From Wikipedia, the free encyclopedia Sequel
Sequel
A sequel is a narrative, documental, or other work of lit- A sequel that portrays events which precede those of the
erature, film, theatre, or music that continues the story original work is called a "prequel." These can often avoid
of or expands upon issues presented in some previous the plot problems associated with having to deal with
work. In the common context of a narrative work of fic- the consequences of the original (e.g. the death of an im-
tion, a sequel portrays events set in the same fictional portant character). However, they pose the challenge of
universe as a previous work, usually chronologically fol- maintaining dramatic interest when the outcome is al-
lowing the events of that work.[1] ready known from the original work, so the focus is usu-
In many cases, the sequel continues elements of the ally on the character interactions or revealing how the
original story, often with the same characters and set- characters and situations of the original work developed.
tings. A sequel can lead to a series, in which key elements Examples are
appear in a number of stories. Although the difference • the Yoshi’s Island video games, that follow the Super
between more than one sequel and a series is somewhat Mario World games (as Yoshi’s Island began with Super
arbitrary, it is clear that some media franchises have Mario World 2: Yoshi’s Island) but take place before the
enough sequels to become a series, whether originally events of the Mario franchise, when the Mario Bros.
planned as such or not. were babies
Sequels are attractive to creators and to publishers • Scooby-Doo! The Mystery Begins, a story of how the
because there is less risk involved in returning to a story "Mystery Inc." met
with known popularity rather than developing new and • Star Wars episodes I, II and III, the "prequel trilogy".
untested characters and settings. Audiences are some- The original trilogy comprised episodes IV-VI, in a
times eager for more stories about popular characters or sequence that was partially planned before the
settings, making the production of sequels financially ap- release of the first film. (See also Episode IV opening
pealing.[2] crawl.)
In movies, sequels are common. There are many • Psycho IV: The Beginning, taking place before Psycho
name formats for sequels. Usually, they either have un- and its sequels
related titles, such as The Jewel of the Nile, the sequel to • Indiana Jones and the Temple of Doom, taking place
Romancing the Stone, or the same title as the original, but before Raiders of the Lost Ark
with a number added, as in Lethal Weapon 2, sequel to • Castlevania III: Dracula’s Curse takes place in 1476,
Lethal Weapon. Sometimes such titles have subtitles as whereas the first and second game takes place in
well (e.g. Home Alone 2: Lost in New York). It is also common 1691 and 1698 respectively.
for a sequel to have a variation of the original title (such
as Men of Boys Town, sequel to Boys Town). In the 1930s, Interquel
many musical sequels had the year included in the title When there are already two or more completed works,
(Gold Diggers of 1933), in the style of Broadway revues such an interquel can portray events that happened between
as the Ziegfeld Follies. them, bridging one story to the other.[3] The interquel is
therefore a sequel to one work and a prequel to another.
Chronologies For example, the video game Metroid Prime and its se-
quels were released after Metroid and Metroid II, but take
There are a number of ways that subsequent works can place between them. Another example is Banjo-Kazooie:
be related to the chronology of the original. Various ne- Grunty’s Revenge which took place in the middle of Banjo
ologisms have been coined to describe them. Kazooie and Banjo Tooie, but was released after them.
In film, the short film Rings bridges the events of The
Sequel Ring and The Ring Two. This is more common in ancillary
The most common approach is for the events of the sec- works in other media rather than works in a popular se-
ond work to directly follow the events of the first, either ries. For example, the novel The Godfather Returns takes
picking up dangling plot threads or introducing a new place between the events of the films The Godfather and
conflict to drive the events of a second story. The Godfather Part II, and the story of the 2008 animated
film Star Wars: The Clone Wars (as well as the series) takes
Prequel place between Star Wars Episode II: Attack of the Clones and
Main article: Prequel Star Wars Episode III: Revenge of the Sith.
1
From Wikipedia, the free encyclopedia Sequel
Midquel back in time and watch the events of the first movie from
a different angle, while never actually changing the ef-
A midquel is a sequel which can take place during a
fects of what happened.
chronology gap within a single previously completed
Tom Stoppard’s "Rosencrantz and Guildenstern Are
work.[citation needed] For example, the Narnia book The
Dead" retells the events of Shakespeare’s "Hamlet" from
Horse and His Boy takes place during the reign of the
the point of view of what were minor characters in the
Pevensie children, which happens towards the end of The
original play.
