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"I came home from these regular monthly drinks that we have in London and grabbed one of the nice hardback comics next to the bed—and in this case it was [Frank Miller's] 300. I picked it up, flipped through it, really not very much paying any attention to it. And one of the speeches about 'The only free men the world has ever known', and literally had a moment of incandescent rage and shouted at the book, ‘You hunted slaves!’ And at that second the entire plot of Three downloaded, including the twist, the structure, everything."
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A polar opposite of the Spiritual Successor, the Spiritual Antithesis is referencing or invoking an earlier work by using similar characters and themes, but going in a completely different direction. Often set at the opposite end of Sliding Scale of Idealism vs. Cynicism. May serve as a Deconstruction, Reconstruction (if the original work was a deconstruction itself) or Stealth Parody of the original work. The trope is also popular and commonly applied in case of titles that came out around the same time and share a lot of similarities but accomplish different outcomes, be them Dueling Works or works in different medium altogether, especially in case of those that run for long enough to have divergent evolution.

It can best be described as the concept of foils applied to works instead of characters. Often seen as a Take That! against the original work (though it may simply be meant as commentary or as a What If? scenario, and is occasionally even made by the same people), and closely related to Satire. May involve Whole Plot Reference. Sometimes is actually a sequel to the original work, in which it usually serves as an Internal Deconstruction. The Moral Substitute is a related trope, where the work is meant to be the antithesis of what its creators see as moral failings within another work or genre.

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Of course, nothing prevents a work from being the Spiritual Antithesis of one work and the Spiritual Successor of another at the same time, which may often result in said work being X Meets Y or This Is Your Premise on Drugs.

Genres that play this role to each other:


Examples:

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    Fanfiction 
  • Aesir: Cross Wars definitely plays as this to Kid Icarus: Uprising. For starters, ACW uses Norse Mythology, while KIU uses Greek Mythology.
    • Azrael and Pit. The Protagonist with a sharp tongue. Also an angel. Azrael is a Mellow Fellow, while Pit is a Keet. Azrael is Weak, but Skilled, relying on high speed and intelligence, while Pit is Unskilled, but Strong, generally not caring for strategy and overpowering his opponents. Azrael can fly on his own and Pit can't. Azrael is the King of Snark, while Pit is Sarcasm-Blind. I Azrael is an Iron Woobie from the start of the book (but this is only revealed 4 parts in.), while Pit becomes an Iron Woobie during the events of his game.
    • Azazel and Dark Pit. Shadow Archetype and Anti-Hero. Azazel is Hot-Blooded, while Dark Pit is The Stoic. Azazel starts out on the side of good, while Dark Pit had to perform a Heel–Face Turn. Azazel had a mostly original design, Dark Pit is a Palette Swap of Pit. Azazel is a Small Name, Big Ego, while Dark Pit, despite also having a big ego, acts much more competent. It's worth noting that next to Azazel, Pittoo looks like he's self deprecating.
    • Freya and Palutena. Kind, trollish helper goddess to the hero. Palutena is The High Queen, Freya is relatively low ranking. Palutena looks like an adult, Freya looks fifteen, and biologically is. Palutena is mature and calm, Freya is a childish Genki Girl.
    • Freya is also an antithesis to Viridi, the hot tempered, Older Than They Look goddess with implied feelings for The Hero. Freya is kind and supportive of the protagonist, while Viridi is a violent Shana Clone. Freya is one of the least snarky characters in the story (at least, before the Retcon, while Viridi is one of the most.
  • Half-Life: Full Life Consequences and Hunt Down the Freeman. Both are infamous Half-Life fanworks, featuring a brother of a certain protagonist who has personal beef with Gordon Freeman. However, while Full Life Consequences is a deliberate Troll Fic that is entirely Played for Laughs, Hunt Down the Freeman tries to be a genuine fangame with a serious plot but completely falls apart in the process. Additionally, while John Freeman is revealed to be Gordon's brother at the very start, Mitchell Shepard is revealed to be Adrian's brother at the very end. Surely enough, a parody video was made that retells the plot of Hunt Down The Freeman in the style of ITCON's Full Life Consequences adaptation.
  • My Brave Pony: Starfleet Magic is this to My Little Pony: Friendship Is Magic as a whole. While FiM is a fantasy story based around The Power of Friendship, MBP is a Sci-Fi story based around the power of belief.
  • LXG Tempest Rewrite: To the original comic.
    • Harry Potter, spies, superheroes, and everything else Alan Moore hates is given a much more positive treatment
    • Rather than have Emma and Orlando coerce Jason King into killing Jimmy, they do it themselves
    • Instead of having Cthulhu be a footnote, his awakening causes worldwide insanity
    • The protagonists don’t make it safely to Lincoln Island and escape Earth with all their friends and associates; the island succumbs to madness and the ones who escape Earth just barely do
    • Instead of the world being taken over by Prospero’s horrors, modern-day heroes band together to save humanity
    • The main story still ends with a wedding, but between the main heroines rather than two minor characters
    • The comic’s final page (not counting the epilogues) was a piss-take on comics legend Stan Lee; this story ends with numerous space-faring pulp sci-fi characters being reinvented in a style not unlike that of comics legend Alan Moore.
  • New Tamaran
    • In The Killing Joke movie, Barbara Gordon was infamously portrayed as acting out of pure selfishness, while also being reckless, impulsive, and hot-headed. By contrast, the Barbara here (and in her origin) still doesn’t make the most ethical actions, yet she does them because she truly believes they are in the best interests of the people she cares about. She also takes time to plan out her actions, and ultimately does succumb to criticism.
    • In her origin, Karen Beecher can be seen as this to Ironheart. While they’re both super-intelligent black teen girls, Riri Williams has a victim complex, steals from a university, replicates the work of Tony Stark, is self-centered, and doesn’t accept mistakes. This version of Karen Beecher has her be an actual victim of racism, gets her materials legally, vastly improves on her grandfather’s work, puts others first, and learns from her mistakes.
  • Party of None is a reconstruction of Cupcakes, in that it actively avoids using excessive violence to make a point that Dark Fics can be scary without it.
  • My Immortal and Thirty Hs. Both Harry Potter badfics that use heavy metal, anarchy, bleeding wounds, Anatomically Impossible Sex, a presumably-high-off-his-ass Dumbledore, and random Satanic murder as plot points, but one was ostensibly written by an Emo Teen girl, and the other was supposedly written by a metalhead teen boy.
  • Cave Story Versus I M Meen is this to Doukutsu Days, satirizing many television tropes and fanfiction cliches, especially during Part 1. However, it has a surprisingly deep and rather interesting plot for a crack fic, which is exactly what sets it apart from the rest of the bunch.
  • For The Want Of A Nail, a series of My Hero Academia fics by Archive of Our Own user myheadinthecloudsnotcomingdown where Izuku never received One for All from All Might, has several examples:
    • Mastermind: Strategist for Hire and Deku? I think he's some pro...: Both begin with Izuku, after having his dream crushed by All Might, using his analysis abilities to help other people by contacting them online, feature his co-workers considering him a valuable friend and ally due to this in spite of his Quirklessness and several characters Locked Out of the Loop who automatically assume he must have some sort of analysis Quirk. The primary difference is that Mastermind has Izuku becoming the fic's titular Villain partially due to the Villains being the only people who treat him with respect and partially to lash out at the society which never gave him a chance, whilst Deku? has Izuku being taken in as an inter-agency intern by the Pro Heroes he contacts before recommending him for UA's Hero Course and putting him on course to become the first Quirkless Pro-Hero as a result.
    • Viridian: The Green Guide and Deku? I think he's some pro...: The premises of both involve a Quirkless Izuku working as a Hero in some capacity; whilst in Deku?, Izuku ends up attending UA's Hero Course to become the first Quirless Pro-Hero, as mentioned before, Viridian involves Izuku becoming a Vigilante after realising the Quirkless technically cannot be vigilantes due to the law defining it as using one's Quirk in a similar manner to a Hero without a license.
    • Cheat Code: Support Strategist and Mastermind: Strategist for Hire: Whilst both focus on Izuku making use of his analytical skills to help others, Mastermind involves Izuku using them to produce plans for other Villains, as the titular Mastermind, whilst Cheat Code involves him attending UA's Support course in order to help other Heroes.

