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Genre Turning Point
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While a Wham Episode can change a single series forever... sometimes, something comes out that permanently alters an entire genre. It wasn't the first entry into the genre, nor was it the last, but things were never the same after it came out. This often — but far from exclusively — happens with particularly notable Deconstructions; once one story has pointed how a certain genre will play out in reality this can cause a ripple effect across other stories in the genre. However, it doesn't always have to be a Deconstruction. Some shows can radically redefine a genre without taking it apart. Reconstructions can have the same effect; incorporating realistic elements into the old-school storytelling can make the genre look new again. Some works can demonstrate that the genre can be done without a trope that was seen as necessary evil of the genre. Usually seen as a good thing, although there are genre fans who will feel negatively about it. Negative reception of genre turning is often given when the success of the work causes the genre to be homogenized, or causes tropes that increase the apparent profitability of the work at the expense of integrity to become widespread. Compare Wham Episode, Genre-Killer, Genre Relaunch, Follow the Leader. Good chance of being a Trope Maker or Trope Codifier. Not to confuse with Genre Shift, where the work itself shifts its genre at the middle. No examples are allowed for works released within the last 10 years, as it takes time to prove that the genre has indeed changed. |
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Adventure Time (2010-18) was released to massive popularity, and in the early days, fascinated viewers with its bizarre yet fantastical nature. Then the show started delivering a slew of Wham Episodes and monumental revelations, which are jarringly emotional compared to the wacky, experimental silliness that makes up the rest of the show. Several members of the show's crew would eventually go off on their own to create critically acclaimed shows of their own with similar blends of comedy and emotional depth, such as Rebecca Sugar with Steven Universe. The show today is recognized, along with Phineas and Ferb and Regular Show, as having helped start an era of more artistic and critically-acclaimed television animation, one that gave us shows like Gravity Falls, Infinity Train, and the aforementioned Steven Universe. | |
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Puella Magi Madoka Magica was not the first high-concept-deconstruction take on the genre (Revolutionary Girl Utena and Princess Tutu came much earlier, and there was an even earlier attempt in the form of Nurse Angel Ririka SOS), but post-Madoka, practically every new Magical Girl franchise has followed its general theme of "Darker and Edgier subversive social commentary in which Anyone Can Die." Many of them even have a similar Five-Man Band cast. | |
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Kanon is responsible for giving the male protagonist a personality, as well as making Porn with Plot eroge just as marketable as Porn Without Plot games (though the developers had previously done ONE -kagayaku kisetsu e-, Moon., and Dousei before forming their own studio, none of these games had the impact that Kanon had). | |
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The Walking Dead, published by Image starting in 2003, was the catalyst for changing the landscape of comic book industry. Before, Image was largely superhero-oriented and attempted to be a part of a Shared Universe. The Walking Dead, being part of its own independent continuity with a non-superhero storyline and mature themes, was an instant success that few could've predicted would happen. This was the point where Image would greatly diversify their lineup, and comics that wouldn't have been possible to be successes before were becoming sellers, especially since neither Marvel or DC would want anything to do with them. Comics like Phonogram, Morning Glories, East of West, and Saga were made possible by the success of The Walking Dead. | |
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And the other half of the mid-late '00s web video revolution, lonelygirl15, did for live-action shows what Red vs. Blue did for machinima and animation. It demonstrated that independent producers on YouTube could make series with real production values and engaging long-term storylines, setting the stage for everything from The Guild and Dr. Horrible's Sing-Along Blog all the way up to the emergence of Netflix, Hulu, and Amazon Studios as serious players in television. Furthermore, lonelygirl15 was the Trope Maker for the Vlog Series, a format later employed by other popular web shows as diverse as Marble Hornets and The Lizzie Bennet Diaries. | |
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The Dover Boys (1942) is a double turning point for American animation. It marks the point were Warner's animators stopped aping Disney and started experimenting with much more stylized action. It also marks the point when Chuck Jones went from the junior director who did the Sniffles the Mouse cartoons to a major innovator. | |
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The Simpsons (1989-present) is one of the most groundbreaking shows in American history, responsible for numerous innovations in not just TV animation but TV comedy in general. It was one of the first animated series in decades that was aimed squarely at adults and not at children (even if children thought Bart Simpson was awesome, to the horror of Moral Guardians), breaking the Animation Age Ghetto by demonstrating that grown adults will happily watch a "cartoon" provided it had witty, mature humor that didn't treat them like idiots. Shows like Family Guy, South Park, and Rick and Morty would have never been possible without The Simpsons. To quote Seth MacFarlane: Moreover, it accomplished this by fusing lowbrow slapstick, highbrow satire, pop culture homages, and surreal meta comedy in such a way that had never been seen in a sitcom before, animated or live-action. After The Simpsons, TV comedy was free to get a lot more experimental than it had before, paving the way for everything from the postmodernism of Community to the philosophical exploration of The Good Place. It has also been cited as the show that killed the Laugh Track. Most, if not all, sitcoms at this time had a laugh track, a tradition that The Simpsons bucked, demonstrating that it was not particularly necessary for a sitcom to have one in order to be funny. While Malcolm in the Middle would be the first successful American live-action sitcom that lacked one, it was The Simpsons that started the trend. |
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Dragnet (1949-57 on radio, 1951-59 on television) invented the modern Police Procedural, using law enforcement as the basis for a series in which the plot of each episode would revolve around the investigation of a crime. Jack Webb used his contacts within the Los Angeles Police Department to ensure authenticity, including using fictionalized versions of real cases as subject matter for his show, popularizing the use of Ripped from the Headlines plots in police procedurals along the way. It also marked a sea change in how American pop culture depicted the police. Beforehand, police officers were targets of mockery, portrayed as bumbling and incompetent by the likes of the Keystone Cops and many others inspired by them, while Webb's steely, lantern-jawed Sgt. Joe Friday was a morally upstanding figure who commanded respect and authority, the prototype for generations of heroic police officers in television and film. Bob Chipman, in this episode of The Big Picture, called it "one of the most influential and culture-shaping shows in history", and described most fictional portrayals of the police since as either "descendants of, or reactions to, Dragnet in some way." | |
