Line #135 Main/SlidingScaleOfContinuity


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6	{{Continuity}} is handled very differently between different works: some of them [[ContinuityPorn take it very seriously]], others [[NegativeContinuity really, really don't]]; some works [[ContinuityLockout need you to have been watching from the beginning]] while others just let you [[IndexOfTheWeek hop in and enjoy]] an individual story at any point in the series, that will usually be contained within [[OncePerEpisode a single installment]].
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8	Realizing where a work falls on the Sliding Scale of Continuity is often essential to being able to enjoy a series for what it is. In many cases, series on the lower side of the continuity scale often rely on a [[StrictlyFormula recurring structure]] or at least a consistent tone and mood -- when deciding whether or not to watch an episode, a viewer will have some idea of what to expect beforehand. High-continuity series are usually expected to offer the viewer a sense of change or progress between installments, in terms of both [[CharacterDevelopment characters]] and [[StoryArc plot]]. This allows for more complex and detailed storytelling, spanning multiple chapters, at the cost of requiring more involved viewing. A lot of popular works attempt to combine the best of both worlds: offering self-contained episodes with [[FandomNod something extra]] for those who take the time to [[ContinuityNod watch all of it]], or offering "progress" between seasons.
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10	From the production side of things, works closer to the episodic end of the scale are also much easier to coordinate between writers, and handle [[UnCanceled a change]] [[ScrewedByTheNetwork in episode count]] [[OutOfOrder or order]] better. In television, their appeal to networks is that can attract casual viewership, and easily increase viewership at any point along the series' run. On the other hand, works leaning towards continuity may find it easier to maintain a more devoted viewership once they catch on.
11
12	What this scale measures is: ''If you knew nothing of the series but the very basic premise and then happened to catch some random episodes in arbitrary order, how difficult is it going to be to understand and follow what's going on, and how much will you miss, compared to if you watched it in order from the beginning?''
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14	The answer doesn't have to be static within a series. When a work starts low on the scale and progresses upwards over time, that's ContinuityCreep. Then, in many shows, especially those with a HalfArcSeason, the answer is different depending on which episode you're watching. If the shift is very pronounced, you can list it under both levels; otherwise, just put it where most episodes go and note the variance.
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16	See also SeasonFluidity.
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18	----
19	!!The Sliding Scale of Continuity is as follows:
20
21	[[foldercontrol]]
22
23	[[folder:Level 0: Non-Linear Installments]]
24	The different installments of the series are only nominally the same work; every new installment concerns different characters, or possibly the [[UniversalAdaptorCast 'same' characters but in an alternate universe, such that the stories are explicitly disconnected and obviously not meant to be part of a continuity of any sort]]. Within any given installment, it can be assumed that every other installment either never happened or is at least completely irrelevant to the current one. What they share to make them a series is usually thematic, world or (for video games) gameplay elements, with possible minor recurring creatures, objects, etc. NonLinearSequel is the specific trope for this. If done to an entire series you've got a ThematicSeries. In some cases, the rights-holders use the already-popular name that they own for [[CashCowFranchise marketing reasons]], regardless of whether or not an installment fits in with previous ones in the series.
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26	A franchise with multiple long-running continuities or frequent reboots does NOT count! This category is for works like the ''[[Franchise/TheTwilightZone Twilight Zone]]'' TV series and ''Franchise/FinalFantasy'' games, and the aforementioned UniversalAdaptorCast.
27
28	!!Examples:
29
30	[[AC:{{Anime}} and {{Manga}}]]
31	* Each episode of ''Anime/SpaceDandy'' has the core crew of Dandy, Meow, and QT in common and little else. While they behave the same from episode to episode, the stories tend to end with one or more of them getting killed and/or horrible, irreparable damage to their universe. This goes beyond a SnapBack in that the art style, genre, soundtrack, and writing style also change from episode to episode, especially in Season 2, to where they would look like different series if not for the main characters' presence. However, the show shifts to a Level 4 in Episodes 23 through 26 while keeping the wildly divergent art styles and episodic format: 23 to 25 gradually explain the nature of why there's no continuity at all with 26 displaying the end result when someone tries to exploit it.
32
33	[[AC:ComicBooks]]
34	* ''ComicBook/SensationComicsFeaturingWonderWoman'': Each story takes place in its own separate continuity, but all of them feature Franchise/WonderWoman in some way, even if she's only a comic book character within the 'verse of the tale.
35
36	[[AC:LiveActionTV]]
37	* The seasons of ''Series/{{Blackadder}}'' in relation to each other are this, the only similarities being the basic premise of "Blackadder surrounded by idiots" (and not even that considering the first season). However, the episodes within a season can be from Levels 1-2.
38	* GenreAnthology shows:
39	** ''Franchise/TheTwilightZone''
40	** ''Series/{{The Outer Limits\|1963}}''
41	** ''Series/BlackMirror''
42
43	[[AC:{{Radio}}]]
44	* ''Radio/TheGoonShow'', befitting its anarchic, surrealist nature. The characters were dropped into entirely different scenarios every week (often in a different country or century) and seldom remembered each other -- and even when Bluebottle did recognise Neddie, it was as "[[NegativeContinuity the one who]] [[TheyKilledKennyAgain deads me every week]]."
45
46	[[AC:VideoGames]]
47	* Each entry in the ''VideoGame/EscapeVelocity'' series takes place in a completely different continuity from the others. ''EV Classic'' and ''EV Nova'' are tangentially connected because a NegativeSpaceWedgie kicked two Atinoda Kestrels from the ''Classic'' universe into ''Nova'', but it's more of an EasterEgg than anything else and doesn't affect the plot.
48	* The ''Franchise/FinalFantasy'' series. A couple of games had sequels or spin-offs; [[NonLinearSequel the others]] are each their own reality with their own characters, their own plot, their own setting... However, they share various nods to one another such as [[RecurringElement similar monsters, summons, chocobos, and characters named Cid]].
49	* Most works in ''Franchise/TheIdolmaster'' franchise have separate continuities, the main exception being the various A-1 anime series, which appear to share a continuity.
50	* ''VideoGame/{{Neptunia}}'':
51	** [[VideoGame/HyperdimensionNeptuniaMk2 The second game]] takes place in an AlternateUniverse from [[VideoGame/HyperdimensionNeptunia the first]] and ''[[VideoGame/HyperdimensionNeptuniaVictory Victory]]'' involves the protagonist and her sister from the second game {{Trapped in Another\|World}} AlternateUniverse. Despite having the same characters, the games taking place in AU versions of the same world and with AU versions of the cast make this a Level 0.
52	** The continuity progresses with ''VII'', which features ''[=mk2=]''[='s=] cast dealing with a new crisis and new characters in their home world, as well as Neptune and Nepgear ending up in another AlternateUniverse [[spoiler:that isn't actually one]]. ''Victory's'' Ultradimension is not mentioned for the most part outside of a quick recap at the very beginning, although a couple of elements from there do have considerable plot relevance. [[spoiler:Namely Croire, the power of [[DimensionalTraveler Tari's CPU]], and [[BrickJoke Ultradimension Neptune]]]]. This in turn brings it up to somewhere between a Level 2 and 3.
53	* The ''VideoGame/{{Quake}}'' games were this, for a while, with ''VideoGame/{{Quake I}}''[[VideoGame/QuakeII -]]''[[VideoGame/QuakeIIIArena III]]'' having nothing in common but a name for marketing purposes. That ended with the back-to-back releases of ''VideoGame/QuakeIV'' and ''VideoGame/EnemyTerritoryQuakeWars'', which were a sequel and prequel respectively to ''Quake II''.
54	* The ''Franchise/ShinMegamiTensei'' franchise as a whole. Certain games may share a continuity but have a completely different cast between games (such as ''VideoGame/Persona3'', ''[[VideoGame/Persona4 4]]'', and ''[[VideoGame/Persona5 5]]'') and there's rumblings in certain games that the franchise is part of a massive neverending conflict that transcends time and space, but to most people they all might as well be completely unrelated stories that only share basic themes such as AllMythsAreTrue, TheWorldIsAlwaysDoomed and OrderVsChaos with the ability to TakeAThirdOption in the conflict.
55	* There are certain games within the ''VideoGame/TalesSeries'' that are directly related to each other (''VideoGame/TalesOfSymphonia'' being a distant prequel to ''VideoGame/TalesOfPhantasia'', and similarly ''VideoGame/TalesOfBerseria'' being a distant prequel to ''VideoGame/TalesOfZestiria'' being the only non-number pairs) but otherwise are unrelated games that merely share similar battle systems and DeconstructorFleet storywriting tendencies.