    Films — Animated 
  • The Nightmare Before Christmas can be considered one to How the Grinch Stole Christmas!. Both feature the Villain Protagonist dressing up as Santa Claus before realizing how wrong their actions were. But whereas the Grinch dressed up as Santa in order to steal gifts from the Whos, Jack did it because he wanted to spice up his life and add a new spin to the holiday. The Grinch's malevolent intentions end up not really harming anyone, while Jack's benevolent intentions end up causing mass mayhem.
  • Both Pixar and the Disney Animated Canon have contrasting takes on the Superhero genre: The Incredibles and Big Hero 6: The Incredibles stars a Caucasian, Badass Nuclear Family (and a Token Black Friend) with innate superpowers facing a tech-based villain, his gun-wielding mooks and his robot. Their setting is retro fifties-flavored suburbia, and while they don't deliberately kill the villains, if they die while attacking the heroes no one's upset. Big Hero 6, on the other hand, features a Five-Token Band of friends united by an orphan as science heroes with their powers derived from technology and individual expertise — with a robot among their ranks — while the villain is definitely a solo act equipped with a swarm of Nanomachines. Their setting is neon, skyscrapers and advanced cybernetics, Thou Shalt Not Kill is in play, and high technology is central to all elements of the plot.
  • The Book of Life and Coco are both films set in Mexico about young men, conveniently with names that start with an "M", who aspire to become musicians and travel into the world of the dead. But that's where the similarities ends. The first is about a Love Triangle, the second is about learning the mystery behind a family secret. In the former, Manolo is an aspiring musician who is forbidden to follow his dream because his father wants him to be a bullfighter like his ancestors. In the latter, Miguel is an aspiring musician who is forbidden to follow his dream because his great-great-grandfather supposedly abandoned the family to become a musician (It turns out that while Hector did try a musical career, he decided to return but was murdered before he could do so, and his wife and daughter never found this out), so his shoe-making family banned music from their household so no other Rivera would go through that heartbreak. Manolo willfully allows himself to die by snake poison when he believed the woman he loved died; Miguel steals the guitar of the man he thinks is said ancestor and is cursed by being sent into the Land of the Dead. Manolo gains aid from his ancestors as he seeks to earn his life back from deities when he realizes he was tricked; Miguel avoids his ancestors as he wants to earn the blessing of his musician relative so that he can follow his dream. The primary villain of The Book of Life is Xibalba, a Dark Is Evil deity who interfered with Manolo's life so that the woman Manolo loved would marry another to win a bet, though he gets a Heel–Face Turn. The primary villain in Coco is Ernesto De La Cruz, a Light Is Not Good singer who Miguel believes is his ancestor but is really the man who murdered him to achieve fame and is so obsessed with his fame and ego that he doesn't reform. Manolo proves his musical worth by playing a song to earn forgiveness from the spirits of the bulls his family killed; Miguel does so by playing the real version of "Remember Me" to his great-grandmother Coco, proving her father didn't abandon their family and lifting the ban. While both movies deal with themes of Be Yourself and the importance of family, The Book of Life leans more to the former while Coco leans to the latter.
  • The Road to El Dorado and The Emperor's New Groove. Both are fantasy films about a pair of mismatched buddies on a difficult journey through the jungles of pre-Columbian South America, and both of them feature an emperor's duplicitous court magician as the main antagonist. But The Road to El Dorado is a mostly serious adventure film (though not without its humorous moments) about a pair of lowly con men who end up being worshipped as gods by the Maya, while The Emperor's New Groove is a wacky Looney Tunes-esque comedy (though not without its dramatic moments) about a mighty Inca emperor who's forced to seek help from a lowly peasant after being turned into a llama. note 

    Newspaper Comics 

    Professional Wrestling 
  • As EMLL and CSP developed into two different versions of the World Wrestling Council, WWC became a spiritual antithesis of CMLL. Two out of three falls became the standard in EMLL and pretty much a must in championship matches while one fall became he default in CSP. Perhaps not by coincidence CMLL title belts became known for how difficult they were to win while WWC's belts for how difficult they were to hold on to. WWC was also a pioneer in many of the gimmick matches CMLL would become known for shunning, a contrast that became more apparent as CMLL featured less and less bloodshed over the years. In the beginning EMLL was content to be a regional promotion while CSP has always had universal ambitions but in a bit of irony, CMLL would become the more international of the two while WWC would end up fairly isolated.
  • The difference between the northeastern and southern styles of wrestling can be summed up with the title hunts. NWA and later WCW favored fan-favorites chasing heel champions, WWF/E preferred face champions taking on heel challengers. This was also behind Hulk Hogan leaving th American Wrestling Association, as he liked being a champion more than chasing one.
  • Frontier Martial-Arts Wrestling's intent was to be an antithesis to the "Japanese mainstream", namely All Japan Pro Wrestling's "realistic" presentation of the sport and New Japan Pro-Wrestling's "strong style" of wrestling, adopting an "anything goes" approach where the referee existed mostly to declare winners.
  • ECW was this to WCW to the point of bitter rivalry. Though both were offshoots of the NWA, World Championship Wrestling had the support of a major media company and their tradition established as an NWA member to determine their direction of their production (at least until Hogan came along). Extreme Championship Wrestling had a far more contentious break with NWA, had a roster full of castoffs, a small budget and a do-it-yourself attitude that forsook the traditions of pro wrestling to present something far darker. Most notably, both were the antithesis of the then-cartoony World Wrestling Federation, which had to become the antithesis of its past self to compete with WCW and the nWo.
  • Ring of Honor is the spiritual antithesis of CZW, created by RF Video after it couldn't get CZW to agree do a deal. They have employed some of the same wrestlers over the course of their existences, the key differences being in how long and how they use them, ROH not being nearly relaxed as far as rules and conduct go, and a much stronger focus on the 'wrestling' aspect of the product, as opposed to the "ultra violence".
  • After witnessing the decline and failure of Universal Wrestling Federation, a company based on 'shoot wrestling' and mixed martial arts, in the face of comparatively traditional pro wrestling promotions, Nobuhiko Takada tried again with Fighting Opera HUSTLE, which aimed less for realism and plausibility and more for flash and dramatic overacting.
  • WSU for SHIMMER. Both were the first two major all-women's promotions on the American independent circuit. SHIMMER had a family-friendly product centred more around pure wrestling. WSU was a Darker and Edgier product (the U standing for 'Uncensored') with lots more cursing and brutality. SHIMMER would usually bring in a wider variety of international talent while WSU would focus mainly on American and Canadian talent.
  • Celtic Championship Wrestling and Over The Top Wrestling — the two biggest promotions in Ireland, who both run monthly shows. OTT is an exclusively over-18's show with emphasis on larger than life gimmicks, extreme rules matches and general drunken fun. CCW is family friendly with a lot more focus on wrestling. They do the occasional over-18's show themselves however.
  • WWE and New Japan Pro-Wrestling, as regards to their world champions. WWE has never been a meritocracy, so the top guy in the promotion tends to be the one who sells the most merchandise. New Japan unapologetically puts their top titles on their best workers.