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George Hackenschmidt traveled at least two continents wrestling rival claimants to the "World Heavyweight Champion". It was Lou Thesz who used this idea to not only unify championship status, but the entire "territory" where such a claim was made, cementing the power of the National Wrestling Alliance. The first major governing body for pro wrestling and only pro wrestling, the NWA would have a strong presence on no less than three continents at any given time for the next forty years and dictate most of pro wrestling's direction. Commissioners and boards of directors would be used as stock plot devices for years even after the NWA's decline. | |
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Satoru Sayama, Akira Maeda and Nobuhiko Takada's Universal Wrestling Federation solidified, among other things, tapping out over verbal submission, that collar and elbow displays were unnecessary, that clean finish booking could make a lot of money, that wrestlers could legitimately beat and stretch each other while sticking to planned finishes. From these efforts, "shoot style" pro wrestling was born, and people took the claim "pro wrestling was the strongest martial art in the world" far more seriously than even New Japan Pro-Wrestling had ever managed to make them. Giant Baba's renowned booking of "traditional puroresu" in All Japan Pro Wrestling was moslty refined from UWF's example and applied to a different style. Showcasing martial arts bouts of other styles, as seen on Zenjo, early FMW, Pro Wrestling ZERO1, and later even "Puroresu Love" era All Japan, was also inspired by UWF. | |
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Naruto took all the tropes established by earlier Shonen battle manga and packaged it all together into a formula that Shonen mangaka are still using. Recent smash successes like My Hero Academia, Black Clover, Jujutsu Kaisen, and Demon Slayer: Kimetsu no Yaiba all owe something to the smash success of Naruto. | |
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He-Man and the Masters of the Universe (1983) (1983-1985) proved that adapting a popular toy line into a television show as a form of cross-promotion, instead of the other way around, was a financially viable concept. Without it, many long-running, popular series like Transformers and Teenage Mutant Ninja Turtles might not exist. | |
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Critically, Goku had the potential to learn and grow, in contrast to predecessors like Kenshiro of Fist of the North Star, who rarely learned new techniques or increased his physical abilities, instead existing in a constant state of badassery. | |
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The publication of Action Comics #1 in the summer of 1938 heralded the birth of the superhero genre when it introduced the American public to Superman, the ultimate escapist hero for a beleaguered country struggling through the The Great Depression and the dark days preceding World War II. While it might be difficult to appreciate this today, the character was truly like nothing anyone had ever seen before: he was a herculean strongman from the Heavens who effortlessly invoked the awe and wonder of a mythic hero from the Ancient World, yet his adventures took place in an unmistakably modern cityscape bedeviled by contemporary social ills like poverty and crime, and his backstory — as an immigrant from a distant world raised by a pair of honest farmers from the Heartland — unmistakably marked him as a uniquely American bastion of virtue. Almost overnight, The Golden Age of Comic Books began in earnest, and superhero stories became a major cultural phenomenon. American pop culture has never been the same since. | |
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Calvin and Hobbes, running from 1985 to 1995, carried forward the intelligent and philosophical underpinnings of Peanuts but also marked the beginning of a pushback in newspaper comics against the artistic simplification that Peanuts heralded, earning renown for its beautiful, highly detailed artwork and ability to tell complete stories without any dialogue and encouraging other comic artists in the funny pages to get more detailed and experimental. | |
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It also pioneered the villain-centric plot arc. As Super Eyepatch Wolf put it in his DBZ video essay: | |
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Neon Genesis Evangelion: The effect it had on the mecha genre was similar to the effect a hammer has on an egg. While not the first giant robot show based around the concept that being a naive teenager thrown into the cockpit of a massively powerful war machine and forced to fight titanic alien invaders to save humanity would really suck, it was the first to successfully popularize it. Since the release of the show, a lot of genre anime (mecha or otherwise) has been influenced by the show's themes. Evangelion can easily be pointed towards as a turning point for the entire medium of TV Anime. Before Evangelion the vast majority of TV Anime properties were (and still is) either manga adaptations or family oriented programs. Evangelion turning out to be a surprise breakthrough hit paved the way for several Anime First properties which were more experimental and explored significantly darker and more mature themes, such as Cowboy Bebop, The Vision of Escaflowne, Now and Then, Here and There, and Revolutionary Girl Utena for starters. Its influence in anime and animation as a whole can also be found in the main cast, while Rei Ayanami became the most notorious example of the character archetypes that Evangelion brought, there were many others as well: the archetype of the socially-awkward, snarky protagonist whose bravery is mostly limited to the battlefield can be traced back to Shinji Ikari (although Shinji himself was heavily influenced by Mobile Suit Gundam's Amuro Ray); the red-haired/themed, hotblooded and aggressive Tsundere girl with a dark past (and arguably, foreign accent) is traceable to Asuka Langley Soryu; and finally, the mysterious, white haired character with an ambiguous attraction to the main character is the product of Kaworu Nagisa. |
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When Bret Hart defeated Ric Flair on October 12, 1992 to win his first ever World Wrestling Federation world title, it officially symbolized the end of dominance for big, muscular men who could barely wrestle in the '80s WWF and put more emphasis on in ring skills along with Shawn Michaels and Curt Hennig/Mr. Perfect. Brian Zane in his Wrestling With Wregret video on the least likely world champions equated Bret Hart's victory over Ric Flair to when Nirvana and Grunge killed off Hair Metal for good, as it too was a much needed step away from the '80s. | |
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Princess Knight is one of the first narrative-driven shoujo manga and had massive influence on manga aimed at a young female audience, with notable examples including an androgynous lead heroine. What Princess Knight started, The Rose of Versailles continued and solidified, as it was the first shoujo manga to achieve mainstream critical and commercial success. At the time it was first published in 1972, most shoujo manga series were simple stories aimed at elementary school-aged girls, but Berubara proved that manga aimed at teenage girls and women, with more complex plots to draw them in, could be just as successful. The aforementioned The Rose of Versailles is the most famous (in the west, at least) work of the 1970s "Showa 24 Group" consisting of names such as Riyoko Ikeda, Moto Hagio and Keiko Takemiya, who revolutionized shoujo manga. Shoujo manga creators had previously being mainly men, and the rise of the Showa 24 group marked a transition to being dominated by female creators, added an emphasis on drama and heavy subject matter and more fluid artwork and panel arrangements that allowed shoujo manga to be taken seriously as an artform, with Hagio and Takemiya also becoming pioneers of the Yaoi Genre along the way. The 1970s is now regarded as the "Golden Age" of Shoujo. |