Lion, the Witch and the Wardrobe. Other midquels would be
American Girl’s Marie-Grace and Cécile series are told
the films Bambi II, which starts out shortly after the death
from the perspectives of the two eponymous protago-
of the young deer’s mother in Bambi but before the later
nists, with the books telling the story from the perspec-
scenes in which he is an adult; and Beauty and the Beast:
tives of either of the two.
The Enchanted Christmas, which takes place during Belle’s
initial captivity. The video game Resident Evil 2 takes place
during a brief interlude in its sequel Resident Evil 3: Neme-
Distant
sis; the video game Daxter takes place during a two-year Sometimes there is a large chronological interval be-
gap in Jak II, between the moments when the character tween the events in a completed work and its sequel.
of Jak is taken prisoner and when he is rescued. The film This can allow the creators additional freedom, since the
Saw IV takes place during the events of Saw III. The game characters and settings will not be expected to have as
Halo 3: ODST takes place during the events of Halo 2 from much in common. A distant sequel allows time for new
an Orbital Drop Shock Trooper’s perspective on Earth. In conflicts to develop, and a distant prequel need not di-
the Star Wars Expanded Universe, The Han Solo Adventures rectly establish the setting for the original. Speaker for
take place entirely within the events of the novel Rebel the Dead is an extreme example of this, set 3,000 years
Dawn, which itself ends after the start of A New Hope. The after the novel Ender’s Game. Some of the sequels and
game Kingdom Hearts 358/2 Days takes place during King- prequels in the Chronicles of Narnia series are separated
dom Hearts, Kingdom Hearts: Chain of Memories, and, briefly, by centuries in the chronology of the fantasy land or
there is a scene which ends it at the start of Kingdom decades in the chronology of the real world. The series
Hearts II. Star Trek: The Next Generation follows the events of the
original Star Trek by nearly a century. The Legend of Zel-
Parallel da video game series takes place over several hundred
years, with many installments featuring various reincar-
A Parallel can portray the events of a previously com-
nations of the characters Link and Zelda, who fight the
pleted work from another perspective. As with a prequel,
antagonist Ganon, though some games are direct contin-
the focus is not on the outcome, but on the characters
uations of others. Some issues of the Tales of video game
and previously unrevealed information. For example, the
franchise, namely Tales of Symphonia immediately fol-
novel Ender’s Shadow covers the events of the previous
lowed by its sequel, Dawn of the New World, and Tales
novel Ender’s Game from the point of view of a supporting
of Phantasia, take place in the same location but very
character in the original. The film The Lion King 1½ is a
spaced in time. The video game Mother 3 takes place in
"parallel" of The Lion King; the same story is told, only
an era very distant from Mother 2, though it is never
from the point of view of Timon and Pumbaa, secondary
stated exactly how long. In this example, only 2 charac-
characters in the original film. Similarly, the animated
ters return via time travel, with others only mentioned
short BURN-E found as a special feature on the WALL-E
vaguely. More moderate chronological distances can re-
DVD, tells the story of a maintenance robot set during,
sult from works being set in "the present" but released
and interacting with, the events of the feature presenta-
years apart, such as The Terminator and its sequels, re-
tion. The first three novels in author E. E. Knight’s Age of
leased in 1984, 1991, 2003 and 2009.
Fire series all take place at the same time, yet each book
is told from a different character’s point of view, the first,
Dragon Champion, from grey scaleless dragon Auron’s;
Spin-off
the second, Dragon Avenger, from his sister Wistala; and Main articles: Spin-off (media) and Side story
the third, Dragon Outcast, from his unnamed copper A variety of sequel that allows substantial creative free-
brother. The video game Grand Theft Auto IV’s expan- dom is one that is set in the same fictional universe as
sions, The Lost and Damned and The Ballad of Gay Tony the original work, but with unrelated plots, and some-
feature events that occur concurrently with the main times unrelated characters. One example of this is the
storyline, from the perspectives of two new protagonists, The Cleveland Show, which is based on Family Guy. The
with their three respective stories intersecting at various Cleveland Show follows a different character and story-
points. line, but are set in the same fictional universe. Many of
Back to the Future Part II played around with the par- Kevin Smith’s films take place in the same continuity,
allel concept by having the protagonist, Marty McFly, go commonly referred to as the View Askewniverse, after
2
From Wikipedia, the free encyclopedia Sequel
his production company, although most feature charac- George A. Romero’s subsequent Dead sequels after Night
ters only loosely connected to each other, like most char- of the Living Dead, and City of Men. Another example would
acters common association with characters Jay and Silent be the Sherlock Holmes series by Sir Arthur Conan Doyle.