    Tabletop Games 
  • Dungeons & Dragons was this to the tabletop war-game Chainmail. In Chainmail, each player commanded an army against another player's army. But with Dungeons & Dragons, each player was controlling a single character, and was instead teaming up with other players and their own characters in a series of cooperative dungeon raids. Plus, Chainmail was more geared towards combat and competition, while Dungeons & Dragons was, instead, primarily a storytelling and adventure game.
    • Eberron was consciously created to be this to more traditional D&D worlds by creating a fantasy world without clear lines between good and evil, and with more focus on practical applications for magic...oh, and Orcs saved the world at least once. Needless tp say, there's a Fandom Rivalry.
  • Paranoia is this for the more common type of game in which the PCs are generally expected to work together toward common goals.
  • Warhammer 40,000 is this for the idealistic Space Opera genre as a whole, especially Star Trek. Your average Space Opera follows the principle that Humans Are Special and shows them living peacefully with other races and defeating various space evils. In contrast, The Imperium of Man is utterly racist, a behavior learned from their alien neighbors, and its position at the galactic power table was paid for with the blood of millions of humans. Examine the Rogue Traders specifically: Brave and intrepid captains who go out on long missions to find and contact new worlds and new civilizations, with the mandate to exploit the heck out of them, or even wipe the natives off the face of their worlds outright in order to take what's left. Slightly different than the prime directive!
  • Adventure Board Games and Euro Games; the former features, well, adventure scenarios, light role playing, and a greater consideration of production values. The latter are focused more on mechanics, and feature far more mundane tasks like running a farm or a power plant.
  • Clue vs. Kill Dr. Lucky. Clue is about solving a murder with no winesses; KDL is about commiting one.

    Theatre 
  • August Wilson's Fences to Arthur Miller's Death of a Salesman. They're both frequently cited as the definitive American plays about the complications of pursuing The American Dream, but they examine it from completely opposite perspectives. Death of a Salesman is about about a middle-class white family in the New York suburbs, and the protagonist Willy Loman is a frustrated salesman who tries to push his sons to follow in his footsteps. Fences, meanwhile, is about a working-class African-American family in the Philadelphia suburbs, and the protagonist Troy Maxson is a frustrated garbage collector who tries to squash any hopes and dreams his son might have for himself.

    Willy's treatment of Biff and Happy is presented as the result of painful naiveté, and the story ends with him dying prematurely after being laid off. Troy's treatment of Cory is presented as well-intentioned Tough Love, and the story ends with him dying at a ripe age after managing to improve his station by a tiny margin. Perhaps most notably, one of Willy's defining traits is that he cares way too much about being "well-liked" by others, but doesn't care nearly enough about responsibility or work ethic; one of Troy's defining traits is that he doesn't care at all about whether people like him, and he drives away most of his loved ones in his search for money and respect.
    Willy: (to Biff and Happy) That’s why I thank Almighty God you’re both built like Adonises. Because the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked, and you will never want!
    Troy: (to Cory) I gave you your life! Me and your mama worked that out between us. And liking your black ass wasn't part of the bargain. Don't you try and go through life worrying about if somebody like you or not. You best be making sure they doing right by you.
  • Heathers: The Musical exists in the rare Starship Troopers-esque category of being this trope towards its own source material (in this case, the 1988 film Heathers). While both are Black Comedies focused around analyzing teenage angst during high school and taking a look at what creates school shooters, the film is more focused on being a cynical deconstruction of classic teen comedies from the 1980s and is more overt with/focused on its dark humor. Meanwhile, the musical is (comparatively) more nuanced in how it examines what exactly drives someone into becoming a spree killer, and also emphasizes both the importance of human empathy & keeping to one's idealism in a hellish world. It's also likely not a coincidence that both the film and musical are on the exact opposite respect sides of the Nature Vs Nurture argument, which is perhaps best shown in how each work depicts J.D. in wildly differing manners - While the film mocks and revels in J.D.'s Misanthrope Supreme ideals and views him as having always been a pathetic loser (and mass-murdering lunatic in the making), the musical sympathizes with him to an extent and portrays him as more of a delusional Woobie, Destroyer of Worlds that became the man he is due to society having "given up" on him.
  • In Ancient Greek theatre, "New Comedy", as popularized by Menander, is the antithesis of the more-recognizable "Old Comedy", by the likes of Aristophanes. While Old Comedies were often political Satires (though not called that yet) with lots of Toilet Humor, supernatural elements and frequent dissing of contemporary figures, New Comedies were more like Slice of Life affairs, comparatively realistic and tame, providing light-hearted, escapist wackiness.
  • Angels in America and RENT are both stage plays about the AIDS epidemic centered around a cast of LGBT characters in New York, and they're widely considered two of the definitive stage plays of the 1990s for their frank portrayal of LGBT issues; interestingly enough, both also feature an "Angel" in the cast. But RENT, despite its weighty themes, is ultimately a fairly simple Slice of Life story about a close-knit group of laid-back bohemians who just want to find love and happiness while pursuing their art and struggling with poverty; the only character who could really be described as a "villain" is Benny, a Jerkass yuppie landlord who just wants the characters to pay their rent. Angels in America, on the other hand, is a sprawling epic that takes multiple shots at the American institutions that failed to prevent the AIDS epidemic, and it famously dips into High Fantasy—with the protagonist ultimately journeying to Heaven to confront God himself. It also features a clear and unambiguous villain in Roy Cohn (a Historical Domain Character), who serves as a deadly serious embodiment of corruption and the abuse of power.

    Theme Parks 
  • As the world's two biggest rivals in the theme park business, Disney and Universal Studios have long framed themselves as contrasting foils of one another. Disney parks have traditionally drawn most of their inspiration from Disney's animated films, and they're famous for their commitment to building immersive experiences that encourage guests to lose themselves in elaborate fantasies; as a whole, the parks often celebrate the innocence of childhood, with "magic" being a frequent buzzword. note  By contrast, Universal Studios parks have traditionally been a gleeful smorgasbord of American pop culture from multiple companies and mediums, and they opt for the look and feel of a movie backlot, often celebrating the illusory nature of pop culture instead of trying to convince the audience to believe it; they're also much less shy about dipping into properties that don't necessarily target kids, with occasional moments of violence and horror to balance out the frivolity.