56	[[AC:WesternAnimation]]
57	* ''WesternAnimation/LoveDeathAndRobots'' is a sci-fi/fantasy AnimatedAnthology with each episode being based on a different short story.
58	* ''WesternAnimation/SillySymphonies'' and [[FollowTheLeader its imitators]]. The shorts in these series were almost entirely self-contained and populated by [[OneShotCharacter one-shots]], with only the occasional EnsembleDarkhorse coming back for another cartoon.
59	[[/folder]]
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61	----
62	[[folder:Level 1: Negative Continuity]]
63	Continuity? What's that?
64
65	Sure, the episodes are clearly related, sharing characters and a basic setup... but ultimately, watching it out of order makes ''more'' sense than in order if anything. The show may cheerfully contradict itself and if something seems to have changed by the end of the episode, you can bet [[SnapBack the next one pretended it never happened anyway]], so it's hardly a loss if that's not the next one you watch. Usually done in [[RuleOfFunny comedy]]. When there actually ''is'' continuity of some sort, that very fact is probably a [[BrickJoke gag in itself]]. See the NegativeContinuity page.
66
67	!!Examples:
68
69	[[AC:{{Anime}} and {{Manga}}]]
70	* While ''Franchise/DragonBall'' has a great amount of continuity about it, in a larger sense the various entries into the franchise almost always invoke Negative Continuity in relation to each other, [[WordOfGod especially if they aren't written]] by Creator/AkiraToriyama. The ''Manga/DragonBall'' manga forms the base from which all others are related by, but almost no works that expand the plot can ever be compatible with the others. [[note]]For example, ''Anime/DragonBallSuper'' contradicts with ''Anime/DragonBallGT'', which itself is based upon [[Anime/DragonBallZ the anime]], not the manga. Meanwhile, ''[[Anime/DragonBallZBardockTheFatherOfGoku Bardock – The Father of Goku]]'' was referenced in the manga, but would later be contradicted with ''Dragon Ball Minus'', which means ''Bardock – The Father of Goku'' is only canon to the anime.[[/note]] Movies get this the worst, slotting themselves into a hypothetical status quo that is similar to but not exactly the same as a point in time in the show. [[note]]For example, ''Anime/DragonBallZTheTreeOfMight'' has Goku alive and use the Kaio-Ken technique, alongside his friends Tien, Chiaotzu, Yamcha and Piccolo. However in the main story Goku learns Kaio-Ken after being killed, and by the time he's restored back to life, his aforementioned friends are dead themselves. Various machinations in the story mean that Goku and his remaining pals are too injured and/or busy for the film to slot in neatly.[[/note]] Trying to sort this out causes more harm than good for many fans, and [[ShrugOfGod the creators are none too bothered by it]] and prefer to instead focus on writing [[Administrivia/TropesAreTools interesting and]] [[RuleOfCool cool stories]] than be bothered about how every single entry fits with the rest.
71	* While the ''Franchise/{{Pokemon}}'' [[Anime/PokemonTheSeries anime]] is 100% StatusQuoIsGod, it has sometimes dipped into NegativeContinuity, as some events from earlier seasons or films are ignored later on. ''Anime/PokemonGenesectAndTheLegendAwakened'' is a very infamous example for ignoring ''Anime/PokemonTheFirstMovie''.
72
73	[[AC:ComicBooks]]
74	* The [[ComicBook/DisneyDucksComicUniverse Disney Duck comics]] by Creator/CarlBarks and many other writers. Creator/DonRosa's stories, however, are Level 2.
75
76	[[AC:LiveActionTV]]
77	* ''Series/FlightOfTheConchords[='=]'' second season had several episodes end with the guys having, say, lost all their furniture, or fallen below zero on Murray's friendship graph, with the next merrily restoring the status quo without so much as a mention. The first season, however, is Level 2-3, making it an example of [[InvertedTrope inverted]] ContinuityCreep.
78	* ''Series/TheGoodies'', which rapidly devolved from a WorkCom-RoommateCom-BritCom hybrid into a vehicle for razor-sharp satire disguised as a live-action cartoon with dirty jokes, wasn’t afraid to do MonumentalDamage, kill off the entire main cast, turn the population of Britain into clowns or in one memorable instance [[EarthShatteringKaboom blow up the Earth]], with everything back to normal next week.
79	* ''Series/SaturdayNightLive'' alternates between Level 0 and Level 1, with some recurring sketches and characters.
80
81	[[AC:WebOriginal]]
82	* ''WebAnimation/GossipCity'' falls between 1 and 2. While there are some things that stay the same such as the Suzumori family others like who is Himari's husband and Jo's backstory varies from story to story.
83	* ''WebAnimation/HappyTreeFriends''. Every single episode has at least one character either die or get horribly injured, yet by their next appearance they're invariably totally fine.
84
85	[[AC:WesternAnimation]]
86	* ''WesternAnimation/AquaTeenHungerForce'' often ends with characters being maimed or killed, the main characters' house being destroyed, etc.
87	* ''WesternAnimation/CourageTheCowardlyDog'', in some episodes the house the main character live in is destroyed or even some of them (most times Eustace) end up being killed by the MonsterOfTheWeek, but by the next episode the house will be intact and all the main characters alive as if nothing happened.
88	* ''WesternAnimation/DextersLaboratory'' often ends episodes with the destruction of the laboratory and the like. All you need to know for each episode is that [[ExactlyWhatItSaysOnTheTin he's Dexter and has a laboratory]].
89	* ''WesternAnimation/DrawnTogether'', as exemplified by the fact it is the subject of the page quote for NegativeContinuity.
90	* Many cartoons from UsefulNotes/TheGoldenAgeOfAnimation have the ResetButton being pressed after and even ''during'' almost every episode. ''WesternAnimation/LooneyTunes'' and ''WesternAnimation/TomAndJerry'' being the most famous examples. They sometimes dive headfirst into Level 0, though, with shorts that place the characters into different time periods.
91	* ''WesternAnimation/TheRenAndStimpyShow'' fluctuates between Level 0 and Level 1.
92	[[/folder]]
93
94	----
95	[[folder:Level 2: Status Quo]]
96	Here StatusQuoIsGod. While there is an established canon and different episodes or installments will usually try not to contradict one another, there will be no, or next to no, changes in the setting that aren't [[ResetButton reset before the end of the episode]]. There may be {{Continuity Nod}}s, but if you haven't seen what is being referenced, they might as well just be {{Noodle Incident}}s. The basic situation at the beginning of an episode in Season 7 will probably be exactly (or almost exactly) the same as the situation at the beginning of an episode in Season 2, so that it makes little difference in what order you watch them.
97
98	!!Examples:
99
100	[[AC:{{Anime}} and {{Manga}}]]
101	* ''Manga/FrankenFran'' is steadily here. While there is the occasional ContinuityNod or SequelEpisode, as well as the occasional change to the supporting cast (with Veronica's introduction being the biggest), chapters will almost always begin with Fran getting back to work at the lab and ending with her shrugging off whatever disaster her latest work has caused.
102	* ''Anime/PokemonTheSeries'':
103	** While the games have a vague Level from 0 to 4, the ''Pokémon'' anime is [[StatusQuoIsGod completely set in the status quo]], with the only real cast being Ash, Pikachu and Team Rocket. New companions join, and new Pokémon are caught, but Ash will ''always'' lose the league at the end of a series, and the ResetButton is pushed so that the whole series might as well [[CanonDiscontinuity have never happened]]. Rinse and repeat. This has resulted in Ash being no closer to his goal of [[ToBeAMaster becoming a Pokémon Master]] than he was in ''[[LongRunners 1997]]''. To wit, it took roughly ''twenty'' years [[ComicBookTime out of universe]] for Ash to [[spoiler:finally make it to the finals of a non-{{Filler}} league ([[Anime/PokemonTheSeriesXY Kalos]])]] and about another two for him to [[spoiler:''actually'' win it all ([[Anime/PokemonTheSeriesSunAndMoon Alola]])]].
104	** ''[[Anime/PokemonJourneysTheSeries Pokémon Journeys]]'' decisively breaks the cycle by chronicling what Ash does next after [[spoiler:winning the Alola league]]: aiding Pokémon research and setting his sights on the Pokémon World Championships.