Bob and having grown up in the same town, characters Each of the original stories exist in the same universe, but
also frequently reference prominent events from other are all treated as stand alone adventures and can be read
movies in passing. Screenwriter David Peoples described in almost any order. A notable example in video games is
his film Soldier as a "sidequel" to Blade Runner (which he the Quake series as well as many of the games in the Fi-
co-wrote)[citation needed]. When done with the intention of nal Fantasy series, Legend of Zelda series and the Super
launching a new series of stories, these are often called Mario series. These works often do not require viewers
"spin-offs." to encounter the previous installments in order to un-
derstand them. Batman Forever is a stand alone sequel as
Companion piece the film is campy compared to its dark predecessors, its
Main article: Spiritual successor only references to its predecessor Batman Returns is Dr.
A companion piece is a creative work that is produced as Meridian Chase’s line, "Or do I need skin tight vinyl and
a complementary work to another stand-alone project, a whip?", another reference is when Dick Grayson says
but storywise has nothing to do with its predecessor. to Bruce that his parents weren’t killed by a maniac, to
While a companion piece does not necessarily need to which Bruce replies "yes, they were", a reference to the
take place within the same "universe" as the predecessor, Joker in the 1989 Tim Burton film (In most continuities it
it must follow-up on specific themes and ideas intro- was not a maniac but a street thug, Joe Chill)
duced in the original work. It must also be intentionally
meant by its creator to be viewed alongside or within History
the same context as the earlier work. Examples would in-
clude Letters from Iwo Jima (Clint Eastwood’s companion It is impossible to say for sure when the history of the se-
piece to his earlier picture, Flags of Our Fathers) which saw quel begins, as the concept of the sequel in its loosest def-
the same events taking place from a different perspec- inition has presumably existed since the advent of story-
tive, the Road to... pictures starring Bing Crosby, Dorothy telling itself. In The Afterlife of a Character, David Brew-
Lamour, and Bob Hope, and films featuring the Three er coined the term “imaginative expansion” to describe
Stooges, the Marx Brothers, or the Tramp. Another ex- a reader’s desire to “see more,” or to know what hap-
ample is Stephanie Meyer’s Midnight Sun which is a pro- pens next in a narrative after it has ended.[4] This capac-
ject that has been on hold. Another would be Fantasia ity for expansive curiosity is certainly not restricted to
2000, which uses the basic ideas of and some elements a particular era in human history. Indeed, we can point
from Fantasia. to Homer’s ‘’Odyssey’’ as a sequel to the ‘’Iliad’’ in the
sense that it expands upon plot and character elements
Reboot established in the first text. That both the Odyssey and
the Iliad were written in the 8th century B.C.E. and are
Main article: Reboot (fiction) traditionally held to represent the first extant works of
A reboot is a term often used for a sequel that is not western literature lends credence to the ubiquity of se-
in continuity with the episode or episodes that were re- quels in literary history. The Judeo-Christian Bible is al-
leased before it. It is often used in media franchises; for so a common referent in that sense; many of the works
example, the James Bond series has been rebooted with included in the Hebrew Scriptures can be classified as se-
the film Casino Royale, the Batman film series with Batman quels in that they continue and expand on a very gen-
Begins, the Spider-Man film series’ upcoming 2012 film, eral narrative that is pre-established by previous books
and the Star Trek film series with the 2009 film, Star Trek. in the same collection. In addition, the development of
In television, the 2004 TV series Battlestar Galactica was an official canon allows for the distinction between of-
termed a "reimagining" of the original 1978 series. It has ficial and unofficial sequels; in this context, apocrypha
also been used for the Spyro video game series with a re- might be considered an early form of informal sequel
boot known as The Legend of Spyro. literature. Sequels, then, become an important facet of
Western literature throughout history. It’s worth noting
Stand-alone sequels the medieval genre of Romance in particular, which con-
When sequels are set in the same universe but have little tains massive networks of prequel and sequel literature.