    Note that this has started to be downplayed in recent years, as the parks have gradually started learning from each other in certain areas. Case in point: Universal Studios now has The Wizarding World of Harry Potter, which is the sort of painstakingly detailed immersive attraction that Disney is better known for; and with the unveiling of Pandora – The World of Avatar and the upcoming Star Wars: Galaxy's Edge, Disney Parks have shown a new willingness to embrace properties outside Disney's traditional oeuvre.note 

     Web Comics 
  • DM of the Rings and Darths & Droids, the two codifiers of the Campaign Comic. DM Of The Rings involves a fantasy campaign where the DM is a domineering, Railroading jerkass and the group hate each other more with each passing page. Darths And Droids involves a Sci-Fi campaign where the DM is a laidback Nice Guy who functions well Off the Rails and the group develop into True Companions over time.
  • Lore Olympus and Punderworld. Both are retellings of the Taking of Persephone myth with ample amounts of Adaptational Nice Guy and Politically Correct History. However, Lore Olympus is modern revision of the myth, where the Greek pantheon have a 21st century aesthetic and the story plays it fast and loose with their characterizations. Punderworld is more Truer to the Text, keeping the Olympians' traditional, antiquated aesthetics and keeping the traits of the pantheon relatively closer to their original depictions. The personality of Persephone is also vastly different in both works. In Lore Olympus she starts out as a sheltered Fragile Flower who becomes more independent over time while the Persephone in Punderworld is mature and strong willed from the get go.

    Web Original 
  • Mister Metokur and Dave Futrelle of We Hunted the Mammoth are both men who have dedicated their entire online presence to tracking, documenting and mocking the antics of bizarre, idiotic and insane individuals on the Internet while relying on copious amounts of Deadpan Snarker. They are also usually very jovial when talking about the subjects of their mockery, but they will drop all pretense of humor when said subject is particularly loathsome, but that’s where the similarities end. Dave Futrelle is very openly a feminist who goes after the He-Man Woman Hater's of the Internet and operates under his real name and face. Metokur, meanwhile, will largely go after anyone he thinks can provide a few good laughs for him and his audience, be they from either the left or the right, and also operates under a pseudonym with no known pictures of him out there. Metokur’s sense of humor is also very crass and doesn’t care who he offends, while Futrelle will often go out of his way to avoid offending his audience, such as using trigger warnings and censoring words like “cunt” when quoting people.
  • Getsuyoubi no Tawawa is this to Kiseki Himura's older Kantai Collection illustration series Ushio the Enchantress. Both dealt with the blue-tinted daily lives of girls with larger-than-life breasts and their problems, but Ushio's D-Cup Distress comes from being a rarity in her world, with all the unwanted attention, body consciousness, and sexual harassment that comes with it. Tawawa on the other hand is full of busty girls, and while they still may have some of the same problems, there are plenty of women around to understand and sympathize; the men in the Tawawaverse are also nowhere near as bad as Ushio's superiors, give or take a few perversions. The contrast is most apparent in the leads of both series — I-chan is a schoolgirl just like Ushio, but her relationship with an older man is presented as healthy, consensual, and mutually satisfying rather than the emotionally scarring abuse of power Ushio's admiral puts her through.

     Web Video 
  • The Angry Video Game Nerd Complains About Games He Doesn't Like, most of which probably deserve it. The Happy Video Game Nerd Gushes About Games He DOES Like, all of which definitely deserve it.
    • Another example to the AVGN is Cygnus Destroyer's The LJN Defender. Whereas the Nerd considers LJN Toys his Arch-Enemy and rarely sees much (if any) good in their games, Matt does his best to find the good in their games, and usually (though certainly not always) finds himself enjoying them, warts and all.
  • Similar to the above, while CinemaSins judges movies on how they suck based on their Sins, Cinema Wins does the opposite by praising how great movies are based on their Wins.
  • Likewise, Bob Chipman created the show Really That Good as a more upbeat alternative to Caustic Critic web shows like CinemaSins, The Nostalgia Critic, and RedLetterMedia. He felt that too many online film critics had a tendency to Accentuate the Negative for the sake of getting viewers, playing into stereotypes of the Straw Critic in the process, and that there was a dearth of web shows devoted to exploring why good films were good rather than why bad films were bad.
  • Both RebelTaxi and The Mysterious Mr. Enter are animation-focused Video Review Shows whose hosts prefer not to be seen, but that's where the similarities end. The two are very much the Technician vs. Performer of animation reviewers: Pan Pizza is easygoing, jokey, and perverted, and while he does know a well-written work from a poorly-written one, he cares more about a work's overall entertainment factor in his reviews. On the other hand, Mr. Enter is an Asexual Byronic Hero who is very straightforward and brusque in his method of critique, and takes decent storytelling far more seriously, being far less forgiving to shows that fail in that regard. This is best shown in their attitudes towards crappy works that nonetheless have clear effort put into them. Pan Pizza believes that it's better to at least give it your all even if it turned out poorly, and even a total crap-fest can be entertaining in its own ways. Mr. Enter, however, believes that, while working hard on something is important, if it turns out that it sucks, then it sucks, and in a way, all that spent talent and effort only serves to accentuate how much it sucks.
  • Super Minecraft Kid is this to Sammy Classic Sonic Fan. Both are young children who are obsessed with video games and get very angry easily, but while Sammy is a fan of retro games who rants on camera, SMK's videos are all behind his computer and hates Nintendo and classic games. (Though he seems to believe Minecraft was made in the 1960s) Sammy notoriously replaces all profanity with "frick," while SMK is a bit more... open with his language. Outside of their normal content, Sammy makes lighthearted videos of himself related to Nintendo, and SMK makes "animated" videos with content much closer to what you'd expect out of this kid.
  • MauLer:
    • To Zero Punctuation. Both are Caustic Critics with British accents known for their biting criticisms of various forms of media. But while Yahtzee is a fast-talking, unserious rambler whose criticisms are mostly just exaggerated jokes for humor in the form of short videos at less than 5 minutes, MauLer is a serious, in-depth, and steadily talking reviewer who rarely cracks jokes, aiming for objective looks at films with videos that can take hours to cover every aspect.
    • He can also be seen as the polar opposite of Bob Chipman. Chipman is a very verbose fast-talker with a Boston accent that rates movies in a more traditional subjective way, and his videos almost always fall within a length of five to ten minutes. MauLer, meanwhile, is a steadily-talking, very in-depth reviewer with a British accent, rates movies on ostensibly objective standards, and his critiques often exceed several hours in length. While MauLer has made several videos criticizing Bob and his work, Bob has never mentioned MauLer by name in his videos, but has made several jabs at him on Twitter, and it could be argued that the entirety of his Plothole Surfers video was directed at MauLer.

     Websites 
  • The Onion and Clickhole are run by the same creative teams, but their respective styles of humor are so fundamentally different that they may as well call Clickhole "The Anti-Onion". The Onion is a parody of traditional newspaper and television journalism that, like the best satires, uses self-aware humor to force its audience to think about the inherently absurd aspects of society. Even at its goofiest, it's usually making some intellectual point about politics or modern culture. Clickhole, on the other hand, is a parody of new media in The New '10s, and it discards satire in favor of absurdism and Surreal Humor; most of its humor comes from how it deliberately refuses to make a coherent point about anything. The Onion has its share of Some Anvils Need to Be Dropped moments related to hot-button social issues, while Clickhole is infamous for its occasional Crosses the Line Twice moments that treat those same issues in as blasé a manner as possible. Case in point: The Onion attempting to discuss racism, vs. Clickhole attempting to discuss it.
  • Citizendium was created by Larry Sanger, one of the co-founders of Wikipedia, in 2006 as an alternative wiki that corrected what he felt to be that site's problems with allowing poorly-sourced misinformation to flow unchecked. Whereas Wikipedia allows anybody to edit, Sanger's plan for Citizendium was to recruit experts in their respective fields to curate articles and hold final approval over the editing process. For various reasons, including the site's bureaucratic structure and top-down leadership, Sanger's biases as to what should be considered notable or accurate information, and credentialism allowing assorted cranks (most notably alternative medicine promoters, industry flacks, and people who faked their credentials and expertise) to gain control of articles that pertained to their pet hobby-horses, Citizendium never took off despite media hype, and by 2011 it was mostly moribund. This article goes into more detail, as does this page on the site from Rational Wiki.