105
106	[[AC:ComicBooks]]
107	* A great many superheroes of UsefulNotes/TheGoldenAgeOfComicBooks tended towards this trope, especially the B-list characters who often had little in the way of supporting characters or recurring villains. An ComicBook/{{Aquaman}} or ComicBook/GreenArrow story of the early '40s might be almost identical to one published nearly two decades later.
108
109	[[AC:{{Literature}}]]
110	* The Literature/SherlockHolmes stories can be read in any order (with a very few notable exceptions like ''The Final Problem'' and ''The Empty House''). And after the first few stories, they aren't all set in the order they were written in, anyway. Creator/ArthurConanDoyle deliberately wrote them like this so that readers would not quit following the series just because they had missed a story or two.
111
112	[[AC:LiveActionTV]]
113	* Most {{Kid Com}}s, in general, are at this level. While they might occasionally have a brief story arc (and by "brief" we mean "the occasional two-parter"), they usually depict the exact same characters in the exact same situations from season to season. TGIF sitcoms are at the high end of this level, since they at least chronicle their main characters growing up and make whatever adjustments are necessary to the status quo to reflect this.
114	* As it says on that page, ''Series/SavedByTheBell'' was the king of the StatusQuoIsGod trope.
115	* ''Series/{{Seinfeld}}'' is a good example of a grown-up sitcom that's at this level.
116	* ''Series/StarTrekTheOriginalSeries'' adhered to this level of continuity well enough that with a scant few exceptions you can watch the series in any order and it generally makes perfect sense.
117
118	[[AC:VideoGames]]
119	* A rare mixed example can be seen with the main series ''Franchise/{{Pokemon}}'' games. They mix this with Level 0. There is continuity in the world, with references to events from previous games and some recurring characters, but every new game starts with you being a new rookie Trainer in a new region fighting a new evil team, and knowing where the recurring characters came from is more a bonus than anything else. ''VideoGame/PokemonGoldAndSilver'', however, does continue the major events from ''VideoGame/PokemonRedAndBlue'' (and ''[[RecursiveAdaptation Yellow]]'', sort of), making it a Level 4. On the other hand, ''VideoGame/PokemonSwordAndShield'' and onwards have moved largely to Level 0, with few to no recurring characters at all, to allow new players to jump in at any point and not feel any ContinuityLockout.
120
121	[[AC:WesternAnimation]]
122	* ''Most'' animated series from TheEighties fell here, even if it meant FailureIsTheOnlyOption for the heroes.
123	* ''WesternAnimation/PhineasAndFerb'':
124	** The show fits this category to a tee, with each character having the same goals, motivations, and relationships with one another at the beginning of almost every episode. References to past episodes are often made, but regardless of which episode you watch, you can expect to see Phineas and Ferb trying to make the most of their Summer, Candace trying to show her mom the dangerous things they do, Dr. Doofenshmirtz trying to either take over the Tri-State Area, or get some sort of petty revenge for his HilariouslyAbusiveChildhood (or sometimes [[BreadEggsBreadedEggs both at once]]), and Perry showing up to stop him. If any episode has something that could potentially result in a status quo change, expect it to be [[ResetButton undone before the end of every episode]], save for the [[GrandFinale series finale]].
125	** Every now and then, the show introduces something new to the table. For example, "Hide and Seek" introduces Irving into the main friend group, and "Nerdy Dancin'" brings the creation of [[FunWithAcronyms L.O.V.E.M.U.F.F.I.N.]] and the introduction of its members. However, each subsequent episode to include them has them in the same situation, and with the other characters having the same relationship with them.
126	** Perhaps the only aspect of the show that sits somewhere between Level 3 and 4 is Candace's relationship with Jeremy. She spends the beginning of the show crushing on him, though as the series progresses, they become noticably closer. After the special, "Summer Belongs to You," the two of them are officially a couple.
127	* ''WesternAnimation/SamuraiJack'' fits comfortably in this category. Although there were a few developments over the course of the series (Jack befriending the Scotsman, learning to jump good) they are only rarely shown. (The Scotsman only appears in three episodes after his introduction, there are plenty of times when jumping good could have solved the episode's dilemma but went unused.) Jack was never going to get to that time portal. Season 5 bumps it up to Level 4, however.
128	* ''WesternAnimation/TheSimpsons'': Almost every episode ends with everything in the same place it started (albeit with the occasional use of SnapBack to clean everything up) and characters fail to recognize each other despite all the adventures they've had together. However, there are also occasional {{Continuity Nod}}s and permanent changes such as Lisa permanently becoming a vegetarian or [[spoiler:Maude Flanders's death]]. However, the show does run on BroadStrokes, and uses a hefty amount of ComicBookTime, MultipleChoicePast and ChaosArchitecture as RuleOfFunny dictates. ''WesternAnimation/TreehouseOfHorror'' segments are Level 1.
129	[[/folder]]
130
131	----
132	[[folder:Level 3: Subtle Continuity]]
133	There may be developing minor subplots or {{Character Arc}}s, the status quo may gradually change over time, and prior events may be casually referenced, but major changes generally don't happen. If you watch a season two episode and then a season five one, you may think, "Wait, when did they get together?" or "Whoa, AliceAndBob moved?", but chances are if you then watch a later season five episode you'd never know you skipped seven episodes in between, and the plots of the individual episodes you watch will always be resolved by the end.
134
135	!!Examples:
136
137	[[AC:{{Anime}} and {{Manga}}]]
138	* The second season of ''Anime/GhostInTheShellStandAloneComplex'' diverges from the Type 4 setting that the first season fell into. Episodes are split up into "Individual", "Dividual", and "Dual" episodes. While the first two may seem like completely stand-alone episodes that have nothing to do with anything in particular, each episode focuses on at least some minor detail that will build up to a more important role later on as the story unfolds. Individual episodes focus on the rising tensions with the Asian refugees in Japan practically being treated as 2nd class citizens. Dual episodes focus on the Government's involvement with the refugee situation (and the BigBad's manipulation of everything behind the scenes), and Dividual episodes focus on the members of Section 9 and how they get involved in all of it.
139
140	[[AC:ComicBooks]]
141	* ''Franchise/{{Superman}}'' is a Level 3 in at least UsefulNotes/TheSilverAgeOfComicBooks -- while Mort Weisinger was the editor, his supporting cast, RoguesGallery, and mythology were slowly built upon, without readers requiring to have read any previous stories most of the time. ''ComicBook/{{Supergirl}}'' (also edited by Weisinger) followed this model but often moved into Level 4 as she was more likely to be involved in two- or three-part stories.
142
143	[[AC:{{Literature}}]]
144	* The first three ''Literature/HarryPotter'' books' storylines don't directly depend on the stories of the previous books; they each explain basic premises like the wizarding world, Voldemort, Harry's backstory, etc., Harry continues to live at the Dursleys', go to Hogwarts every year, have friends named Ron and Hermione, etc., and the actual events of the first book almost doesn't matter by the third, but they ARE brought up a few times in the other books. Also, for the fans that say that the second book doesn't matter either, [[spoiler:Ron and Hermione wouldn't have been able to destroy horcruxes without the Basilik teeth, which is something they could've only known to do if Harry told them about what he did in the Chamber of Secrets, which happened in the second book.]] As for the rest of the series, [[ContinuityCreep well...]]
145
146	* ''Literature/LandOfOz'':
147	** Hovers between 2 and 3 on the scale, mostly because [[Creator/LFrankBaum Baum]] was [[ArtistDisillusionment burned out on the series]], and [[MoneyDearBoy grinding them out ahead of the bill collectors]] for [[CashCowFranchise a happy-to-oblige publisher]]. There are some elements that carry over (like Ozma taking the throne in the second book, Dorothy moving to Oz by the 6th book, the magic belt), but most books are standalone and many elements can contradict one another, especially as Baum started [[CreatorsApathy phoning in]] his later entries to the series. Things got worse as the apathy gradually developed into full CreatorBacklash with repeated attempts to TorchTheFranchiseAndRun, only for Baum to find himself writing yet another ''Oz'' book that {{retcon}}ned or otherwise undid the previous torching under the combined forces of his financial concerns, pressure from publishers... and [[PanderingToTheBase the desire to please an enthusiastic fanbase]] that he actually rather appreciated (though he desperately wished they would embrace some of his ''other'' works as fondly).
148	** It became more complicated after other authors began working on the series and tried to untangle the ContinuitySnarl Baum left behind, with the canon-ness of various events DependingOnTheWriter.
