryYourArt outright deny his existence]] to legal pressure from Creator/KatsuhiroOtomo. 20 years and one rebranding to Krohnen later in ''VideoGame/TheKingOfFightersXV'', K9999 appears far more unique, both in design (BarbarianLonghair, goggles and ScarfOfAsskicking) and in powers (bye bye flesh arm and psychokinesis, hello flames and cybernetics).
108* ''VideoGame/LeagueOfLegends'' took the simplification path after breaking away from ''VideoGame/DefenseOfTheAncients''. The old ''VideoGame/{{Warcraft}} III'' main stat system was removed and replaced with direct manipulation of the underlying stats: attack damage, ability power, attack speed, movement speed, HP, mana, armor and magic resist. The standard ability kit of three powers and an ultimate was replaced by one passive, three abilities with or without passives, and an ultimate. The "Blue Pill", the equivalent of ''[=DotA=]''[='s=] Town Portal Scroll, was removed and made into a long Recall that can be performed any time without limits. The Blink Dagger and the Ancient Pocket Watch were made into the summoner spells Flash and Teleport. Then the champions started to be designed around the standard roles of tank, fighter, mage, marksman, assassin and support--six roles, as opposed to ''[=DotA=]''[='s=] hard carry, soft carry, disabler, support, lane support, initiator, jungler, durable, nuker, pusher and escaper. The barracks were replaced by inhibitors that regenerate over time. Roshan was replaced by Baron [[SdrawkcabName Nashor]], which is much stronger and usually requires at least three champions at late game to be killed. Other mechanics such as creep denying, neutral creep luring, hit dodging, turn rate or terrain height were removed. The result? After these and much more differentiation changes, Blizzard decided that ''League of Legends'' was different enough to not count as a derivative work--unlike ''VideoGame/Dota2'', which put Valve into a trademark scuffle with Blizzard on account of being basically ''Defense of the Ancients'' on the Source engine, with SerialNumbersFiledOff, and a few cursory mechanic changes.
109* The ''VideoGame/LenEn'' series started out with ''Franchise/TouhouProject'' clones, but started to differentiate itself with ''Brilliant Pagoda or Haze Castle'', which has a different structure with several novel mechanics like the "cell system" with randomized battles and the ability to choose routes depending on your horizontal position during a cell. The upcoming ''Book of the Cafe'' and ''Monochrome World'' aren't even going to be shoot 'em ups.
110* The ''VideoGame/MetalGear'' series was initially just a tongue-in-cheek take-off of American spy and action films, but ''VideoGame/MetalGearSolid'' was where the series started to establish its own identity of having long-winded, cinematic cutscenes with melodramatic war stories with an everything and the kitchen sink mentality (as the SequelDisplacement can attest to). Although the impact is greatly lost due to it being on the dated [=MSX2=], even ''VideoGame/MetalGear2SolidSnake'' dealt with themes and questions such as what happens to soldiers once they've left the battlefield, and what happened to the local survivors of a war zone when it turns out [[BlackAndGrayMorality neither side has particularly good intentions]].
111* ''VideoGame/{{Notedrop}}'' started out as a straight clone of ''VideoGame/{{DJMAX}} Trilogy'', but then started deviating to become its own game by removing [[SuperMode Fever mode]], adding "shift" modes that put extra keys into each column, and changing the scoring formula to be based entirely on the timing of note hits, with no combo-based elements.
112* ''VideoGame/PumpItUp'' is infamous for being ''VideoGame/DanceDanceRevolution'' but with an inverted panel setup (diagonals and center panel, as opposed to ''DDR''[='s=] cardinal directions), to the point where it's been accused of ribbing ''DDR''. However as time has passed, the dev team have made strides to differentiate it from its four-panel rival, with heavy use of gimmicky NintendoHard charts with looser timing windows to make up for it, variable number of songs per credit (longer songs means less songs per credit, while shorter songs do the opposite), extensive use of K-pop songs, a more open approach to songs having multiple charts (wherein basically, each song can have as many charts as the developers want and charts are named by type and difficulty level rather than something more rigid like ''DDR''[='=]s Basic-Difficult-Expert-Challenge), CoOpMultiplayer charts where players may cross over to each other's side or even three to ''five'' players play at the same time, and the publishing company's effort to release the games worldwide as opposed to [[NoExportForYou keeping them restricted to a select few countries]].