    Multiple media 
  • As the world's biggest name in media, the Walt Disney Company has ammassed a number of industry rivals that, in their own ways, serve as a collorary to Disney's emphasis on childlike innocence and wonder:
  • People's Republic of Desire is one to Ralph Breaks the Internet due to former's much more cynical take on online content creation. While People's Republic of Desire is a documentary and Ralph Breaks The Internet is a family cartoon, they both follow characters entering the world of online content creation in order to make money to preserve their way of life. However, where Ralph stumbles into fame and succeeds in his original goal with the help of the platform and bows out when he's done. The streamers in People's Republic of Desire struggle against one another and are ultimately exploited by the platform they use with they're attempts to maintain their fame fail as they're replaced by other streamers.
  • The Hex could be seen as the antithesis of Disney's Wreck-It Ralph. Both deal with sentient video game characters that become aware of their situation and travel through other games to escape their dreary lives and try to change their predetermined lives. However, where Ralph is able to accept his condition and find a new purpose in life, The Hex plays this for drama and horror in that, not only it shows how terrible it would be to live in a world full of glitches, or where modders change everything on a whim, or where everything has already been programmed from the start, but it also goes on to show that the developers, gamers, corporations, even we the players are all ultimately pawns in someone else's game.
  • Assassin's Creed III on the surface shares the same time period and plot as The Patriot with both works focusing on a protagonist who fights for the cause of independence during The American Revolution after a loved one was killed in a raid by British forces not to mention specific connections to the French and Indian War, the presence of George Washington and even a French officer that serves alongside the American Patriots. The two works however are polar opposites in terms of characters, setting, themes, morality and historical accuracy:
    • The main character of ACIII is Ratonhnhaké:ton otherwise known as Connor Kenway, a half-English/half-Mohawk Native American warrior who shapes the course of history by working with the Founding Fathers and other important figures of the Revolution such as playing an active role in the Boston Massacre or participating in the Battle of Lexington and Concord. The viewpoint character in The Patriot is Captain Benjamin Martin, a White Anglo-Saxon Protestant officer turned farmer who becomes an expert in guerilla warfare while fighting with a local militia in the Battles of Cowpens and Yorktown.
    • ACIII has a Warts and All depiction of the American Revolutionary War by showcasing both the good and bad aspects of the Patriots and Loyalists with a dash of Deliberate Values Dissonance thrown in since the protagonist is from a native tribe something that is otherwise rare to see in contemporary media set around this period whereas The Patriot is a glorification of the revolutionary cause that contains tons of Historical Hero and Historical Villain Upgrades for the Americans and especially the British complete with some Politically Correct History for the depiction of slavery. This also applies to the English antagonists of both works: Haytham Kenway is the Archnemesis Dad of Connor and a Well-Intentioned Extremist Anti-Villain with a sympathetic backstory of losing his loved ones and inner manipulation by a Templar while Colonel William Tavington is an Ax-Crazy Card-Carrying Villain who firmly crosses the Moral Event Horizon throughout the story from killing Benjamin's son to burning down an entire church full of people. Haytham's second-in-command Charles Lee on the other hand has a much closer resemblance to Tavington in terms of personality and his overall role in the raid on the hero's home. Overall, the former is very much a case of Gray-and-Grey Morality while the latter is full-on Black-and-White Morality.
    • While it isn't afraid to take some Artistic License for specific aspects of the conflict, ACIII tries to stay as accurate as possible to what happened in real life whereas The Patriot has a heavy dose of Anachronism Stew and deviation from the historical record which results in the film creating a Theme Park Version of the American Revolution.
    • Even the settings are quite different. The events of ACIII occur in the North specifically the states of New York, Massachusetts and Pennsylvania while The Patriot is firmly set in South Carolina and Virginia which are part of the South.
    • ACIII and its DLC The Tyranny of King Washington feature an array of Historical Domain Characters from big names such as Benjamin Franklin and Thomas Jefferson to highly obscure ones like Charles Lee and Benjamin Church. Outside of Charles Cornwallis and Washington himself, most of the characters in The Patriot are No Historical Figures Were Harmed versions of real life people.
  • Land of the Lustrous: Western (especially, American) readers consider it to be one to Steven Universe. Aside from the Eastern/Western cultural differences, the two went in vastly different directions; whereas the Crystal Gems live on a modern Earth teeming with humans and their presence playing an integral role in the plot, the Gems of Lustrous live on a Earth devoid of humans in the distant future, with their interactions with each other and the Lunarians being the main focus and were in fact evolved from humans. On a more physical level, while both are sexless, the Steven Universe Gems are Hard Light projections of their gemstones that use female pronouns, while the Land of the Lustrous Gems are composed of the minerals themselves and, in the original Japanese, default to male pronouns. "Shattering" a gem in the former will essentially kill them completely, while in the latter they can be repaired with other minerals and strengthened so long as enough pieces are found. Their closest equivalent to "shattering", however, is being ground into moon dust. Unlike Steven Universe, two given gems can't fuse; their memories might, but depending on the will of the gem their personality will swing toward the gem whose parts were augmented into them rather than take on a new personality.
  • Star Trek and Star Wars, the two great icons of late 20th century American Science Fiction. Both are about dashing heroes exploring the galaxy in a futuristic world of routine space travel, numerous alien species, interstellar empires, and technobabble, they both more or less fall on the idealistic end of the Sliding Scale of Idealism vs. Cynicism (though this may vary with some of the later installments and spinoffs), and even their names are very similar. However, their respective creators, Gene Roddenberry and George Lucas, imbued them each with a very different ethos.
    • The Star Trek universe is shown pretty definitively to be our own galaxy a few centuries into the future, with humanity leading The Federation from Earth and many storylines being sci-fi versions of real-world current events and social issues ranging from the Civil Rights Movement to The Great Politics Mess-Up. Moreover, Roddenberry's vision of the future of humanity was a utopian one. Poverty, racism, and sexism are things of the past, the Prime Directive codifies non-interventionism into their foreign policy and dealings with non-spacefaring species, and while neither Roddenberry nor later writers stated definitively what the "New World Economy" of the United Federation of Planets actually was, it is strongly implied to be some measure of democratic socialist and post-scarcity. As such, Star Trek has lent itself frequently to left-wing readings over the years, such as with this video by Leon Thomas of Renegade Cut describing it as "the 'leftist' future" (albeit, as Thomas notes, a very militarized one).
    • Star Wars, on the other hand, looks back instead of forwards, being a Genre Throwback to early 20th century Space Opera. It's implied that the Star Wars universe is not our own, the series taking place as it does "A Long Time Ago, in a Galaxy Far Far Away...", and Lucas, in crafting this world, drew heavily from ancient mythology and Joseph Campbell's The Hero with a Thousand Faces, one of the seminal texts on comparative mythology. It's a world of heroes and villains with supernatural powers that come through birthright and are derived more from New Age-inflected mysticism than science, most of the main characters prefer to wield a sci-fi version of swords ("an Elegant Weapon for a More Civilized Age") rather than guns, and the story of the original trilogy, about overthrowing a tyrannical wizard-king and restoring the noble order that the villains overturned, would be right at home in a fantasy novel. What's more, its great real-world cultural reference point is not a contemporary one, but a historical one in World War II and specifically the movies that had mythologized it in popular culture, from the use of Old-School Dogfighting in the space battles to the Galactic Empire's resemblance to the Nazis. In short, it is the Romanticism to Star Trek's Enlightenment.
  • It (2017) and Stranger Things. Both are horror stories set in The '80s and featuring casts composed predominantly of children that draw heavily on the audience's nostalgia for that time period and its pop culture, particularly the works of Stephen King (It is an adaptation of one of his novels) and kids' adventure films like The Goonies, E.T. the Extra-Terrestrial, and The Monster Squad. Both works even have Finn Wolfhard. However, while Stranger Things leans fully into nostalgia, with many of the more unpalatable elements of the time either removed from the picture or given to the bad guys, It is more deconstructionist in its approach, combining the classic pop iconography of the '80s with the bullying, bigotry, and fear of crime that also permeated the culture.
  • Aside from often parodying plot elements from the books, The Owl House is also built like an opposite of Harry Potter books.
    • Both stories feature the protagonist entering a world where everyone is using magic and learning to master it themselves. But Harry is a Famed in Story Chosen One who is welcomed with open arms into a Magic School due to being born with magic powers and inherited immense wealth from his dead parents. Luz on the other hand has no innate magical ability and needs to learn an entirely new way to do magic, her desire to be a chosen one serves only to get her into trouble, she is initially accepted only by utter outcasts of society and needs to earn the acceptance of others, including her place at magic school.