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The Incredible Hulk (1962): The Hulk got a lot of attention as an ambiguous hero who was neither entirely a superhero nor entirely a monster, and his series pushed the boundaries of the Comics Code Authority by depicting the United States military as antagonists (the Code stipulated that comic books couldn't portray respected organizations in a negative light). With his anger, his inherently flawed nature, and his troubled relationship with authority figures, he also went on to become a counterculture icon, showing the potential for superheroes to act as a voice for the youth. | |
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Dennis O'Neil's Green Lantern/Green Arrow, which started running in 1970, fizzled out pretty quickly in its day, but it's now considered an important part of comic book history for being one of the first explicitly political superhero comics. After reimagining Oliver Queen as a street-smart modern revolutionary who actually did rob from the rich and give to the poor, he built an entire series around the character confronting contemporary social issues alongside his more conservative lawman foil Hal Jordan, with plenty of Both Sides Have a Point moments. Many of its more dramatic moments — like Hal being called out for failing to fight for African-American rights, and Oliver discovering that his sidekick Speedy has become addicted to heroin — are still frequently cited as major milestones in the comic book industry's move toward social consciousness. | |
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And before that Mazinger Z is generally credited with changing Humongous Mecha as piloted craft as opposed to something controlled by The Kid with the Remote Control. Its near contemporary Getter Robo added the Combining Mecha to the mix. | |
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ECW brought hardcore wrestling back to North America, made luchadores popular in the United States, reemphasized the value of mat technique and made professional wrestling Darker and Edgier at a time when the two biggest promotions, the WWF and WCW, were still putting out an altogether Lighter and Softer, more comic-book-ish product. Men such as Dean Malenko, Taz, Eddie Guerrero, Super Crazy and Masato Tanaka were pushed solely on talent and crowd response, while others like Sandman had their weaknesses painstakingly hidden. Amazingly enough, WCW, part of the Time Warner media empire, and WWF, a multi-million dollar entertainment company in its own right, ended up taking their cues from a tiny promotion that ran shows out of a converted bingo hall in South Philadelphia. ECW didn't just bring back Garbage Wrestling, it also brought in elements of shoot style that for whatever reason simply were not catching on in the US, such as tapping out, as well incorporating "puroresu" and "lucha libre" elements and helping those gain traction in the US. Unfortunately WWF and especially WCW raided ECW's lockeroom until only the only things that stood out about it when it closed were garbage wrestling and cat fights. | |
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Starting with its 1987 tour Le Cirque Réinventé, Cirque did a lot to raise circus out of the kiddie entertainment ghetto it had fallen into in North America. Now, there are numerous successful "contemporary circus" troupes/companies that play to a wide variety of audiences, without even counting the blatant imitators of Cirque's style (which was derived from European and Asian circuses) that have sprung up. | |
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Majokko Meg-chan, from 1974, was an important milestone for Magical Girl shows, as it was the first show to be marketed to boys as well as girls, and featured a number of developments—it was the first Magical Girl show with a tomboyish heroine, a rival to the heroine, a really evil villain, and also the first that includes Fanservice tropes (with Lovable Sex Maniac characters), and serious issues like Domestic Abuse, extramarital relationships, drug abuse, death etc. | |
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Prior to Dragon Ball Z Abridged, most Abridged Series tended to run on wacky No Fourth Wall humor, general disregard for the actual plot of the series, Shout Outs, exaggerated Flanderization of characters, being often devoted to making Take Thats at whatever official dubs of the series exist. In contrast, DBZA (from the second season onwards) instead moved towards more low-key, character driven humor that tried to retain most of the drama of the actual plot while making genuine attempts to improve upon the original. Nowadays, modern abridged series, such as Sword Art Online Abridged, use this formula instead. | |
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The WWF also had one at some point between 1996 and 1998, but mileage varies on what exactly it was. Some people cite Steve Austin's victory at King of the Ring 1996 and resulting Austin 3:16 promo, which made him the only thing to rival the New World Order in popularity. Others cite Austin's match against Bret Hart, face of the WWF along with Shawn Michaels, at WrestleMania XIII, when Austin turned face and Hart heel. Others will cite the formation of D-Generation X, an edgy, raunchy stable that was somewhat nWo influenced (it had members of The Kliq in it as well, after) and feuded with the Hart Foundation, Bret Hart's groupnote The real start of the genre shift came in the fall of 1995 when the Clique held a house show hostage by refusing to perform until Vince flew out from Connecticut to address their concerns in person, where they pushed for a less silly and more adult-oriented product. It took a while for the changes made to be seen on camera, but one of the most immediate results of that meeting was most of the guys with a "(X) by day, wrestler by night" gimmicks getting repackaged or fired. Resulting from that feud was Michaels and Hart's match at Survivor Series 1997, Hart's last match in the WWF under his current contract. The match was to end ambiguously and Hart was to surrender his championship the next day on Raw, but Michaels, Vince McMahon and Triple H conspired to end the match without Hart's knowledge. This event created the Mr. McMahon character and a decade's worth of unmitigated hostility between Hart and those involved. The final event is Austin's match against Michaels at WrestleMania XIV, when Austin defeated Michaels and in the words of JR "The Austin Era (had) begun." This event kickstarted the Austin-McMahon feud, which would be the focal point of the company for three years, in the company's most successful or second most successful era, the Attitude Era. Similarly, at and before WrestleMania X-Seven, the Attitude Era ended. Vince purchased WCW, the company's chief rival, and at WrestleMania, one of the greatest PPV's in history, Austin faced The Rock for the WWF Championship, unbelievably, Stone Cold turned heel in his hometown and sided with McMahon to beat Rock. The central feuds of the Attitude Era, both in real life and kayfabe, had ended within a week of each other. | |
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Dungeons & Dragons was created when a couple of friends decided to see what would happen if, instead of playing wargames representing thousands of troops in huge, usually realistic, battles, you used similar rules to control just a few individuals. This quickly led to the idea of following them through a series of small encounters and building up a story rather than just a single battle, and thus the modern roleplaying game was born. The idea was so influential that even more traditional wargames like Warhammer these days focus on much smaller, more character-focused battles than had historically been the case, while for the most part roleplaying games took over from wargaming almost entirely. Dragonlance was TSR's first attempt to go beyond simple Dungeon Crawling and create a plotline reminiscent of epic fantasy novels, with the fate of the world at stake. And speaking of novels, it was the also the first instance of tie-in novels for a game setting. Critical Role proved that people were willing to watch an RPG that they weren't playing in. (At least, in the West. RPG "replays" had been a thing in Japan for a long time by then, although usually in text or audio format.) |