113* ''Franchise/RatchetAndClank'':
114** According to an interview with Creator/InsomniacGames head Ted Price, after making [[Franchise/SpyroTheDragon a trilogy of collect-a-thon games]] in the vein of ''VideoGame/SuperMario64'' and [[FollowTheLeader its many other imitators]], they realized yet another game like that would be a dead end in the long run, so for [[VideoGame/RatchetAndClank2002 the first game]], they tried to start playing up the combat aspects of the game over just jumping around and collecting things, and they even tried to avoid calling it a platformer in development (which didn't stop critics from calling it one anyway).
115** The sequels would continue playing up the combat aspects over the platforming even more and more, to the point where games like ''VideoGame/RatchetDeadlocked'' have little to no platforming at all, and even [[VideoGame/RatchetAndClank2016 the 2016 reimagining of the first game]] plays up the combat over the platforming.
116* The first trio of ''VideoGame/{{Robopon}}'' games were blatantly riding the coattails of ''VideoGame/PokemonRedAndBlue'', with monster/robot collecting, similar battle styles, beating a series of "legends" who bore no small resemblance to Gym Leaders, and multiple versions. The sequel kept the version system, but made substantial changes, like making battles party based, making it so that players could not catch Robopon, but had to create them, and taking the plot completely OffTheRails.
117* ''VideoGame/SaintsRow'' started out as a pretty straightforward ''VideoGame/GrandTheftAuto'' clone, with the only caveat being ''Saint's Row's'' focus on gang violence. Each game has dialed up the DenserAndWackier aspects (''VideoGame/SaintsRowIV'' even features an AlienInvasion), with ''VideoGame/GrandTheftAutoIV'' dialing down the same. Putting ''Grand Theft Auto IV'' side by side with ''VideoGame/SaintsRowTheThird'' shows that the two now bear very little resemblance to one another, aside from the gameplay involved stealing cars.
118* The first two installments of ''VideoGame/{{Sidewinder}}'' were heavily derivative of ''VideoGame/AceCombat'', their main point of differentiation being features that weren't in the first ''Ace Combat'' (such as analog controls, cockpit view, landing sequences, and the ability to equip different type of missiles) and minor concessions toward realism. ''Sidewinder MAX'' shifted the flight model toward realism, and the last two installments (titled ''Lethal Skies'' in the west) changed the setting from the present to a futuristic, post-global warming Earth.
119* After Creator/{{Sega}} tried to directly compete with Nintendo by copying the NES with their Platform/SegaMasterSystem, only to fall flat on their face, they decided to go in the opposite direction and become Nintendo's antithesis with the Platform/SegaGenesis, aiming for older audiences and darker games with slicker graphics, action and very lax censorship policies. Even their headlining mascot, Franchise/SonicTheHedgehog, was a unique contrast from the ''Mario'' series in art and gameplay, and also a contrast to Sega's own Mario-derivative VideoGame/AlexKidd, who was quickly abandoned by the company. Unsurprisingly, it worked. The series was unmistakably inspired by ''Franchise/SuperMarioBros'', but in contrast to Mario's strategic, defensive platforming, Sonic's gameplay usually leans more towards fast-paced action, heavily streamlined platforming romps with rollercoaster/pinball-like physics and level design that emphasized maintaining speed and precision timing more than anything else, with the occasional slower platforming, combat, puzzles and mini-games sandwiched in.
120* Having also been made by [[Creator/SquareEnix Squaresoft]], ''VideoGame/SuperMarioRPG'' naturally has a lot in common with ''Franchise/FinalFantasy'' games and other Square [[RolePlayingGame RPGs]] of that era, albeit with ActionCommands and the obvious ''Franchise/SuperMarioBros'' trappings among other things. After Square partnered with Sony and left the Mario [=RPGs=] in Creator/{{Nintendo}}'s hands, however, they gave its ''VideoGame/PaperMario'' and ''VideoGame/MarioAndLuigi'' games a different focus from typical Square [=RPGs=], such as a much heavier use of intricate ActionCommands, simplified battle stat calculations, fewer party members on screen at a time, and PreExistingEncounters with enemies that can be attacked for some damage at the beginning of a battle. ''VideoGame/SuperPaperMario'' in particular is a mix between a [[PlatformGame platformer]] and a traditional Role-Playing Game.