or no reference to their predecessors, the work is called
a stand-alone sequel This is often the case of direct-
sequel. Sequels of the Novel
to-video films that follow up on semi-successful works, The origin of the sequel as we think of it today developed
though there are some mainstream films that are stand- from the novella and romance traditions in a slow
alone. Examples include White Noise: The Light, Boogeyman
2, Home Alone 3, Evan Almighty, The X-Files: I Want to Believe,
3
From Wikipedia, the free encyclopedia Sequel
process that culminated towards the end of the 17th cen- of his material by unauthorized third parties. Richard-
tury (see: novel). son was extremely vocal in his disapproval of the way the
The substantial shift towards a rapidly growing print protagonist of his novel ‘’Pamela’’ was repeatedly incor-
culture and the rise of the market system by the early porated into unauthorized sequels featuring particularly
18th-century meant that an author’s merit and livelihood lewd plots. The most famous of these is Henry Fielding’s
became increasingly linked to the number of copies of a parody, entitled “Shamela.”[11]
work he or she could sell. This shift to a text-based to
an author-centered reading culture[5] led to the “profes- Gender and The 18th Century Sequel
sionalization” of the author— that is, the development In “To Renew Their Former Acquaintance: Print, Gender,
of a “sense of identity based on a marketable skill and and Some Eighteenth Century Sequels” Betty Schellen-
on supplying to a defined public a specialized service it burg theorizes that whereas for male writers in the 18th
was demanding.”[6] In one sense, then, sequels became a century sequels often served as “models of paternity and
means to profit further from previous work that had al- property,” for women writers these models were more
ready obtained some measure of commercial success.[7] likely to be seen as transgressive. Instead, the unique
As the establishment of a readership became increasingly recurring readership created by sequels allowed female
important to the economic viability of authorship, se- writers to function within the model of “familiar ac-
quels offered a means to establish a recurring economic quaintances reunited to enjoy the mutual pleasures of
outlet. conversation,” which allowed writing to be perceived as
In addition to economic profit, the sequel was also an “activity within a private, non-economic sphere.”
used as a method to strengthen an author’s claim to his Ironically, of course, it was through this created percep-
literary property. With weak copyright laws and un- tion that women writers were able to break into the eco-
scrupulous booksellers willing to sell whatever they nomic sphere and “enhance their professional status”
could, in some cases the only way to prove ownership of through authorship.[12]
a text was to produce another like it. Sequels in this sense Dissociated from the motives of profit and therefore
are rather limited in scope, as the authors are focused unrestrained by the need for continuity felt by male writ-
on producing “more of the same” to defend their “liter- ers, Schellenburg argues that female-authored sequel fic-
ary paternity.”[8] As is true throughout history, sequels tion tended to have a much broader scope. Women writ-
to novels provided an opportunity for authors to inter- ers showed an “innovative freedom” that male writers
act with a readership. This becomes especially important rejected in order to “protect their patrimony.” For exam-
in the economy of the 18th century novel, in which an ple, Sarah Fielding Sarah Fielding’s Adventures of David
author needed to draw readers back with the promise Simple and its sequels Familiar Letters between the Prin-
of more of what they liked from the original in order to ciple Characters in David Simple and David Simple, Vol-
maintain readership. With sequels, therefore, came the ume the Last are extremely innovative and cover almost
implicit division of readers by authors into the categories the entire range of popular narrative styles of the 18th
of “desirable” and “undesirable”—that is, those that in- century.[13]
terpret the text in a way unsanctioned by the author. On-
ly after having achieved a significant reader base would Sequels in videogames
an author was free to alienate or ignore the “undesir- Sequels in videogames started in the early 1980s (for ex-
able” readers.[9] ample, games such as Super Pac-Man in 1982). As software
This concept of “undesirable” readers extends to un- development costs have increased,[14][15] sequels have
official sequels with the 18th century novel. While in cer- become increasingly important for the video game indus-
tain historical contexts unofficial sequels were actually try, as they provide a way to resell a product, reusing
the norm (for an example, see Arthurian literature), with code and graphics.