    • Harry was raised by an abusive human family he has to come back on summer breaks and despite the books never excusing Dursley's behavior and Harry clearly tolerating them at best, they are still treated by the narrative as his true family with outright magical bond of blood which protects him from Big Bad when he stays at their house. Camila and Luz clearly love each other and while Camila sends Luz off to a camp that's supposed to beat from her any creativity and free spirit, it is presented as coming from misguided fear how the world will hurt her daughter if she won't learn to fit in. Luz is also supposed to return home after summer break ends as well at least until she has to destroy her way home to stop it from falling into the hands of the Big Bad. Despite that, the show still presents a narrative in strong support of a found family that loves you being better than a biological family that hurts you.
    • The Wizarding World society is presented as overall good and any injustices, power abuses or manipulations of public opinions come from individuals who are either incompetent, acting in self-serving interest or outright evil, with main antagonists being a group of wizard supremacists seen as dangerous societal outcasts and terrorists even after they take over in the final book - upon their defeat the system returns back to normal. Boiling Isles slowly reveals itself as a Crapsaccharine World with "dog-eat-dog" mindset dominated by an extremely strict Coven System that benefits The Emperor at the top of it and his inner circle and have forcefully surpassed and destroyed the old traditions and then brainwash new generations with propaganda about how it was a good thing.
    • While they're both an Academy of Adventure, Hogwarts is presented as a place run by people who care for their students, and headmaster Dumbledore is seen as a Reasonable Authority Figure and Big Good of the series, while Hexside seems to exist first and foremost to reinforce the Coven System, with teachers who clearly don't care for the safety of their students beyond warding off attacks from outside forces and principal Bumps varies from being a Bunny-Ears Lawyer to Ambiguously Evil, with rare moments of reason.
    • Among the first other kids Harry meets are Hermione, a Child Prodigy who is the best student of her age but faces opposition due to having human parents and Draco, a smug child of a rich and powerful wizard family, who becomes Harry's rival. The first other kids Luz meets are Willow - a young witch who is bullied and called a half-witch due to struggling with magic only to be revealed to have great magical skill but being misclassified by the system - and Amity, an Academic Alpha Bitch from a rich and powerful family, who initially starts as Luz' rival only to be with time revealed that the way she acts comes from cracking under immense pressure put on her by her parents and slowly developing a friendship with Luz. Moreover, despite the fanbase being very vocal about wanting a possibility of Harry/Draco romance, the books never consider this an option, while Amity eventually falls in love with Luz.
    • Eda and her sister Lilith both contrast Severus Snape in different ways. Just like Snape, Eda's main tool of trade is potion-making but clearly possess skills beyond that. But while Snape is enjoying an overall acceptance among the society, despite being a horribly abusive teacher to his students and Harry in particular, any attempts to mend fences between them ultimately failing, and has been Easily Forgiven for being part of the abovementioned terrorists in the past, Eda is a wanted criminal simply because she refuses to adhere to Coven System and is good, if unorthodox, mentor to Luz as well as her Parental Substitute. Lilith meanwhile shares being a middle-aged Goth working within a powerful institution in the setting. But where Snape works for the Big Good, Lilith works for the Big Bad. Moreover: they both got this position by betrayal, but where Snape betrayed the Big Bad for killing a woman he loves yet never accepts his role in leading to that death, Lilith betrayed her own sister, cursing her to ensure she can get into Emperor's Coven and in the end learned she needs to take responsibility for her actions. They both deflect again, with Snape pulling a fake betrayal to work as The Mole and only finding redemption after being killed, while Lilith turning away from the Emperor upon realizing he won't cure Eda and having to live and earn forgiveness for what she has done. The books try to excuse Snape's actions with a sad backstory, while Lilith's backstory doesn't make excuses for her actions but shows they were motivated by shortsightedness and stupidity, rather than pure malice.
    • The Hogwarts Houses vs the Coven System. Hogwarts Houses are chosen for students, while Hexside kids can pick a Coven of their choice. While Houses aren't perfect as they breed rivalries, they aren't as oppressive as covens; Coven membership is mandatory and failure to join a coven is a high order criminal offense. When a witch joins a coven all of their magic is sealed off except the magic of their chosen coven. On the other hand, kids from different covens get along well, unlike when Gryffindor and Slytherin kids mix. You can also only be in one house at Hogwarts; Luz eventually bucks the system and joins multiple covens. Houses earn points, while covens do not.
  • It's pretty obvious Toy Story 4 and Child's Play (2019) count, especially considering they were released on the same day. The former is a G-rated animated movie about Living Toys while the latter is an R-rated movie about Living Toys. They were even both owned by kids named Andy! The Child's Play (2019) posters clearly play off of this, as it shows Chucky offscreen killing the Toy Story toys.
  • Sausage Party, like VeggieTales, is an animated story that uses Anthropomorphic Food to deliver a message about religion. However, while VeggieTales is a Christian animated series that retells Biblical stories and parables and is intended to teach children proper morals, Sausage Party is an atheistic film in which the protagonists discover that religion is a lie to cover up the fact that their "gods" are actually Eldritch Abominations who plan to eat them, and is very much intended strictly for adults.
  • Padak can be seen as one towards Finding Nemo, as both of them contrast in tone and narrative themes: While Finding Nemo starts out in the ocean, Padak starts out in an Korean fish market. While the ocean is seen as a mysterious place of adventure in Finding Nemo, in Padak, the horrors of the aquarium-based aspects of it are more displayed in view. And even when both share similarities, the main difference is that Nemo gets all the fish in Dr. P. Sherman's tank to escape via uniting them together, in Padak the hierarchy of the animal kingdom is in full display, and neither of them unite at the end and only one manages to escape, and it isn't the titular character, who gets sliced up into sushi, it's her only friend (besides Spotty), the Master who is ultimately convinced to leave the aquarium after seeing Padak's fate.
  • Spider-Man: Into the Spider-Verse could be seen as one for Clone High, especially since the latter's creators, Phil Lord & Chris Miller, served as producers, and a co-writer in Lord's case, of the former. Clone High is a story of teenagers who are expected to carry the legacy of famous historical figures they are clones of, while also juggling all other expectations set for a typical American teenager. They tend to misunderstand what made their predecessors great (Cleo, JFK), get overwhelmed by fear of ending like them (Abe), or rebel, deciding they'll never fit these shoes (Joan, Gandhi). In Spider-Verse Miles faces a lot of the same issues, getting powers like Spider-Man right as the hero dies. But he ends up overcoming them and deciding he both can and wants to step up in the place of his predecessor.
  • Alice (1988) is this to Alice in Wonderland: Despite adapting the same book and being relatively faithful to the source material, their overall tone could not be any more different. While Disney's version is adventurous, colorful and lighthearted, Savnkmajer's movie is dark and ominous, being closer to a horror film rather than a whimsical fairy tale for kids. And while Disney's version is a musical, Savnkmajer's version displays a complete lack of background music for chilling effect.
  • The Good Place starts off as one to No Exit. Both stories center around a group of people with incompatible personalities who die and go to Hell, where they slowly realize that having to spend time with each other is part of the torture. In No Exit, the people involved are thoroughly unsympathetic and irredeemable, and having to spend time together turns out to really be just as torturous as it's supposed to be. It's implied that this is the standard way all people in Hell get tortured and that it works very effectively. In The Good Place, on the other hand, Michael's plan is shown to be inherently unstable because he failed to realize that the humans involved, while deeply flawed, were not fundamentally evil. Rather than simply being eternally tortured, all of the humans in the experiment find that being forced to be with such different people provides them with new opportunities to reflect on the flaws in their own way of life and work to better themselves.
  • Superman is this to Son Goku from Dragon Ball. They are both heroic human-like aliens, who protect Earth using superpowers. But the former comes from a pacifistic and civilized alien race who sent him to Earth to be the successor of their race, while the latter comes from a hostile race who sent him to wipe out entire Earth's population to fullfill the evil empire's contract (though this was Retconned by Toriyama, as Dragon Ball Minus revealed that Goku was sent to Earth by his parents in order to save him from the extinction perpetrated by Frieza, ironically making him closer to Superman). In Superman's world there are no superhumans like him (not counting characters from DC's expanded universe), and Son Goku's world consists of martial artists of all kinds. Superman is based on several mythological heroes, such as Hercules (his cape is like the slain Lion's skin), David (he defeats humongous monsters and tanks with bare hands), Moses (he was sent as the Kryptonians' last hope) and Gilgamesh (his great combat abilities), while Goku is a clear parody of Sun Wukong, hence his name being Wukong's Japanese name.
  • At first glance, Godzilla and Astro Boy don't have much in common outside of being two of the most iconic and prolific characters to come from Japan, until one realizes that both are powered by nuclear energy, and were created not too long after the Atomic Bombings of Hiroshima and Nagasaki. Godzilla (or more accurately, Gojira) is a horrific reptilian monster inadvertently born from nuclear fallout, his rampage being a metaphor for the devastation of the bombings and the folly of mankind's hubris. Astro Boy, however, is a heroic, friendly Robot Kid built with an atomic power cell who embodies that even the most dangerous things can be used for good if used wisely. (Although some of Astro's stories certainly did not shy away from the dangers it possessed.) Another way the two mirror each other is their relationship with American media. For Astro Boy, it played a role in his creation, via the influx of American media post-World War II, particularly that of Disney, being some of Osamu Tezuka's greatest inspirations. For Godzilla, it played a role in his evolution, with the American cut distancing Godzilla from the Nuclear Weapons Taboo of his inception and laying the groundwork for the Big G to grow into an Anti-Hero and, ironically enough, an ambassador of Japanese tourism.