149	* Creator/DavidDrake's ''Literature/{{RCN}}'' novels make [[CallBack Call-Backs]] to earlier books but mostly stand on their own. In only one case so far has a novel had an actual SequelHook, which turned out to be mostly a RedHerring: ''What Distant Deeps'' has Adele discover intelligence that sends Daniel and the crew to the location of ''The Road of Danger'', but once he gets there the information is handed off to a HeroOfAnotherStory and the heroes go off and do something else.
150	* ''Literature/ASeriesOfUnfortunateEvents'' is much the same as Harry Potter, with the first four books or so being mostly independent, starting off with the Baudelaires being adopted by a new guardian and carefully explaining who the characters are to potential new readers, but later on the continuity [[ContinuityCreep creeps]] and the reader starts to need to have read the previous books to make sense of all this stuff about VFD and Beatrice and so on.
151
152	[[AC:LiveActionTV]]
153	* Sitcoms that aren't Level 2 tend to be this, e.g. ''Series/HowIMetYourMother'' and ''Series/{{Friends}}''.
154	* {{Forensic Drama}}s, MonsterOfTheWeek shows and other basically episodic, plot-based genres with no {{Myth Arc}}s also usually fall here.
155	* From Season 3 on, ''Series/BlueBloods'' drops the MythArc format for Jamie Reagan's plots and becomes much more episodic. There's still consistent CharacterDevelopment going on but there's no longer a formal StoryArc.
156	* ''Series/CriminalMinds'' falls here. Although story arcs are present from time to time and it has seen main characters get replaced, any differences between the episodes tend to be mostly cosmetic--the vast majority of episodes are simply the MysteryOfTheWeek where the storyline is introduced and wrapped up in the same episode, with arcs operating mostly in the background.
157	* The overwhelming majority of the Classic era of ''Series/DoctorWho'' is like this, with the exception of a couple of season-long [[StoryArc arc]] plots here and there. The basic premise of the show remains the same, but actors switch out.
158	* ''Series/{{Firefly}}'''s episodes can pretty much stand on their own in a mostly arbitrary order, though this may largely be because it [[ScrewedByTheNetwork never got the chance to go anywhere with]] the hinted MythArc.
159	* ''Series/ItsAlwaysSunnyInPhiladelphia'' is a funny case of a series operating at a Level 3 with [[VillainProtagonist main characters]] who have the ''mindset'' that they live in a Level 2 or even 1. Mac, Dennis, Dee, Charlie, and Frank are callous, cold-hearted, and downright ''stupid'' enough to forget whatever horrible things they may have done to someone else, and then [[ButForMeItWasTuesday treat them like they’re misremembering it or that it never happened in the first placed]]. Their inability to live by anything except the status quo heavily factors into their SanitySlippage over the seasons. Frank has enough money to bail them out each time they’re in trouble, which can ''partly'' explain why consequences don’t seem to register, but increasingly sad cases like falls of the Waitress, Cricket, and the Ponderosas won’t make much sense unless you saw the ''previous'' episode they were in.
160	* ''Series/StarTrekTheNextGeneration'' generally operated at this level. Most episodes focused on the Enterprise and its crew discovering new planets and alien species, and solving the problem presented in each episode. However, a few of the episodes build up ForeShadowing elements that culminate in a bigger story arc later on and some characters received promotions. Voyager and Enterprise followed this mold.
161	* ''Series/{{Unforgettable}}'' spent Season 1 at Level 4 but was switched to here after being UnCanceled and {{retool}}ed as a summer series. The MythArc of Carrie Wells investigating the cold case of her sister's murder is dropped completely, though it gets a ContinuityNod every once in a while.
162
163	[[AC:VideoGames]]
164	* The ''Franchise/AceAttorney'' games have a stronger (Level 4) continuity between cases within each game, but are this with respect to one another, featuring the same characters (bar ''[[VisualNovel/ApolloJusticeAceAttorney Apollo Justice]]'') and explaining things like spirit mediums at the beginning of each game but otherwise having independent stories and not depending on the player knowing the previous games.
165	* ''VideoGame/Left4Dead'' is Level 0 without DLC. Each level is completely stand alone as far as the game leads you to believe. With the release of the DLC, it jumps to Level 3 as we find out that the survivors ended up transitioning from one area to the next. ''VideoGame/Left4Dead2'' is pretty firmly Level 3, with the start of the next area being a direct result of what happened at the end of the last. For example: fueling up a race car to escape from a zombie infested mall only results in them abandoning the car when they reach blocked traffic, thus having to travel through a dilapidated carnival on foot.
166	* ''Franchise/TheLegendOfZelda''. The games tend to be standalone but there are three timelines that diverge at ''[[VideoGame/TheLegendOfZeldaOcarinaOfTime Ocarina of Time]]''. Yet the games only get a ContinuityNod or MythologyGag at best and can be played with any knowledge of the other games.
167
168	[[AC:WesternAnimation]]
169	* ''WesternAnimation/AdventuresOfTheGalaxyRangers'' was one of the earliest American animated series to experiment with a MythArc. Most episodes could stand alone, but the war against [[TheEmpire The Crown Empire]], the renegade Supertroopers, thrying to establish diplomatic relations with Tarkon, and the unfortunate FateWorseThanDeath of Zach's wife would creep up from time to time, along with other minor elements like the Mind Net device and a substantial RoguesGallery that learned from and discussed their previous mistakes.
170	* ''WesternAnimation/{{Futurama}}'' tends towards StatusQuoIsGod, but there were a few major lasting changes in the later seasons.
171	* ''WesternAnimation/GravityFalls'', with the season one finale bumping the show up to Level 4.
172	* ''WesternAnimation/HeyArnold'': Nearly every episode is standalone, but several episodes introduce characters that become regulars, such as "New Teacher" and "Ms. Perfect".
173	* ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' started is a Level 3; there are {{Continuity Nod}}s and [[CallBack Call-Backs]] to previous episodes but with the exception of [[Recap/MyLittlePonyFriendshipIsMagicS1E1MareInTheMoon cer]][[Recap/MyLittlePonyFriendshipIsMagicS1E2ElementsOfHarmony tain]] [[Recap/MyLittlePonyFriendshipIsMagicS2E1TheReturnOfHarmonyPart1 two]]-[[Recap/MyLittleponyFriendshipIsMagicS2E2TheReturnOfHarmonyPart2 part]] [[Recap/MyLittlePonyFriendshipIsMagicS2E25ACanterlotWeddingPart1 ep]][[Recap/MyLittlePonyFriendshipIsMagicS2E26ACanterlotWeddingPart2 is]][[Recap/MyLittlePonyFriendshipIsMagicS3E1TheCrystalEmpirePart1 od]][[Recap/MyLittlePonyFriendshipIsMagicS3E2TheCrystalEmpirePart2 es]], all the episodes are standalone. The show Moved up to a Level 4 in Season 4, having an arc related to [[spoiler:opening the box from the season-beginning two-parter]].
174	* ''WesternAnimation/TheOwlHouse'' starts off as this through most of Season 1, before going straight up to a Level 5 in Season 2.
175	* ''WesternAnimation/RickAndMorty'', although episodic, does have CharacterDevelopment, [[CallBack Call-Backs]], and status quo changes. Outside of Season Premieres, it's easy to understand what's going on even if you had never seen a single episode.
176	* ''WesternAnimation/SouthPark'' is normally Level 3 but occasionally goes into Level 4, especially when a major event happens or characters go through major CharacterDevelopment, as well as in Season 18.
177	* ''WesternAnimation/ThunderCats1985'' hovers between Levels 2 and 3 in its first season. Later seasons, however, fall more into Level 3 territory, with the introduction of three new Thundercats, the promotion of Snarf's nephew to the regular cast and the addition of a new team of antagonists in the form of the Lunataks. Later still, the show's regular villains (with the exception of [[BigBad Mumm-Ra]]) get written out and, for the most part, stay written out. Oh, and the Thundercats' home planet reforms.
178	* ''WesternAnimation/AdventureTime'': Most episodes are self-contained enough that they can be understood with only the basic premise. The show begins to [[ContinuityCreep slide towards level 4]] in later seasons, and each of the three miniseries have their own internal continuity that briefly bumps it up to level 5.
179	* ''WesternAnimation/ThePatrickStarShow'': While the Stars themselves don't change much over the series, there are plenty of {{Continuity Nod}}s and it's rare to see something get introduced and never brought back in some way. For example, "The Wrath of Shmandor" and "Backpay Payback" both [[RunningGagged put an end to]] series-long running gags, and many events from "Klopnodian Heritage Festival" are plot points in later episodes.