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The World of Darkness took the Urban Fantasy revolution that Anne Rice's Interview with the Vampire had started in fantasy literature and brought it into gaming and beyond. Its portrayal of vampires, werewolves, and other horror monsters and fantasy creatures as being organized into various factions with different supernatural abilities, a concept created mainly for gameplay purposes, soon leaped out of tabletop gaming altogether and influenced various modern portrayals of those creatures in books, movies, and TV, with concepts from the games having a heavy influence on vampire lore in particular. It was also a key popularizer of gothic style and fashion, pulling it out of the '80s underground and making it into a sexy, cool, and edgy fixture of the '90s counterculture — and, in the process, coining the term Gothic Punk for how its style doubled back on the urban fantasy stories it influenced. | |
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While Megazone 23 was the first OVA to be commercially successful, Fight! Iczer-One took full advantage of the lack of content restrictions in the direct-to-video format, containing sex and violence that would not be acceptable on TV (even in Japan), and setting the stage for the kind of content that characterised the mid-late 80s OVA boom. | |
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Snow White and the Seven Dwarfs showed that not only can animation be entertaining and longer than 7 or 8 minutes, but that the audience can be emotionally connected with animated characters. During production, the film was seen by skeptical industry followers as a potential failure in the making, but it ended up becoming a massive success that helped launch the entire medium of animated movies in the process. | |
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Starting with Adventures of the Gummi Bears in 1985, the many animated television series made by Disney, with their higher budgets, better animation, and better writing and storytelling, played a huge role in the birth of The Renaissance Age of Animation, showing how television animation could be as capable of genuinely good works of fiction as animated films could be and breaking the taboo that television animation was all cheap, badly-made Merchandise-Driven schlock. | |
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The 2006-2007 double whammy of the Sports Illustrated steroids report — in which several wrestlers were named for purchasing performance-enhancing drugs, including several high profile fan favorites — and the horrific Chris Benoit murder-suicide of his family put the WWE under the harshest negative light it had encountered since Owen Hart's tragic and preventable death. Sponsors began to leave in droves as the company was painted as a misogynistic, crass, steroid-fueled carny show and the media had ten years worth of Attitude Era footage to drive home that point (they had a field day with the infamous "Vince makes Trish strip and bark like a dog" segment). In 2008, the WWE began a company-wide sanitizing of their product to shed the "Attitude" image, phasing out blood, foul language, and sexually charged gimmicks and angles, cleaning up RAW to a TV-PG product, doubling down on their charity work with children, and implementing a strict drug testing program. They even removed "Wrestling" from its name in order to promote itself as family-friendly general entertainment and sever its association to pro wrestling and its associated stigmas ("WWE" is no longer an acronym outside of legalese). Although long-time fans decry the Lighter and Softer route to this day, the company has repaired its image in the public eye, as kid-friendly companies like Chef Boyardee renewed their sponsorships in the end, the media reports often on their charitable actions, and celebrities and athletes participate on the shows, illustrating that it is no longer a negative connotation to be associated with WWE. | |
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Luther Arkwright was an independent New Wave style Science Fiction comic made by Bryan Talbot starting in 1976. The techniques and storytelling he used have had large impact on many other writers and artists. Warren Ellis has said "LUTHER ARKWRIGHT invented the tools. ARKWRIGHT informs Alan Moore, Grant Morrison, Neil Gaiman, Garth Ennis, me, and all the rest of us. It's probably Anglophone comics' single most important experimental work." | |
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It is generally accepted that Barry Allen, the second Flash, was the character that revived superhero comics in earnest and kicked off the Silver Age upon his debut in Showcase #4 in 1956, complete with sleek, form-fitting, cape-less costume, more scientific(ish) origin, and a Rogues Gallery of gimmick villains. | |
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The Spanish Tragedy by Thomas Kyd was the Trope Maker and Trope Codifier for Elizabethan and Jacobean Drama, paving the way for Christopher Marlowe and William Shakespeare. Kyd introduced the classic revenge plot, Feuding Families in fancy exotic settings and most importantly the use of iambic pentameter and blank verse to tell a tragedy. The English rather than feeling second fiddle to the tragedies of Spain and Italy, could have a homegrown version in colloquial language, and this marked the start of the Golden Age of English Literature. | |
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Pro wrestling in Japan was private clubs and concert intermissions. Big money television business and sporting arenas did not happen until Rikidozan, fresh from a trip to the USA, recruited several sumo wrestlers and judoka to form the JWA. Rikidozan's untimely assassination was also a turning point, as it lead to the births of the two longest running Japanese feds, All Japan and New Japan. | |
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SHIMMER was the first USA women's promotion since the WWWA to successfully make headlines while focusing on athleticism, rather than either the blatant T&A that the WWE women's division could degenerate into at times, or Camp like GLOW and its successors. It started as an invitational talent showcase not unlike early ROH, specifically to help women get respect, and bookings, after the closing of Zenjo and GAEA, the world biggest women wrestling feds. It also did double duty as the "women's division" of other independent feds like All American Wrestling, gradually eating away at the open msyogeny in the ROH fanbase in particular to the point that when the two companies parted ways there was a Vocal Minority that consistently demanded ROH give them a replacement to the SHIMMER showcases for four years until ROH complied. New women's divions and promotions sprang up much more rapidly in the USA as well, some being more openly SHIMMER inspired than others(Absolute Intense Wrestling boasted their women's division would beat SHIMMER at its own game and as far away as AUS the GLIMMER fed initially had the exact same logo font). The tiny Berwyn fed made such a buzz older efforts like PGWA and ChickFight actually benefited from it. As Pat Laprade and Dan Murphy wrote in Sisterhood of the Squared Circle: The History and Rise of Women's Wrestling, "Without a doubt, a case could be made that the first shots of the 2015 WWE Women's Revolution were actually fired at the Berwyn Eagles Club a decade before." | |
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The Dark Knight Returns was a grim classical tragedy that presented a hypothetical look at an aging Bruce Wayne's final days as Batman, portraying the character as a violent and antisocial loner driven to bitter self-destruction in his twilight years. Watchmen, meanwhile, was a sprawling postmodern epic set in a painstakingly detailed Alternate History version of the late 20th century where superheroes really existed, and it featured a cast of broken and self-doubting antiheroes who subtly satirized common character archetypes in the superhero genre. While fundamentally different in many ways, both stories explicitly set out to deconstruct the superhero genre by introducing political subtext and psychological depth to a popular juvenile escapist fantasy, showing that it was possible to write superhero stories for adults. | |