  • In its early years, The Simpsons was this to virtually all of the Dom Coms that had proliferated on American television since The '50s, such as Leave It to Beaver, The Brady Bunch, The Waltons, and The Cosby Show, offering a far more satirical take on the idealized nuclear family with (for the time) a lot of blue humor and outlandish behavior from the main characters. Many Moral Guardians, including US President George H. W. Bush, saw its subversion and parody of sitcom tropes as undermining family values, to which the writers of The Simpsons responded by carrying on a Friendly Rivalry with Bush and frequently making jokes about him throughout The '90s, culminating in an episode where Bush briefly moves to Springfield post-presidency.
  • HBO's 2019 Watchmen miniseries (a sequel to the original book) is an interesting example of a work that's effectively an antithesis to its own predecessor. The book and the miniseries are both adult-targeted character dramas that attempt to present a realistic view of life in an alternate version of America where superheroes are real—but while the book does this in the name of deconstructing superhero stories, the miniseries is closer to a reconstruction, suggesting that superheroes could be a positive force for social change if they really existed. To elaborate:
    • The book takes place in a grim alternate version of the 1980s where conservative values hold sway over American society, while the miniseries takes place in a far more positive (although not perfect) alternate version of the 2010s where progressive values are more predominant—leading to social changes like stricter regulations on the police's use of firearms, reparations for victims of racial violence, and a major law enforcement crackdown on a resurgent white supremacist movement.
    • The book famously ends with Adrian Veidt getting away with zero repercussions after murdering millions of innocent people, due to the other characters choosing not to reveal his crimes to the world. By contrast, the miniseries ends with the same character getting his long-overdue comeuppance after Laurie realizes that she was wrong to stay quiet about his crimes in the first place.
    • The book touches on the idea that fate is preordained, and it's impossible for anyone to affect their destiny. The miniseries somewhat challenges this idea, suggesting that people really are responsible for their own destiny.
    • The book and the miniseries both end with rather specific allusions to The Book of Revelation—but the book ends with a truly horrifying allusion to the Beast of Revelation (in the form of Ozymandias' creature), while the miniseries ends with a much more uplifting allusion to the Second Coming of Christ (in the form of Angela possibly inheriting the powers of the deceased Doctor Manhattan).
    • One of the most famous Arc Symbols in the book is a yellow smiley face spattered with blood, which is usually interpreted as a symbol of violence and ugliness intruding on the facade of a seemingly perfect world. The miniseries opts to use eggs as its recurring symbol, often using them as a hopeful symbol of rebirth and new beginnings.
    • Thematically, the book draws an implicit parallel between costumed vigilantes and racist groups like the Ku Klux Klan, who also acted outside the law and concealed their identities with masks. The miniseries' portrayal of them is closer to modern-day Antifa groups, with the story suggesting that extralegal vigilantism can be a positive tool for marginalized people who've been failed by the justice system. This is perhaps best exemplified by the revelation that the superhero "Hooded Justice" (who was rumored to be a racist Nazi sympathizer in the book) was actually an African American police officer who adopted his costumed alter ego to hunt down white supremacists who his colleagues refused to go after.
  • The video game Alice: Madness Returns is this to the film Sucker Punch, the two having come out around the same time and share several plot similarities. But Sucker Punch concerns itself with a spectacle so much it loses any chance to say anything meaningful and becomes outright exploitative, while Alice is more focused and never crosses that threshold. Many of the same problems are present in both, but in Alice they're much less apparent.
  • Beastars is often considered the antithesis to Zootopia. While Beastars has a similar premise to Zootopia (a World of Funny Animals where there's tension between predators and prey animals, and how the characters deal with it), thematically they are very different. In Zootopia, all the different species are truly civilized and an outbreak of predators going savage turns out to be a conspiracy causing predators to develop those urges via a Psycho Serum. In Beastars, different species really do have different urges, with predators having to either learn to control their predatory urges or otherwise indulge in them on the down low meaning every prey character in the city actually does have to fear for its life. In Zootopia, Nick has to prove that, as a fox, he is actually trustworthy and not a shifty, untrustworthy fox that society expects him to be. In Beastars, Legosi has to prove to himself and the world that he is more than his predator urges.
  • Inside Out could be considered this to Poison Berry in My Brain. Aside from the Western/Eastern cultural differences, whereas the outside protagonist for Inside Out is an 11-year-old girl in elementary school, the outside protagonist for Poison Berry is a freelance 30-year-old woman. The way the insides of their heads work may be similar, but are still remarkably different; while the controllers in Riley's zany-landscape head are made out of surreal shapes to represent well-known emotions, the board members in Ichiko's more sophisticated castle-landscape head are humans of different ages to represent the more psychological aspects of human outlooks and actions. Both Riley and Ichiko lose their senses of positivity near the end, but regain them through different manners: Riley aborts her running away mission and returns home to her genuinely loving and caring family, whereas Ichiko breaks up with and abandons the jealous Saotome in order to maintain her self-love.
  • WALL•E has been described as a Lighter and Softer Spiritual Adaptation of Mike Judge's film Idiocracy, both being comedies depicting futures in which consumerism and low-brow culture run amok have left humanity breathtakingly stupid, unable to manage things for themselves — complete with Earth being covered in the Trash of the Titans. A critical difference, however, is in the roads they take to get there, and where their societies ultimately ended up. Idiocracy's dystopia came about as the result of the stupid (coded as contemporary Lower Class Louts) outbreeding the smart (producing what some have criticized as a classist, or even eugenicist, subtext), causing society to decay to the point where, by the year 2505, the world is facing famine due to the decision to irrigate crops with electrolyte-filled energy drinks purely on the basis of marketing hype. WALL•E, on the other hand, has maintained an advanced, high-tech society — and in fact, this is precisely what destroyed them. By delegating all responsibility to the robots, humanity became a race of lazy, overweight, infantilized slobs who can't do anything for themselves and need their robotic assistants to cater to their every whim. In short, while the dystopia in Idiocracy is portrayed as the Logical Extreme of lower-class "trailer park" culture run amok, that of WALL•E is portrayed as the logical extreme of middle-class consumerism run amok.
  • The LEGO Movie and Ready Player One (2018). Both are The Hero's Journey narratives about the power of imagination, both feature a Framing Device involving a young everyman playing make-believe in an imaginary world, and both are notable for their huge volume of cameos from licensed pop culture characters. But Ready Player One is a celebration of 21st century new media (the internet and video games, in particular), it plays its central Quest narrative more-or-less straight, and its framing device is an epic science-fiction tale involving sinister megacorporations in a dystopian future. Conversely, The LEGO Movie celebrates more old-fashioned forms of entertainment, it's an affectionate send-up of quest stories where The Hero turns out to be just as ordinary as he appears, and its framing device turns out to be a simple family drama about a little boy with an overworked father.
  • Austin Powers: International Man of Mystery is an antithesis to one of its inspirations, Adam Adamant Lives!. Both are suave superspies who were frozen for several decades before going back to action. But, Adam Adamant is a Gentleman Adventurer from the Edwardian era, who's a Fish out of Water among the liberated '60s swingers, despite being adored by his free-love enthusiast sidekick. Austin Powers is a Tuxedo and Martini-style '60s spy who is thawed out in The '90s, when the excesses of the '60s were replaced by a more conservative lifestyle, while his sidekick's not an average Bond Girl but a feminist who considers him a pathetic and unattractive has-been. This aspect was abandoned in the sequels, where Austin is again considered the ultimate stud, making it a closer parody of the former show.
  • The concept of Brian K. Vaughan's Saga is Star Wars told from the point of view of civilians trying to avoid the war rather than heroes or villains fighting in it.
  • Decades of Darkness, a story featured on AlternateHistory.com, can read as this to two separate Alternate History works.
    • The first is S.M. Stirling's The Draka series, which was intentional on the writer's part. He found the series, which revolves around an evil South African slaver empire that takes over the world, to be wildly implausible from an allohistorical standpoint, so he wrote Decades of Darkness as basically "the Draka, but done right".
    • The second is the mockumentary C.S.A.: The Confederate States of America, which probably wasn't intentional. Both CSA and DoD depict worlds in which the values of the Deep South's planter aristocrats took over the United States, the nation subjugating Latin America under an apartheid-like system while keeping black people enslaved well into the 20th century, all while a less-powerful nation in the northern half of North America (Canada in CSA, an alliance of Canada and New England in DoD) fiercely opposes everything it stands for. The difference is in tone. CSA plays fast and loose with plausibility and is largely Played for Laughs as a Black Comedy satire of American race relations, the film's Confederacy ultimately portrayed as Not So Different from our world's America. Decades of Darkness, meanwhile, strives for plausibility, and is very much not played for laughs — by the end, its oppressive, dystopian society is so unrecognizable from our world's United States that readers have taken to calling it "the *US", with a conspicuous asterisk.