180	[[/folder]]
181
182	----
183	[[folder:Level 4: Arc-Based Episodic]]
184	These works do divide into episodes or installments with each (usually) introducing and resolving its own mini-plot, but there is a [[MythArc continuous ongoing storyline]] going on in the background. While most episodes may be enjoyed individually, any watching out of order will probably leave you wondering where characters who [[AnyoneCanDie died three seasons ago]] are, or why they're suddenly having dinner with [[HeelFaceTurn the guy they had sworn to defeat in the last episode you watched]], or who the hell this new villain they're talking about is, even if you can follow the actual plot of the episode. Shows often try to combat the resulting ContinuityLockout -- with varying degrees of success -- with PreviouslyOn recap openings. See also StoryArc.
185
186	!!Examples:
187
188	[[AC:UsefulNotes/AnimeAndManga]]
189	* One interesting example is ''Anime/GhostInTheShellStandAloneComplex'', which explicitly identifies each episode as either "Stand Alone" (episodic) or "Complex" (part of the series arc). The episodic ones rarely contain any reference to other episodes.
190
191	[[AC:{{Film}} -- Live-Action]]
192	* The Franchise/MarvelCinematicUniverse that started with ''Film/IronMan1'' is in this category, courtesy of Creator/{{Marvel\|Comics}} deciding to create its own movie label after they were bought by Creator/{{Disney}}.
193	** The individual films (the ''Film/IronMan'' series, ''Film/{{The Incredible Hulk\|2008}}'', ''Film/{{Thor}}'', and ''Film/CaptainAmericaTheFirstAvenger'') are pretty self-contained but each contributes to an ongoing MythArc that hit a climax with ''Film/{{The Avengers\|2012}}'', which in turn used TheStinger to set up the next major villain, [[Characters/MarvelComicsThanos Thanos]], who would take part in ''Film/{{Guardians of the Galaxy\|2014}}''. Meanwhile Phase 2 of the MCU deals directly with some of the fallout from the climax of ''The Avengers'' (i.e. ''Film/IronMan3'': Tony Stark has PTSD after nearly dying at the climax; ''Film/ThorTheDarkWorld'': Loki is chastised for causing the alien invasion; ''Film/CaptainAmericaTheWinterSoldier'': SHIELD is gung-ho about stopping threats before they become threats).
194	** ''The Winter Soldier'' itself has its own ramifications for the MCU with the revelation that [[spoiler:HYDRA rebuilt itself from within SHIELD]]. While the only effect it has in later films is that the Avengers now work independently, in the TV series ''Series/AgentsOfSHIELD'', the [[spoiler:revelation of HYDRA's continued existence]] loses some impact if you haven't seen ''The Winter Soldier'' before watching the final third of Season 1.
195	** The Netflix shows are also mostly self contained much like Phase 1 of the MCU though it too has its own ongoing MythArc as well as plenty of {{Continuity Nod}}s, namely [[Series/Daredevil2015 Hell's Kitchen]] being what it is because of the damage caused in ''The Avengers''.
196	** The [[spoiler:Infinity Stones/Gems and their build-up to ''Film/AvengersInfinityWar'']] will be lost on anyone who hasn't seen the key films where five of the six have respectively appeared so far.
197
198	[[AC:{{Literature}}]]
199	* The ''Literature/CiaphasCain'' novels are a fusion of this and AnachronicOrder, numbered thematically rather than chronologically. The first trilogy tells the story of how Cain became attached to the Valhallan 597th Regiment and their early campaigns. The second covers much more ground time-wise but is tangentially related to the ''shadowlight'', a mysterious pre-humanity artifact discovered on Perlia. "Echoes of the Tomb" and ''The Emperor's Finest'' cover his time as Imperial Guard liaison to the Reclaimers chapter of the Adeptus Astartes, and shed light on a NoodleIncident repeatedly alluded to in previous books and [[WhyDidItHaveToBeSnakes why Cain is so terrified of necrons]]. The last two novels, ''The Last Ditch'' and ''The Greater Good'', deal with tyranid incursions.
200	* Most of the ''Literature/{{Discworld}}'' books are Level 4.
201	* ''Literature/TheDresdenFiles'' slides quickly from Level 3 to here as the books become less "investigating a case" and more "investigating something deeply connected to just about everything else while dozens of old characters reappear and [[ChekhovsGun stuff that happened five books ago suddenly turns out to be vitally important]]," though there is still a plot with its own resolution in each book.
202
203	[[AC:LiveActionTV]]
204	* ''Series/AlloAllo'' is a rare sitcom to reach this level; each episode began with the lead character summarising the ongoing events of the mini-arc so far and the background arc of the painting(s) and British airmen ran through the whole series.
205	* ''Series/AndiMack'' is this and teeters on Level 5, very impressive for a Disney KidCom.
206	* ''Series/BlakesSeven'' always had the ongoing struggle against the totalitarian Federation, but whether it was the foreground concern or subordinate to the current crisis depends on the episode.
207	* The first two seasons of ''Series/BlueBloods'' fall here, with season-long arcs starring Jamie Reagan independent of the BodyOfTheWeek format of each episode's A-plot with his older brother Danny.
208	* Most of ''Series/BuffyTheVampireSlayer'', though it started to [[ContinuityCreep edge towards Level 5]] as the series went on.
209	* ''Series/DoctorWho'' post-2005. Pre-2005 ''DW'' is more a hybrid of Level 4 and Level 3, with 4-6 episode story arcs that have a strict continuity in themselves but overall have virtually no connection to each other. The only difference a casual viewer would notice between a Season 10 story and a Season 20 story is [[TheNthDoctor the new lead actor]].
210	* ''Series/TheGoodPlace'' has a tendency to set up an arc that looks like it could last a whole season, subtly settle into a formulaic pattern that the audience will find familiar, and then pull a MidSeasonTwist that irreversibly reveals a PlotDrivingSecret, ends whatever conflict that characters were going through, and launches a new arc with little resemblance to the previous arc.
211	* ''Series/StargateSG1'' and ''Series/StargateAtlantis'' follow this model. Each show has multi-season {{Myth Arc}}s but the individual episodes are pretty self-contained, and they usually have a PreviouslyOn segment in the continuity-heavy episodes.
212	* ''Series/StarTrekDeepSpaceNine'' fits into this catagory and was known for having greater levels of continuity compared to earlier ''Trek'' shows.
213	* ''Series/{{Supernatural}}'' tends to do this in later seasons, as compared to the Level 3 of the earlier ones. As it recaps all plot points relevant to the episode right before the episode, it's in no real danger of becoming Level 5.
214	* Creator/USANetwork's summer series are noted for this:
215	** ''Series/BurnNotice'': With the arc being the titular burn notice and Michel Westen's attempts to get back into proper intelligence work. It gets much more arc-heavy starting in Season 5.
216	** ''Series/RoyalPains'': With the arc being Hank working out his family issues and growing his business.
217	** ''Series/{{Suits}}'': With the arcs being Mike Ross' dubious past in the legal profession coming back to bite him, and the constant intrigue among partners ([[MyFriendsAndZoidberg and Louis Litt]]) at Pearson Hardman.
218	* ''Series/TheWalkingDead'' and its companion series, ''Series/FearTheWalkingDead'', generally fall on this side of the scale. Each season is self-contained enough that you'll immediately understand what's going on, who the major players are and the general threat, but there are enough continuity nods and references to prior events that establish a strong sense of the overall arc (a group of people struggling to survive, and losing allies along the way).
219	* ''Series/TheWestWing'' has two or three major arcs per season, but segments of the arc are usually wrapped up within episodes with some exceptions. Being as it's a show about politics, things from the past often affect the present. Each episode starts with a PreviouslyOn.
220	* ''Series/TheXFiles'' would have about a fifty-fifty shot between standalone "monster of the week" episodes and heavy-duty MythArc. The MythArc eps sometimes cranked the scale all the way up to 5, while monster of the week episodes were a 2.
221
222	[[AC:Multimedia]]
223	* ''Toys/{{Bionicle}}'', a line of Toys/{{Lego}} figures with tie-in comics, books, web games, films and animations started out with loose but continuous storytelling before turning lore-heavy around its 3rd or 4th year, introducing connected story arcs spanning years. Dozens of recurring characters, callbacks and plot points from years before would affect the main story, and mysteries were laid out to be resolved years later. Even LEGO became savvy of the convoluted story and created the now defunct website [=BIONICLEStory.com=] just to get new fans up to speed. When the web serials were introduced, the franchise went full ContinuityLockout, with minor characters and objects from 7-8 year old side plots being brought back and separate arcs becoming unending, expanding, intertwining storylines. But the basic points of the main plots were easy to understand on a surface level and their connections to past stories were always explained.