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"A Fragment out of Time", published in Spockanalia (a Star Trek fanzine running through the seventies), was the first known Slash Fic to hit wide distribution. Virtually every Yaoi Fangirl can thank Diane Marchant, who originally published anonymously. | |
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A Streetcar Named Desire's original production in 1950 changed American (and by extension global) culture forever. Not only for the play and its great writing (by Tennessee Williams) but also for its starring role by Marlon Brando and direction by Elia Kazan. Its approach to psychological realism, focus on sexual neurosis and sympathy for mental turmoil, shifted theatre away from social problem issues to personal, identity issues dealing with human psychology and family hangups. Brando's performance introduced greater standards of realism and led to Method Acting becoming the dominant school, for better and worse. | |
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Fantastic Four #1 in 1961 introduced the Fantastic Four, a family team whose members clashed and bickered from time to time, and showed that superhero stories could firmly anchor themselves in the real world without sacrificing any of their inherent fun. The Four lived in the real world of 1960s New York rather than a fictional City of Adventure like Metropolis or Gotham City, they didn't bother with Secret Identities, they were world-famous scientists and philanthropists in addition to being superheroes, their nemesis was the truly dangerous dictator of an Eastern European nation rather than a simple criminal, and their famous blue jumpsuits were a more realistic alternative to the flamboyant costumes that other superheroes wore. On top of that, The Thing pioneered the idea of a superhero who viewed his powers as a curse. | |
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The cult success of Albedo: Erma Felna EDF (1983-2005), with its deadly serious and sophisticated political Military Science Fiction story featuring Funny Animal characters, marked the true beginning of the Mature Animal Story genre and a kickstarter to Furry Fandom as something for adult fans. | |
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Sailor Moon made the genre switch from the Cute Witch type to the Magical Girl Warrior type, as well as mash in elements of Sentai that persist in the genre to this day. More broadly, it ushered in a revival of TV anime aimed at a broad general audience, in contrast to Otaku-bait OVAs that had dominated the anime market in the latter 80s, prior to Japan's "bubble economy" bursting and bringing the OVA market down with it. Of course, otaku-bait did eventually rise to dominate the market again. This also extends to DiC's English dub of the show, as it was arguably the main reason the anime boom of the 90s and the 2000s happened. While it wasn't an initial success (due to getting poor time-slots in syndication and on the USA Network), it garnered very high ratings on Cartoon Network, which stunned the execs. As a result, CN started the anime block Toonami, and started airing other English dubs like Funimation's dub of Dragon Ball Z (which was a success in syndication contrary to popular belief, but the newfound freedom in cable and the healthier timeslots helped boost it); this led to more success. |
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Harvey Pekar's American Splendor, running from 1976 until Pekar's death in 2010, showed that comics could depict adult life without idealizing it. An autobiographical story, it told the tale of an ordinary man living an ordinary life, demonstrated that simple Slice of Life stories could work in comics and still be compelling without a focus on action. | |
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Red vs. Blue wasn't the first web series by a long shot, but it was the first successful one, showing that internet video could support popular scripted series. It also wrote the book for all future machinima, raising the bar and setting a new standard for the genre while elevating it beyond the realm of cheaply-made fan films, demonstrating that it could appeal to far more than just fans of the games. | |
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Batman: The Animated Series (1992-1995, 1997-1999) allowed comic book superhero animated series to move past the Animation Age Ghetto of the Super Friends, with heroes and villains that have complex motivations and (often) tragic backstories, and spawned a very well-remembered franchise. It also proved that an animated show could be darker and deeper and have epic story lines while still appealing to children, and without alienating adults, which remains a major aspect in action/adventure shows to this day. Finally, it was the first TV cartoon to feature realistic handguns instead of Star Wars-inspired laser blasters. | |
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Shrek (2001) had a major, lasting impact on animated films when it came out. Its snarkier, more parodic take on the traditional fairy-tale animated movie format became a huge influence on all animated children's movies that came after it, resulting in movies like Enchanted, Happily N'Ever After, and Hoodwinked!. Even after Disney animation experienced another revival, and the Fractured Fairy Tale-type movie eventually died out, most kids animated films, such as other movies by Shrek creator DreamWorks Animation and movies by Illumination Entertainment, are a lot snarkier than pre-Shrek animated films and still follow the formula started by Shrek. The traditional Disney fairy tale films of today, such as Tangled and Frozen (2013), deliberately have to subvert and deconstruct the tropes commonly involved with those movies, arguably all because Shrek robbed the studio of ever playing those tropes straight again. | |
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Fritz the Cat is widely considered to be one of the most influential and groundbreaking animated films in history. Among other things: it was one of the first animated films aimed exclusively at adults to become a major box office hit, one of the first independently produced feature-length animated films, and one of the first animated films to extensively use improvised dialogue. For that reason, it's often credited with paving the way for later independent animated films aimed at adults, and for inspiring many later animators to break out of the mold developed by Disney. | |
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Oklahoma!, upon its debut in 1943, elevated musical theater from fluffy entertainment into a legitimate form of artistic storytelling. While it was not the first musical to use song, dialogue, and dance (those have long been staples of the genre), it did combine these three elements in as mature and realistic a fashion as was possible in a story where characters routinely broke into song, organically integrating the musical numbers with spoken dialogue without trying to justify it. | |