121* Inverted with ''VideoGame/{{Bombshell}}'' and ''VideoGame/IonFury''. The games were created out of an idea originally floated for ''VideoGame/DukeNukemForever'', that being Duke meeting a DistaffCounterpart to himself named Shelly Harrison, which didn't pan out because when Gearbox got their hands on the game with the intent of actually releasing it, the character of Bombshell was off-limits. When she got her own game, it took the form of a top-down shooter/RPG, genres ''Duke Nukem'' has never ventured into; when that game then got a prequel, the developers instead decided to wholly embrace her origins as a counterpart to Duke by making a first-person shooter that plays almost exactly like ''VideoGame/DukeNukem3D'', down to even running on the same engine.
122* ''VideoGame/StreetsOfRage'' started as a ''Final Fight'' clone with three characters that mostly played the same. Only differing in speed, strength, and power. The only other standout was the techno/house and hip-hop inspired soundtrack from Yuzo Kushiro. It wasn't until ''2'' that series found its footing, and each sequel would model themselves after the second game. Each character having their own unique moves, the staple Blitz Attacks, Special Attacks, and the heavier uses of KiAttacks.
123* ''VideoGame/TowerOfFantasy'' started off as a a MMORPG game likely inspired by ''Videogame/GenshinImpact'' and ''Videogame/TheLegendOfZeldaBreathOfTheWild'' but is set in an PostCyberPunk ScavengerWorld closer in feel to ''Videogame/{{Borderlands}}'', compared to its inspirations which are single player games set in a HighFantasy world. But there were so many similar aspects between the game and ''Genshin'' that there was controversy of the game being a ''Genshin'' rip-off from numerous gamers and game journalists early on. Updates starting in "2.0" began focusing on the cyberpunk and MMORPG aspects, slowly helping it distance itself from its inspirations and creating its own identity.
124[[/folder]]
125
126[[folder:Webcomics]]
127* ''Webcomic/EightBitTheater'' was an admitted attempt to FollowTheLeader with ''Webcomic/BobAndGeorge'', but as time went on, [[EarlyInstallmentWeirdness ditched many of those elements]]. Things like blatant pop-culture references and {{Author Guest Spot}}s became less frequent before disappearing entirely. By the time the comic ended it elicited more comparisons with ''Webcomic/TheOrderOfTheStick'' (being a RPG-spoofing webcomic starring {{dysfunction|Junction}}al heroes each associated with a class) than anything else.
128* ''Webcomic/{{Drowtales}}'' started off as the author Kern drawing up the events of the ''TabletopGame/DungeonsAndDragons'' RP he and his friends were playing in the ''TabletopGame/ForgottenRealms'' setting. By Chapter 4, however, the plot had diverged so much from its source material that he decided to just turn it into its own unique setting. He even went on to completely redo the earlier chapters ''twice'' to make them better fit the divergent setting.
129* Even though it wasn't a stick figure comic to begin with, it's easy to see that ''Webcomic/OurLittleAdventure'' is pretty heavily inspired by ''Webcomic/TheOrderOfTheStick.'' In 235 pages (and counting), ''Our Little Adventure'''s style has changed [[ArtEvolution fairly considerably]], both in character design and setting design.
130* ''Webcomic/TheWayOfTheMetagamer'' also began as an ''Webcomic/TheOrderOfTheStick'' ripoff, even copying a strip word-for-word. It starts to diverge after the SeriesHiatus, when the AuthorAvatar makes an appearance, and by the time JustForFun/TropeTan shows up the storyline is completely different. As for that one strip copied verbatim, it is now an OldShame, which the creator lampshaded [[BetterThanABareBulb like with almost everything else in the comic]].
131[[/folder]]
132
133[[folder:Web Original]]
134* ''WebVideo/TribeTwelve'' started off as a largely forgettable ''WebVideo/MarbleHornets'' clone, but eventually found its own voice after the funeral submission, especially in "Night Recordings."