224
225	[[AC:Podcasts]]
226	* ''Podcast/TheMagnusArchives'' begins as a cosmic horror GenreAnthology with a Level 4 [[StoryArc seasonal plot]] happening alongside the single-episode stories. While the show holds onto those anthological roots for its entire run, the final season takes a turn into Level 5, to the point that it would be incomprehensible without prior knowledge of the [[MythArc overarching plot]] and [[FictionalEarth worldbuilding]].
227
228	[[AC:Roleplay]]
229	* ''Roleplay/DestroyTheGodmodder'' is this. You can jump in as you like, but certain events are oftentimes confusing if you don't really know exactly what's going on. There were many complaints about this during the Homestuck Invasion, as many players had issues with having no idea what was going on because of how many references there were to Homestuck at the time.
230
231	[[AC:VideoGames]]
232	* The ''Franchise/DragonAge'' series is notably more lax about its continuity than its sister series ''Franchise/MassEffect'': while there are definitely several enduring {{Myth Arc}}s, each installment so far (including supplemental novels and comic mini-series) is a largely self-contained story that happens to push one or more overarching plots along. This is helped by the fact that individual installments usually focus on different (albeit often [[CharacterOverlap overlapping]]) main characters and are set in different parts of the world at different times; also, an occasional {{retcon}} by the writers prevents the established canon from being too reliable.
233	* ''Franchise/TheElderScrolls'' main series of games (i.e. the ones with numbers in the title) fit here. Each has a brand new protagonist (the PlayerCharacter) but take place chronologically (with {{Time Skip}}s ranging from four to ''200'' years) after the previous games in the series. In the background looms the [[TheFederation (mostly) benevolent Third Tamriellic Empire]] whose involvement with the main plot of the game varies from relatively loose (''[[VideoGame/TheElderScrollsIIDaggerfall Daggerfall]]'', ''[[VideoGame/TheElderScrollsIIIMorrowind Morrowind]]'') to being an essential player in the game's events (every other game). The first four games, in fact, all take place during the rule of the same [[TheEmperor Emperor]] (Uriel Septim VII). Other consistent elements are the inclusion of (or at least mention of) various [[SidequestSidestory Guilds and Factions]] ([[AdventureGuild Fighters Guild]], [[MagicalSociety Mages Guild]], ThievesGuild, [[MurderInc Dark Brotherhood]], etc.) as well as the presence of the same gods and deities (save those you [[KillTheGod kill]] or otherwise [[HijackingCthulhu alter]]).
234	* ''VideoGame/FinalFantasyXIV'' has the base game and several expansion packs that all continue from one another. Each expansion has their own story that is also built upon from the previous story and sets up for the next story. While you can skip certain arcs and still get the gist of it, you'll won't understand certain plot points, characters, or other references that are brought up from events that happened earlier.
235	* ''VideoGame/KingsQuest'' lands here, with the games themselves being standalone, but characters frequently reference past adventures, and the plotlines sometimes lead into one another, like the events of ''VideoGame/KingsQuestV'' being set into motion over events in ''VideoGame/KingsQuestIII'' (the BigBad of that game takes revenge for his brother being turned into a cat), and the events of ''VideoGame/KingsQuestVI'' built on events in ''King's Quest'' with many references to ''King's Quest III'' in dialogue and flavor text. There's also an incriminating letter in ''King's Quest VI'' that hints that at least three of the previous villains may have been working together. It can get up to a 5 if you get your hands on a FanRemake or FanSequel like Creator/AGDInteractive's remakes of ''KQII'' and ''KQIII'' or ''VideoGame/TheSilverLining''.
236	* ''Franchise/{{Pokemon}}'':
237	** ''VideoGame/PokemonGoldAndSilver'' carries on with the major events from ''VideoGame/PokemonRedAndBlue''. The Johto Pokedex is considered as an extention of the Kanto Pokedex, you have to stop Team Rocket from returning to its former glory, and the Pokemon League is the same Indigo Plateau. Most, if not all, characters from Kanto returns, including the previous game's protagonist, [[TrueFinalBoss who is now the true Pokemon Champion]]. And many of them have moved on with their lives. The only reason this isn't Level 5 is due to having to start with a new protagonist.
238	** ''VideoGame/PokemonBlackAndWhite'' have [[VideoGame/PokemonBlack2AndWhite2 direct sequels]] and are the only main series games to do so. ''Black 2 and White 2'' can be played with no problems to their story, but it it is appreciated more if you've played ''Black and White'' first. There's even a feature where you can connect a ''Black 2'' or ''White 2'' game to a ''Black'' or ''White'' game and transfer the latter's data (such as the player's name and what team they had) to enhance the story further.
239	* ''VideoGame/QuestForGlory'' is one of the most serialized franchises Creator/{{Sierra}} ever made, and unlike other games released around this time (like the aforementioned ''King's Quest''), the ''QFG'' series allowed the player to carry their character [[OldSaveBonus over from one game to the next]]. However, this series wasn't quite as restrictive from a continuity standpoint. Each game (despite following a single hero) dwelt with a separate problem in a separate location. Although it worked in characters and continuity nods from previous installments, the games were self-contained enough that you could immediately understand what was happening without playing prior titles.
240	* ''VideoGame/SpaceQuest'', like its "brother" ''VideoGame/KingsQuest'' has games that stand alone mostly, but later entries reference the hell out of previous ones. Even if Roger is always busted back down to mopping floors, there's always some hint of his previous adventures that comes up when playing. In ''Space Quest 6'', this is referenced by showing Roger with a collection of inventory items from previous games. ''Space Quest 4'' spoofs this with TimeTravel by having Roger go to his future (The Latex Babes of Estros), where he gets in trouble for something he technically hasn't done yet, and the first game where the bar owner complains about the slot machine Roger broke. ''Space Quest 4's'' plot was kicked off by a VirtualGhost Vohaul wanting revenge over Roger killing him off in ''Space Quest II'', and much of the subplot in ''Space Quest 5'' (in addition to why Beatrice getting killed means NonstandardGameOver for Roger) has to do with events in ''Space Quest 4''.
241	* Post-ContinuityReboot, ''VideoGame/SuperRobotWarsOriginalGeneration''. The fact each major installment (including the GaidenGame sequel) have a dedicated, episodic name ("Divine Wars", "The Inspector", "Unified Wisdom" and "Gaia Saviour") proves it's better to play them in successive order than to skip one. The SpinOff ''VideoGame/EndlessFrontier'' duology and ''[[VideoGame/AnotherCenturysEpisode Another Century's Episode: R]]'', although occurring in {{Alternate Universe}}s, take elements directly ''from'' main continuity, though are not necessary to fully enjoy ''Original Generation''. However, they provide details as to why some characters are temporarily missing in main installments and extend the MythologyGag prevalent in the continuity.
242
243	[[AC:WebAnimation]]
244	* Most of ''WebAnimation/RedVsBlue'' belongs here starting with the [[WebAnimation/RedVsBlueTheRecollection Recollection Trilogy]]. There's a lot of space to goof around and tell jokes that aren't usually important to the plot, but with the way episodes follow one-after-the-other to the point where the DVD releases compile them into long movies, the plot is crucial whenever it does. And speaking of said jokes, they themselves half the time can be far-reaching callbacks to the beginning of the series that make little to no sense without the context. [[WebAnimation/RedVsBlueTheProjectFreelancerSaga The Project Freelancer Saga]] and [[WebAnimation/RedVsBlueTheChorusTrilogy The Chorus Trilogy]] in particular are borderline Level 5, barring season 11 which dips into Level 3.
245
246	[[AC:Webcomics]]
247	* ''Webcomic/ElGoonishShive'' is divided into storylines, which, while not necessarily self-contained, are by themselves more a bit more accessible than the comic-spanning larger story, which requires a full understanding of most things that have happened before to follow. And the EGS:NP {{B Side Comic\|s}} is mostly Level 1 with a few storylines having level 3 continuity with the main comic and one (the Playing With Dolls storyline) having Level 5 continuity.