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Toy Story (1995): This film spawned the CG boom in animation, which eventually took over Western animated film. The massive success of the first-ever completely computer-animated film, coupled with the lukewarm critical reception to Disney's big movie that year Pocahontas, began an increasing trend of computer-animated films outperforming their 2D hand-drawn equivalents. The rise of DreamWorks Animation's CGI films furthered this trend, as did the failures of multiple traditionally-animated films in the early part of the Turn of the Millennium such as Titan A.E., Treasure Planet, and Sinbad: Legend of the Seven Seas. Today, hand-drawn animation is very uncommon, being mostly relegated to television series and independent animated films, while the All-CGI Cartoon dominates mainstream animated cinema. Furthermore, the overwhelming majority of Disney's prior animated canon — and a decent majority of animated films in general — took place in fantasy worlds, often based in medieval times. This film's contemporary American setting would become more the norm in the decades ahead, though there have still been plenty of films with fantasy settings (albeit usually done in a more self-aware manner, thanks to the success of Shrek and its sequels). Also, in prior Disney films, as well as those which tried to copy their formula, the musical numbers generally took up around a third to a half of the runtime. This heavily scaled it back and went with a more dialog-focused approach, with only a couple of musical numbers, something which became much more standard for animated films starting in the following decade. It was also the major turning point for celebrity voice casting as a major selling point. While this had existed as far back as Pinocchio, and The Lion King (1994) had been another earlier example of an animated film where most of the main characters were played by Celebrity Voice Actors who were more well-known for their live action work, usually such roles had been typecast and were often relegated to minor characters. Toy Story featured two main voices that really weren't bringing anything special to the table (in contrast to far more notable voices like, say Vincent Price brought to a villainous role, or Paul Lynde to a sneaky role), but were marketed as a big thing, cementing the trend of celebrity voice acting as the standard approach for the industry. Finally, the movie had an unprecedented impact over family films in general, as live-action ones became increasingly unpopular with young children. As a result, they became less common, and most live-action films would become increasingly raunchy vehicles for established actors, dramas, or DTV material. |
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In the short-term, the success of The Angry Video Game Nerd led to a string of copycats making their own Caustic Critic web shows. In the long-term, his success helped pioneer the Video Review Show, the concept of which would later be refined and expanded on by future online reviewers such as The Nostalgia Critic and JonTron. | |
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Yami to Boushi to Hon no Tabibito and Destiny of the Shrine Maiden showed that Yuri anime could be profitable; Simoun showed that it could be True Art. | |
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Ice Age (2002) isn't exactly viewed as a cinematic classic by most, but it's notable for being the first major CGI-animated feature film that wasn't made by Pixar or DreamWorks Animation, being a Blue Sky Studios production distributed by 20th Century Fox (although, Pixar's owner Disney would later buy the film when they brought 20th Century Fox). As a result, it played a major role in establishing CGI-animated movies as a permanent fixture at the American box office—instead of just a minor novelty controlled by two competing studios. | |
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What Princess Knight started, The Rose of Versailles continued and solidified, as it was the first shoujo manga to achieve mainstream critical and commercial success. At the time it was first published in 1972, most shoujo manga series were simple stories aimed at elementary school-aged girls, but Berubara proved that manga aimed at teenage girls and women, with more complex plots to draw them in, could be just as successful. | |
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Mary Ellison, aka The Fabulous Moolah, left a major impact on women's wrestling from the '60s through the '80s, though how good an impact she left, especially compared to the efforts of Byers to minimize the damage from the double cross on Burke, is very much up for debate. As the leading women's wrestling trainer and booker during that time, Moolah helped forge the then-WWF's women's division and bring it into the spotlight. However, for better or worse, this was at the expense of the already ailing NWA and she was also a driving force behind the "Diva" style of wrestling that would predominate until the 2010s. Said style was heavy on fanservice and catfighting but often accused of being low on athleticism. That's before getting into the accusations made about how she treated the women who trained under her, as well as her sabotage of Wendi Richter's career and the WWF's Women's Tag Team division. As such, many wrestling fans have blamed Moolah for setting back women's wrestling in the United States by decades, between the wrestling styles she promoted and the backstage moves she made. | |
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The 2013 documentary Blackfish, an exposé of animal abuse and unsafe working conditions (including spotlighting the 2010 death of trainer Dawn Brancheau) at theme parks like SeaWorld that boasted marine animals like orcas and dolphins as major attractions, kicked off a backlash against such parks that forced them to heavily change their practices. SeaWorld announced the retirement of its famous Shamu orca show, many other marine parks and zoos introduced new animal welfare guidelines, and more broadly, such parks shifted their focus from entertainment and stunt shows featuring animals performing tricks to conservation, education, and letting people observe animals in simulacra of their natural environments. Parks that didn't adapt to this shift, such as the Miami Seaquarium, came under growing pressure from regulators and animal rights activists. | |
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Peanuts, which ran from 1950 to 2000, changed Newspaper Comics permanently. It gave strips the license to address deep and (sometimes) dark issues and not just be simple gag-a-day escapism. However, Charles M. Schulz's signature simple artwork gave newspapers the idea to reduce the size of the comic panels and force all the future artists to simplify their artwork to the point where all the art look like rushed cut-and-paste jobs. | |
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Their first Las Vegas resident show, Mystère, helped change that city's entertainment scene. Siegfried and Roy's magic show at the Mirage had opened four years prior and was also a big game changer after years of increasingly stale showgirl revues, but Mystere was actually taken seriously as theater, to the point that Time magazine's theater critic named it one of the best shows of 1994. While it would lead to many acclaimed sister productions in the city, other Vegas casino-hotels imported such productions as Blue Man Group, Jersey Boys, and The Lion King, often with huge success, resulting in a more diverse range of entertainment for tourists. | |
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Amazing Fantasy #15 in 1962 was the origin story for Spider-Man, who broke the mold as a teenage superhero who was not a sidekick and had no mentor or guide, was hated by most of the public, and initially tried to use his powers to make money.note Okay, so Plastic Man started out as a thief, but Spider-Man still had a huge impact on the genre. His resolve to protect the innocent to atone for selfishly refusing to stop the burglar that went on to kill his beloved uncle definitively established him not as a moralistic crusader out to punish evildoers, but a flawed young man with a lot of growing up to do. | |
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Critical Role proved that people were willing to watch an RPG that they weren't playing in. (At least, in the West. RPG "replays" had been a thing in Japan for a long time by then, although usually in text or audio format.) | |
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Welcome to Night Vale changed the podcast game in one episode in 2012 with "A Story About You", highlighting the flexibility of the narrative and taking full advantage of the medium of the podcast. Since it did not have to show anything, it could tell one story and immerse the listener in a way that had never been done before. With attention on this one episode, Night Vale demonstrated the potential of the podcast as a medium for storytelling outside of small critical circles and gave it credibility as a legitimate art form, helping to revive and modernize the Radio Drama for a new generation. | |