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  • Part of the reason why the Afro is considered a culturally significant hairstyle is that it was conceived as an antithesis to the conk, which had previously been the most popular hairstyle among black men in the US from the 1920s through the '50s. Where the conk involved artificially straightening naturally "kinky" hair with corrosive chemicals (implicitly in an effort to adopt a more "white" hairstyle), the Afro grew directly out of the Black Power movement in the 1960s as a backlash, and it involved emphasizing the natural curl and volume of black people's hair. Even the Afro's name alludes to this: it's an abbreviation of "Afro-American", the label that many people involved in the Black Power movement adopted for themselves, wanting to express pride in their African roots.
  • The pinball designers Steve Ritchie and Pat Lawlor take opposite approaches to the machines they've designed. Most of Ritchie's tables are designed for the ball to travel quickly with little stopping or deceleration and are focused on ramps and loops. Lawlor's tables, on the other hand, have comparatively few ramps and are downplayed in favor of scoops, targets, magnets, and other mechanisms that stop the ball. Together, this means Ritchie's tables are focused around speed and action (not that they can't be slowed down either, but that's done deliberately by the player), whereas Lawlor's tables are about trapping the ball on a flipper and then taking careful aim. To pinball fans, whether a table is "flow" or "stop-and-go" is Serious Business and has long been easy Flame Bait material. In a sense, Steve Ritchie is also the antithesis to his brother Mark Ritchie in theme: Steve prefers high-concept themes where you fight an adversary, but all of Mark's tables have mundane themes about everyday life.
  • The Prairie School of architecture, most associated with Frank Lloyd Wright and Louis Sullivan, was created as a backlash against the Greco-Roman neoclassicism prevalent in American architecture in the 19th century. Originating in the Midwest, especially Chicago after the city's 1893 World's Fair (which held a preponderance of neoclassical architecture), the Prairie School focused on open plans, horizontal lines, and minimal ornamentation, meant to evoke the feel of the open plains as a uniquely American, modern, and organic alternative to European styles that tended towards the grandiose and larger-than-life.
  • Many nostalgia cycles, at least as presented by popular culture, occur as backlashes against both their immediate predecessors and the time in which they emerge, often trying to craft a narrative of the decade as the antithesis of both (and oftentimes as an example of what society should be like) while ignoring things that would make the decade Not So Different from what they're reacting to.


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