248
249	[[AC:WesternAnimation]]
250	* ''WesternAnimation/AvatarTheLastAirbender'' is mostly like this -- while Team Avatar is always traveling the world to find bending masters to teach Aang and there are plenty of episodes that belong in Level 3, there are pretty steady continuous developments on the villainous side that would be very jarring to anyone who just watched individual episodes here and there. Episodes almost always air with PreviouslyOn segments, though they don't explain everything.
251	* ''WesternAnimation/GravityFalls'' as of Season 2 has the overall story of the main characters attempting to uncover the secrets of the titular town and discover the identity of the individual who documented these abnormalities. Though there are can plot-relevant clues hidden in the background or credits of every episode, only a handful have the characters actively advancing the plot.
252	* ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' became this in Season 4, having an arc related to [[spoiler:opening the box from the season-beginning two-parter]], and having details of Season 2 episodes come up in the season finale. Season 5 set a similar trend.
253	* The eighteenth season of ''WesternAnimation/SouthPark'' has each episode picking up from where the previous episode left off or takes a minor plot point from an earlier episode and goes into greater detail with it. This is lampshaded in Episode 2, in which the unexpected increase in continuity plays a role in the plot.
254	* ''WesternAnimation/StevenUniverse'' jumped from what appeared to be Level 3 to 4 after the events of the two-parter "Mirror/Ocean Gem". With the introduction of [[spoiler:alien Gem Lapis Lazuli,]] it became apparent the Crystal Gems were on Earth for a reason and appear to be fearing contact with others off-planet. After the events of "The Message", [[spoiler:Peridot and Jasper]] shook up the status quo in a major way. Although many episodes feature self-contained stories, the show has a tendency to sneak in bits of characterization and seemingly innocuous dialogue that can pop up in later episodes to be revealed as critical to the plot without warning. The most important details will be briefly summarized, but most of the significant CharacterDevelopment and hints of it's MythArc will not, and rewards careful examination of background details. After a few episodes in Season 2, the show's jumped to Level 5.
255	* Season 3 of ''Franchise/{{Tabaluga}}''[='s=] animated adaptation. Earlier seasons had only some changes, mostly near the beginning and end of series.
256
257	[[/folder]]
258
259	----
260	[[folder:Level 5: Full Lockout]]
261	If you haven't seen the whole series so far, or at least the entirety of the current season, you're screwed. Each installment expects you to have seen every previous installment; though it may [[PreviouslyOn make some effort to try to clue you in if you haven't]], you will probably be thoroughly confused, and there is no guarantee there will be any sort of resolution to anything by the episode's end; in fact, it's quite likely to end with a {{Cliffhanger}}. Often BetterOnDVD. The specific trope here is ContinuityLockout.
262
263	!!Examples:
264
265	[[AC:AnimeAndManga]]
266	* In general, Full Lockout is extremely common in anime. Especially in 13- or 26-episode series as they are devoid of filler and even more so when they are short anime series based on pre-existing material (usually manga).
267	* ''Manga/AttackOnTitan'' has lots of WhamEpisode worth of character deaths, revelations, and plot twists. You miss one chapter or episode, and the next one has you lost.
268	* On an internal scale, the ''Manga/DragonBall'' manga fits here, and to a lesser extent the two [[Anime/DragonBallZ anime]] based off of it. If you skip twenty or thirty Chapters you'll generally be quite out of place as to where the story is. On a larger, [[Franchise/DragonBall franchise-wise scale]], however, it's more a Level 1.
269	* ''Manga/PandoraHearts''. You can read the first three chapters and infer well enough what came before, but as each follows directly from the last chapter, and the unexplained events and foreshadowing pile up as early as chapter ''one...''
270	* ''Anime/TengenToppaGurrenLagann'', especially as it goes on (though the Parallel Works are Level 0).
271
272	[[AC:{{Comics}}]]
273	* Many {{Crisis Crossover}}s assume that not only have you read all the previous and tie in issues of the event but also that you are familiar with events published much further in the past. Fallout from the original ''ComicBook/CrisisOnInfiniteEarths'' affected the DCU from 1986 until the ComicBook/New52 reboot in 2011.
274	* ''ComicBook/AlbedoErmaFelnaEDF'' is a rather extreme case of this, since you need to read ''each and every single'' piece of information from not only the comics, but also every single piece of extra information WordOfGod has published ''outside'' the comics like the tabletop RPG games, fanzines, info from almost every single piece of published media like interviews, websites, Usenet posts, etc., some of them were published ''from the 80s''.
275
276	[[AC:LiveActionTV]]
277	* Each season of ''Series/TwentyFour'' is a continuous real-time story arc.
278	* Most of the various Creator/{{AMC}} dramas:
279	** ''Series/MadMen'': The ongoing story of Don Draper and the firm of Sterling Cooper.
280	** ''Series/BreakingBad'': Or, Two Years In The Life of Walter White. And boy, are they eventful ones.
281	* ''Series/BabylonFive'' later on, though the first season or so was more Level 4.
282	* ''Series/{{Damages}}'' is Level 5, due to the AnachronicOrder and following the case instead of a MonsterOfTheWeek format.
283	* ''Series/{{Farscape}}'''s heavy reliance on [[ContinuityLockout continuity]], mainly from the latter half of Season 1 onwards, was deemed to be one of the reasons leading into its lower viewing ratings and eventual cancellation.
284	* Creator/{{HBO}} does this too.
285	** ''Series/GameOfThrones'': What do you expect from an adaptation of ''Literature/ASongOfIceAndFire''?
286	** ''Series/TheWire'': Most episodes push multiple arcs forward, along with continuity nods that don't just stretch across multiple episodes, but multiple ''seasons''. Even missing a single episode can leave a viewer lost as to what's happened in the interim.
287	* ''Series/{{Lost}}'' is a frequently cited example of ContinuityLockout because of this.
288	* ''Series/OnceUponATime'': Same writers as ''Series/{{Lost}}'', and same twisted plotlines that can cram several {{Wham Episode}}s inside {{Wham Episode}}s. Sure, they're all fairy tale and literary characters, but that means very little with their love of {{Composite Character}}s and {{Decomposite Character}}s and at least five {{Magnificent Bastard}}s scheming against one another.
289	* ''Series/PersonOfInterest'' fits here to a similar degree as ''Series/BabylonFive'', with the first season and a half being pretty episodic but featuring continuous story arcs in the background. After about the middle of Season 2, the importance of knowing the continuity rapidly ramps up because the show's cast gets huge and the various arcs begin to interconnect frequently.
290	* ''Series/RaumschiffGamestar'': The series swung between Level 5 (Full Lockout) in Seasons 1, 2, and 4 and Level 4 (Arc-based Episodic) in Seasons 3 and 5, occasionally tapping into Level 3 (Subtle Continuity) at some points in the third and fourth seasons.
291	* ''Series/ReGenesis'', through all its interwoven multiple-episode story and character arcs, is probably impossible to understand episodically despite the lengthy PreviouslyOn recaps.
292	* ''Series/StargateUniverse'' was heavily arc-based, which had the misfortune to occur at the same time Creator/{{Syfy}} changed its scheduling strategy to where it would air part of a season, then replace it with another show, then bring the first show back, and so on. The ''SGU'' showrunners partly blame the series' cancellation on the resulting confusion driving away viewers.
293	* The Kurtzman-era ''Franchise/StarTrek'' series fall into this, except for ''[[WesternAnimation/StarTrekLowerDecks Lower Decks]]'' and ''Series/StarTrekStrangeNewWorlds'', which are both 4s. There are some exceptions in [[Series/StarTrekDiscovery Discovery]], where the episodes"An Obol for Charon" and "Time Loops Together" dip to level 4.
294	* ''Series/UnderTheDome'' features extremely tight continuity such that even the inclusion of a PreviouslyOn segment at the start of each episode isn't much help.
295
296	[[AC:VideoGames]]
297	* Both ''VisualNovel/{{Higurashi\|WhenTheyCry}}'' and ''VisualNovel/UminekoWhenTheyCry'' count. Ye gads, get out of order or miss a segment or two in either, and you can end up so lost. And, this is the same, whichever medium you're playing/watching/reading them in.
298	* ''Franchise/KingdomHearts'': From [[VideoGame/KingdomHeartsChainOfMemories the second game]] onward the games head straight into KudzuPlot with any detail potentially {{foreshadowing}} future games (Xigbar's cryptic lines in ''[[VideoGame/KingdomHeartsII II]]'' being an example). ''[[VideoGame/KingdomHearts3DDreamDropDistance Dream Drop Distance]]'' has "memoirs" thought that record the plots of the preceeding games and unlocks them when a ContinuityNod[=/=]CallBack to the respective game first occurs. This makes the series a Level 4 at least, though without that game it still remains at 5.