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In the mid-1980s, the appearance of Warhammer and Battletech popularised fantasy and science fiction settings in wargaming, which had until then been dominated by historical games, and brought a new generation into the hobby. | |
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While companion style dolls have existed as long as dolls have, American Girl helped popularize its particular size and style of dolls as opposed to the more common cloth rag dolls or all-plastic smaller dolls — 18 inches tall, often with cloth torsos and vinyl limbs — in the 1980s and 1990s. Their popularity and interest led to other companies releasing dolls in their style, including adding companion stories and collections for characters. | |
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In the American comic industry, the creation of the Justice Society of America in 1940 began a pivot for the medium that nobody would've anticipated: continuity. While simply made to be a place to put characters who didn't sell that well, this was the first time that original works were in the same book together in the medium. This began building up the idea for creating a Shared Universe for their characters, and the beginning of the Crossover in the medium, ideas that would lock the two big main comic companies into place in the far future for the worlds they would create. | |
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The WWF's active effort to destroy the territorial system changed pro wrestling forever. While Jim Crockett was responsible for shutting down more territories, JCP only began doing so after Vince Jr did in a misguided effort to stop Vince. In the NWA's heyday there were always at least 39 good money pay off promotions to work for in the USA alone. In the WWF dominated era wrestlers would be lucky to see three good options in the USA, and thus would have to work a lot more different companies at once if they didn't get into "The Big Three", go to another country, or both. The territorial system did encourage a revolving door to a lesser degree, so conversely wrestlers of the big three moved around a lot less, due promoters being less willing to work together and "Big 3" wrestlers all the way down to the jobbers fighting to keep their "spots", where before overstaying one's "welcome" was considered rude outside of especially high drawing faces. Big 3 rosters also ballooned in size, as one of Vince Jr's tactics was signing numerous wrestlers to contract to prevent "competition" from using them, often resulting in dozens of wrestlers the WWF could not realistically expect to get their money's worth out of being kept around for the sake of it. WCW, in an effort to beat Vince, signed over a hundred wrestlers it had no intent to use. Giantic power stables like the nWo became more common while traveling special attractions, Loser Leaves Town and Charlie Brown from Outta Town really lost their piss. Most smaller, "independent" comapnies were fan or wrestler driven projects that would have been branded outlaw by "legit" NWA promoters and didn't even pretend to recognize one another, which combined with more static Big 3 rosters made Face–Heel Revolving Door a lot more noticeable. "Big 3" gimmicks became more exaggerated, promos became longer and more scripted, work rate deemphesized as hour long title matches gave way to five minute ones, entrances became more elaborate with music and or pyrotechnics being a must, much more emphasis was put on upper bodies and shaving became more common. Anything McMahon didn't care for also became less prominent in the USA, which meant fewer masks, fewer managers, less emphasis on tag teams, no attention given to weight classes, no mention of time limits, Asians became even less prevelent despite continued Japanese excursions, women wrestlers had fleeting presence and matches became less technical and less violent. Since three companies can't do as much outreach as thirty nine, pro wrestling enterprises around the world could no longer count on the USA to prop them up in times of trouble and many were in fact wary of Vince Jr's predatory practices and or dismissive of the product he promoted. | |
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"Superstar" Billy Graham did this for heels in the mid-1970s. He was just as flashy and entertaining as any face, and proved that the heel didn't always have to be a Straw Loser. He was actually hoping to have a Heel–Face Turn during his 1977-1978 title run, and was extremely disappointed when that didn't happen, although he eventually did become a face when he returned to the WWF years later. He was the first major heel to hold a world title for more than a few weeks at a time. | |
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Dragon Ball: The series introduced and/or codified many Shonen tropes such as the innocent Idiot Hero with a large appetite, the Tournament Arc, etc. Its influence can be seen in many different anime and manga series to this day. Critically, Goku had the potential to learn and grow, in contrast to predecessors like Kenshiro of Fist of the North Star, who rarely learned new techniques or increased his physical abilities, instead existing in a constant state of badassery. It also pioneered the villain-centric plot arc. As Super Eyepatch Wolf put it in his DBZ video essay: Finally, it, together with the Sailor Moon anime, was pivotal in the explosion of anime and manga in the West. When the Dragon Ball Z and Sailor Moon animes reached the shores of the US, Canada, and Latin America in the mid-'90s, they caught fire among kids who had never seen anything like them before, having until then grown up with either Edutainment Shows, low-budget Merchandise-Driven cartoons with Limited Animation, and Disney. For various reasons, prior anime imports had been notorious for Bowdlerisation and Macekres, but while Dragon Ball Z and Sailor Moon didn't fully dodge these pitfalls, they still remained faithful enough to the source material to be successful without wholly offending adult fans. What followed these Gateway Series was a flood of Japanese animated series and comics in the late '90s and '00s, many of them initially aimed at a kid-friendly Saturday morning market but eventually including more mature stories as the audience that grew up with them became adults themselves, while Hollywood filmmakers increasingly drew influence from anime for action scenes and storytelling. Gene Park, writing for The Washington Post upon the death of Dragon Ball creator Akira Toriyama, stated that "[t]here is hardly a space in pop culture today that hasn’t been touched by Akira Toriyama’s art." |
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After WCW and ECW closed their doors in 2001, most wrestlers in the US and Canada thought that the only viable option for making it in wrestling was WWE... until Christian chose not to re-sign when his WWE contract expired in 2005, and instead go to TNA. While many wrestlers like Sting and AJ Styles had turned down numerous WWE offers, while former WWE wrestlers had gone to TNA before, he was the first wrestler with a comfortable spot in WWE to choose TNA of his own volition, and set the ball rolling on the idea that WWE was not the be-all and end-all of wrestling, which has gathered steam in the decade-plus since with things like indy wrestler Steve Corino revealing he could make more money working in the indies than on a WWE developmental contract, CM Punk's "pipe bomb" promo where he mentioned New Japan and Ring of Honor by name, Cody Rhodes becoming a bigger star outside of WWE than he ever was with them, and Rhodes going on to play a huge role in the establishment of All Elite Wrestling. A major factor in this has been the advent of internet streaming, as it means wrestlers and companies no longer need TV pay-per-views to gain exposure. | |