135* ''Website/SCPFoundation'': Earlier versions of [[https://scp-wiki.wikidot.com/scp-582 SCP-582 (A Bundle of Stories)]] made Bundle ''extremely'' similar to the Slender Man. Later versions distanced the description away from the resemblances. For example, the first version had its origins being an early-2000s internet phenomena, and the current version has its origins being the creation of an obscure American 1940-50s Lovecraftian author.
136* The webseries WebVideo/AIBuilds[[note]]AI here stands for "Animal Investigator"[[/note]] [[TropesAreTools intentionally]] uses this in service of a {{Metafiction}} narrative about mental illness and originality in art. The series follows Nicholas, the developer of an upcoming [[ShowWithinAShow in-universe]] game known as ''Animal Investigator'' which was inspired by another in-universe game known as ''Animal Police''. Nicholas' brother, Josh, previously created a knock-off of ''Animal Police'' and then uploaded a webseries of it to screw with Nicholas in his development of ''Animal Investigator''. Out-of-universe, this webseries [[https://www.youtube.com/@animalpolice8886 actually exists]] and was made by the real-life creator of ''AI Builds'' as an AffectionateParody of ''WebVideo/{{Petscop}}'', with the name "Animal Police" (And by extension "Animal Investigator") even being a direct spin on "Pets Cop." In-universe, Nicholas, who had a fragile mental state to begin with, deeply struggles with the perceived inadequacy of ''Animal Investigator'' and frequently criticizes himself for not being original enough. His game in-universe is scathingly mocked online for being a ripoff of ''Animal Police'' and various Youtubers tell him to "put more of himself" into the game, pressuring Nicholas to re-live his own trauma for the sake of making a more original product. Consequentially the series progressively spirals into a full-on CreatorBreakdown, becoming less about the game itself and more about [[TrueArtIsAngsty Nicholas and his struggles with trauma, anxiety, depression, and suicidal ideation]] as gameplay footage [[MindScrew gradually devolves into Nicholas' own traumatic hallucinations]]. All that is to say, ''AI Builds'' is a character study that exists as a StealthSequel to an AffectionateParody of ''Petscop'' and is intentionally similar to ''Petscop'' as a form of RealitySubtext to reflect the protagonist's insecurity over his work's perceived lack of originality.
137[[/folder]]
138
139[[folder:Western Animation]]
140* The WesternAnimation/LooneyTunes prior to the mid to late '30s started off as standard gag and music cartoons in the vein of other studios of its day, such as Creator/FleischerStudios and WesternAnimation/MickeyMouse (the latter being the most understandable connection, since the early Looney Tunes were made by [[Creator/HarmanAndIsing former Disney artists]] in the first place). By the 1933–1935 period, the studio really tried hard to imitate Disney's cutesy cartoons, but that got them nowhere. By 1936, Creator/TexAvery and Creator/FrankTashlin (and eventually Creator/BobClampett) got their place in the studio as directors and slowly started leading them into a more humorous direction. Early entries of theirs such as ''WesternAnimation/ILoveToSinga'' and ''Now That Summer is Gone'' superficially resemble the cutesy stuff Disney was doing, but their humor and tone was unmistakably irreverent, street smart and contemporary for their time. By the 1940s (especially by the end of UsefulNotes/WorldWarII), the studio finally crystallized its art style, rich cast of characters, and brand of humor into its iconic form.
141* Per word of Stephen Hillenburg, a big reason ''WesternAnimation/SpongeBobSquarePants'' is centered around [=SpongeBob=] as a central character as opposed to having a hard-set duo billed was because at the time the show was created, buddy shows like ''WesternAnimation/RenAndStimpy'' were very popular, and Stephen wanted to do something different.
142[[/folder]]
143
144[[folder:Other]]
145* Creator/BBVProductions:
146** The DirectToVideo sci-fi series ''The Stranger'' featured ''Series/DoctorWho'' star Creator/ColinBaker as a mysterious stranger obviously based on the Doctor. Over the course of the series, the character's backstory was revealed, distinguishing him from the Doctor in the process.
147** BBV's follow-up audio series, featuring Baker's successor Creator/SylvesterMcCoy and his co-star Creator/SophieAldred, did all its differentiation in a single unsubtle lump, to avoid the onset of legal trouble arising from the fact that its leads were practically indistinguishable from the roles [=McCoy=] and Aldred had played in ''Series/DoctorWho''.
148[[/folder]]

Top