299	* ''Franchise/TheKingOfFighters'':
300	** ''KOF'' currently[[labelnote:*]][[VideoGameLongRunners as of 2022]][[/labelnote]] has four (technically five) [[StoryArc arcs]]: "The {{Orochi}} Saga" (''[[VideoGame/TheKingOfFighters94 '94]]''-''[[VideoGame/TheKingOfFighters98 '98]]''[[note]]''KOF '94'', as the inaugural entry of the series, served as a standalone title and is sometimes designated as "The [[StarterVillain Rugal]] Saga" to reflect this, but since Rugal [[StarterVillainStays returned]] in [[VideoGame/TheKingOfFighters95 the next game]] and was explicitly tied to the Orochi power thereafter, ''[='94=]'' is often treated as part of The Orochi Saga, as evidenced by its inclusion in ''[[CompilationRerelease The King of Fighters Collection: The Orochi Saga]]''.[[/note]]), "The [[NebulousEvilOrganisation NESTS]] Chronicles" (''[[VideoGame/TheKingOfFighters99 '99]]''-''[[VideoGame/TheKingOfFighters2002 2002]]''), "The Tales of [[TheTrickster Ash]]" (''[[VideoGame/TheKingOfFighters2003 2003]]''-''[[VideoGame/TheKingOfFightersXIII XIII]]''), and "The [[BadPowersGoodPeople Shun'ei]] Saga" (''[[VideoGame/TheKingOfFightersXIV XIV]]''-present). [[note]]It should also be noted that ''[='98=]'', ''2002'', and their [[UpdatedRerelease Updated Re-releases]] are actually non-canon {{Dream Match Game}}s that [[TheBusCameBack bring back]] all the playable fighters from the previous entries, even the [[KilledOffForReal dead ones]]. The similarly non-canon ''[[VideoGame/TheKingOfFightersXII XII]]'' was likewise billed as a "dream match", though in practice it's more of a stopgap released prior to ''XIII'', with a much smaller than usual roster.[[/note]] While the NESTS chapter of the story isn't too hard to follow without prior knowledge (as the protagonist of those titles, K', distances himself from previous hero Kyo despite [[CloneByConversion being genetically engineered with his DNA]]), Ash's saga almost ''requires'' that you played the first four games given that ''2003'' introduces a plot to [[SealedEvilInACan unseal]] [[BigBad Orochi]] and the children of Rugal. This is made worse if you look past the main plot and focus on the supporting cast, as you then have to deal with allusions and plot points carried over from ''VideoGame/FatalFury'', ''VideoGame/ArtOfFighting'', ''VideoGame/IkariWarriors'', ''VideoGame/{{Athena}}''[=/=]''VideoGame/PsychoSoldier'', ''VideoGame/TheLastBlade'', ''[[VideoGame/FuunSeries Savage Reign/Kizuna Encounter]]'', ''VideoGame/BurikiOne'', etc. as well as interconnected subplots involving the Dragon Spirit inside of [[VideoGame/PsychoSoldier Kensou]] and the Hizoku clan of assassins [[ArcFatigue that haven't been resolved]] since they first appeared in '''1999'''. While it's ContinuityPorn and {{Fanservice}} for those who have followed Creator/{{SNK}} since its heyday, it's borderline ContinuityLockout for anyone else. Remember that this series [[ContinuityCreep originally]] existed as [[MascotFighter a storyless gathering of fighters]].
301	** ''XIV'', though giving off the appearance of [[JumpingOnPoint a standalone entry point]] as opposed to the beginning of a new arc outright, has its fair share of this. Notably, though the FinalBoss has the look of a GiantSpaceFleaFromNowhere at first glance, it's later revealed to be [[spoiler:a byproduct of the TemporalParadox Ash caused at the end of ''XIII'']] and, according to Geese, was foretold in the Jin Scrolls that lied at the center of 1995's ''Fatal Fury 3''. There's also the matter of [[spoiler:said TemporalParadox]] opening up a dimensional rift that allowed [[VideoGame/SamuraiShodown Nakoruru]], Mui Mui, and Love Heart [[note]]hailing the pachinko section of SNK's library (''Dragon Gal'' and ''Sky Love'', respectively)[[/note]] [[TheMultiverse to cross over]], while another subplot involves remnants of NESTS running around in the background, with Angel (a former operative last [[DreamMatchGame canonically]] seen in ''2001'') being on the run from NESTS loyalists whereas newcomer Sylvie Paula Paula was deemed a "defective" experiment by the cartel. ''[[VideoGame/TheKingOfFightersXV XV]]'' continues to build upon by the central storyline with Shun'ei while also [[TheBusCameBack bringing back]] a large number of characters with ties to the previous arcs like [[VideoGame/TheKingOfFighters96 Chizuru]], [[VideoGame/TheKingOfFighters97 the Orochi Team]], Krohnen ([[spoiler:[[CharlieBrownFromOuttaTown better known as]] [[VideoGame/TheKingOfFighters2001 K9999]]]]), [[VideoGame/TheKingOfFighters2003 Ash]], and [[VideoGame/TheKingOfFightersXI Elisabeth]].
302	* The original ''Franchise/MassEffect'' trilogy is probably the most continuity-restrictive series Creator/BioWare has ever produced. Thanks to the ability to [[OldSaveBonus carry over the main character (and thus most of the plot) across all three installments]], ''VideoGame/MassEffect2'' and particularly ''VideoGame/MassEffect3'' depend on the previous installments to such degree that it is literally impossible to get some of the best outcomes in the third game (such as [[spoiler:[[ReconcileTheBitterFoes the peace between quarians and the geth]]]]) without having completed the previous ones.
303	* When it comes to the ''VideoGame/MetalGear'' franchise, if you aren't starting from [[VideoGame/MetalGearSolid square one]] (or the ''[[VideoGame/MetalGearSolid3SnakeEater other]]'' square one, or the ''[[VideoGame/MetalGear1 other]]'' other one), you'll be able to make more sense of a story by vomiting up alphabet soup, since the series has an ''extremely'' complex, continuity-driven plot that is still almost impossible to decipher even if you play the games in order.
304
305	[[AC:WebAnimation]]
306	* ''WebAnimation/TheMostPopularGirlsInSchool'' takes continuity very seriously.
307
308	[[AC:Webcomic]]
309	* ''Webcomic/SluggyFreelance'' creator Pete Abrams recently acknowledged the phenomenon at this stage of the comic's lifespan and narrative density. He still tries to link back to details in previous strips, but now that it's become necessary even in filler arcs, it's extremely daunting to new readers.
310
311	[[AC:WesternAnimation]]
312	* ''WesternAnimation/FinalSpace'' falls into this category. Although Season 1 involved recaps, protagonist Gary was an UnreliableNarrator. Season 2 lacked recaps except for the premiere, and had episodes that were completely self-contained, but still was more plot-driven than the previous season.
313	* ''WesternAnimation/TheLegendOfKorra'' may perhaps be the most continuity-heavy cartoon to date. Barring the first season, each season directly leads into the next, with the resulting fallout shaping the events of each. Although the villains and arcs they generate were separate, the characters and global politics constantly changed. By Season 3, it'd more or less become an adult drama that just so happened to be in animated form.
314	* Season 2 of ''WesternAnimation/TheOwlHouse'' fits this nicely, with there being no filler episodes and plot points almost never being resolved in the episodes they were introduced in.
315	* Though covered on the earlier point, ''WesternAnimation/StevenUniverse'' received a further jump midway through Season 2 and hasn't looked back. The show's gone beyond the occasional two-part episode and heavy background plot to long stretches of continuous storytelling. The Peridot arc featured 4 episodes, took a brief respite to detail Garnet's backstory and a one-off episode, followed by 3 episodes in a row to resolve it, then 6 episodes in a row dealing with the Cluster and its aftermath. The Season 3 finale featured a four-parter, and the fourth season arc to [[spoiler:retrieve Greg from Blue Diamond]] was a five-parter that leaves off seconds after the last episode stops, hinging on the aforementioned Garnet backstory. If you missed that one, you're going to be very confused.
316	* ''WesternAnimation/{{WITCH}}'' relies heavily on continuity and long-term storytelling to the point that it's practically a cartoon serial by the time it ends.
317	[[/folder]]
318

Context Main / SlidingScaleOfContinuity