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Aladdin may not have invented the Celebrity Voice Actor trope note A handful of early animated films in the Disney Animated Canon featured voice actors who were actually pretty well-known for other things in their day. For example, Cliff "Ukelele Ike" Edwards (Jiminy Cricket in Pinocchio) was a popular jazz musician, as were Phil Harris and Louis Prima (Baloo and Louie in The Jungle Book (1967)). Alice in Wonderland (1951) features character actor Ed Wynn as the Mad Hatter. And The Adventures of Ichabod and Mr. Toad memorably featured the voices of Basil Rathbone and Bing Crosby. but Robin Williams' performance as the Genie was the definitive Trope Codifier that almost single-handedly opened voice-acting up to all of Hollywood. With the overwhelmingly positive response to Williams' take on the character—which utilized his trademark comedic style to great effect—he turned voice-acting into a "respectable" gig that practically every actor in the business wanted to take a crack at. For perspective, Bea Arthur had previously turned down the role of Ursula in The Little Mermaid just three years before Aladdin hit theaters—but after it was released, we got James Earl Jones and Matthew Broderick in The Lion King (1994), Mel Gibson in Pocahontas, Jason Alexander in The Hunchback of Notre Dame, Danny DeVito in Hercules, Eddie Murphy in Mulan, and Minnie Driver in Tarzan. | |
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AKIRA. Before it came out, it was distressingly common to see anime films and shows targeted toward older audiences horribly Macekred so they could fit into the Animation Age Ghetto. After it came out, people in the West finally got the idea that anime movies didn't have to be targeted towards kids at all. Ironically, Akira was released by Macek's Streamline Pictures studio. | |
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Finally, it, together with the Sailor Moon anime, was pivotal in the explosion of anime and manga in the West. When the Dragon Ball Z and Sailor Moon animes reached the shores of the US, Canada, and Latin America in the mid-'90s, they caught fire among kids who had never seen anything like them before, having until then grown up with either Edutainment Shows, low-budget Merchandise-Driven cartoons with Limited Animation, and Disney. For various reasons, prior anime imports had been notorious for Bowdlerisation and Macekres, but while Dragon Ball Z and Sailor Moon didn't fully dodge these pitfalls, they still remained faithful enough to the source material to be successful without wholly offending adult fans. What followed these Gateway Series was a flood of Japanese animated series and comics in the late '90s and '00s, many of them initially aimed at a kid-friendly Saturday morning market but eventually including more mature stories as the audience that grew up with them became adults themselves, while Hollywood filmmakers increasingly drew influence from anime for action scenes and storytelling. Gene Park, writing for The Washington Post upon the death of Dragon Ball creator Akira Toriyama, stated that "[t]here is hardly a space in pop culture today that hasn’t been touched by Akira Toriyama’s art." | |
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South Park (1997-present), the show that put Comedy Central on the map, had a big impact on adult animation and TV as a whole: In the short-term, the show’s success (with some help from Family Guy) would lead to a boom of adult animated series loaded with Vulgar Humor, swearing, and other types of raunchy comedy, codifying the Animated Shock Comedy genre, which dominated the animation landscape in the 2000s. With relatively few exceptions, it would not be until The New '10s when less raunchy adult animation would return. In the long run, the show, one of the first to be rated TV-MA, helped break new ground for the kinds of content television in general could show, and was one of the first shows on cable TV with uncensored swearing. And on a societal level, the show’s “both-sides�, take-no-prisoners approach to sociopolitical satire, mocking everyone from conservative parents' groups to moralistic liberals and not just one or the other. This helped birth what became known as the “South Park Republican,� a type of conservative that holds libertarian views on social issues and free-market views on fiscal issues, views influenced by how South Park tackled politics. |
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The original Mobile Suit Gundam revamped the Humongous Mecha genre, single-handedly invented most Real Robot plot devices, and, along the way, ushered the Otaku subculture into existence (though to be fair, other shows helped it in the latter). | |
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The short lived Mighty Mouse: The New Adventures (1987-1988) completely overhauled the expectations of what a television cartoon could do and began the practice of cartoonist-controlled animation and en-masse pop culture references. | |
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In the short-term, the show’s success (with some help from Family Guy) would lead to a boom of adult animated series loaded with Vulgar Humor, swearing, and other types of raunchy comedy, codifying the Animated Shock Comedy genre, which dominated the animation landscape in the 2000s. With relatively few exceptions, it would not be until The New '10s when less raunchy adult animation would return. | |
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Dragonlance was TSR's first attempt to go beyond simple Dungeon Crawling and create a plotline reminiscent of epic fantasy novels, with the fate of the world at stake. And speaking of novels, it was the also the first instance of tie-in novels for a game setting. | |
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Katawa Shoujo helped make visual novels a viable genre in the Western world, even though it was a Western-developed game. Combined with Steam allowing smaller publishers mentioned earlier, official localizations of visual novels are becoming more common. | |
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The Little Mermaid was a surprise sensation in 1989, revitalizing interest in animated features (and helping to kick off The Renaissance Age of Animation in the process) and originating many of the tropes of the Disney Renaissance. For years afterward, its musical fantasy structure was the default setting for Western animated features, until it was eventually overtaken by the Pixar CGI boom. | |
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Dōkyūsei revolutionized the entire Dating Sim genre upon its release in 1992 by taking full advantage of the fresh, new generation of computer hardware it arrived on, delivering a multi-hour experience with several different routes and made extensive use of a In-Universe Game Clock for timed story events, and as such it ended up being both the Trope Codifier and Trope Maker for many of the tropes that would come to define the whole genre from there on out. In fact, it is probably what can mainly be credited for love interests in Dating Sims having a personality outside "living love doll". | |
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Steamboat Willie While it wasn't the first sound cartoon, the quality of its sound, on top of the quality of drawing and storytelling showed the world that animation had chops as a serious art form. | |
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Mr. Plinkett Reviews pioneered and popularized long-form, detailed video essays in its 70-minute review of Star Wars: The Phantom Menace. An online video of that length, particularly a critique of a film, was rather unheard of at this time. It helped that this was back when YouTube only allowed videos of 10 minutes in length, requiring the essay to be broken into seven parts. Nowadays, lengthy and detailed analyses on a wide range of subjects are very common. | |
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Saint Seiya was another 80s shonen series that marked a transition from the old style to the modern style, contributing much in terms of promoting the values of friendship and teamwork in a Fighting Series, in contrast to lone-wolf heroes like Kenshiro, as well as featuring a far more shoujo-like art style, which was later seen in series like Ranma ½ and Yawara! A Fashionable Judo Girl, along with numerous attractive male characters. | |
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