the emphasis on the author function that arises in con-
junction with the novel many authors began to see these
kinds of unauthorized extensions as being in direct con-
Media franchises
flict with authorial authority. With Don Quixote (an ear- Main article: Media franchise
ly novel, perhaps better classified as a satirical romance), In some cases, the characters or setting of an original film
for example, Cervantes disapproved of Alonso Fernández or video game become so valuable that they develop into
de Avellaneda’s use of his characters in “Second Volume a media franchise. Generally a whole series of sequels is
of the Ingenious Gentleman Don Quixote of La Mancha,” made, along with merchandising. Multiple sequels are of-
an unauthorized sequel. In response, he very firmly kills ten planned well in advance and actors and directors may
the protagonist at the end of the Second Part to discour- sign extended contracts to ensure their participation.
age any more such creative liberties.[10] Another exam-
ple is Samuel Richardson, an 18th-century author that re-
sponded particularly strongly against the appropriation
4
From Wikipedia, the free encyclopedia Sequel
Box office impact vs. original movie Unofficial sequels
Although movie sequels do not always do as well at the
Main article: Informal sequel
box office as the original, they tend to do much better
Sometimes sequels are produced without the consent of
than non-sequels, according to a study in the July 2008 is-
the creator of the original work. These may be dubbed
sue of the Journal of Business Research. The shorter the
unofficial, informal, unauthorized, or illegitimate se-
period between releases, the better the sequel will do at
quels. In some cases, the work is in the public domain,
the box office. Sequels also show a faster drop in weekly
and there is no legal obstacle to producing sequels, for
revenues relative to non-sequels.[16]
example Jean Rhys wrote Wide Sargasso Sea as a parallel
to Jane Eyre. In other cases, the original creator or their
Media shifting heirs may assert copyrights and challenge the creators of
Sequels are most often produced in the same medium as the sequels. For example, the estate of Margaret Mitchell
the previous work (e.g. a film sequel is usually a sequel sued over Alice Randall’s novel The Wind Done Gone, a par-
to another film). Producing sequels to a work in another allel of Gone with the Wind told from the perspective of
medium has recently become common, especially when the slaves; it was successfully defended as parody. Unof-
the new medium is less costly or time-consuming to pro- ficial sequels to works that are still under copyright may
duce. change the names of the characters and alter the settings
A sequel to a popular but discontinued television se- in an attempt to avoid legal action.
ries may be produced in another medium, thereby by-
passing whatever factors led to the series cancellation.
Noteworthy examples include the Star Trek films, Seren- Sequel titles
ity (based on the Firefly series), and Twin Peaks: Fire Walk The producers of sequels have taken a variety of ap-
with Me. The Buffy the Vampire Slayer television series was proaches to titling their works.
continued after ending its run in 2003 for another "sea- In the early years of film, sequels were generally giv-
son" as a comic book. The Buffy series was itself a con- en titles similar to the original and usually made use
tinuation of the unsuccessful film Buffy the Vampire Slayer. of the main character’s name. When the William Pow-
The Gargoyles television series’ comic book series, written ell-Myrna Loy mystery film The Thin Man (1934) turned
by series creator, Greg Weisman, was written with a spe- out to be a hit, the studio produced several more films
cific agenda to supplant the events of the television prop- featuring the characters, such as After the Thin Man and
erty’s derided Goliath Chronicles phase. The Thin Man Goes Home, even though the original "thin
Some highly popular movies and television series man" was the subject of the mystery and not the detec-
have inspired the production of multiple novel sequels, tive. After the success of A Family Affair (1937), there came
sometimes rivaling or even dwarfing the volume of a whole series of films starring Mickey Rooney reprising
works in the original medium. An ongoing series of nov- the Andy Hardy character in titles such as Love Finds Andy
els (largely interquels) begun in the 1970s were based on Hardy and Andy Hardy Meets Debutante.
the original Star Trek series, with more following with the On the other hand, early sequels in world cinema of-
sequel films and TV series. The novels and graphic novels ten lacked any particular naming schemes. For exam-
in the Star Wars Expanded Universe are sequels, prequels, ple, the three films in Satyajit Ray’s The Apu Trilogy
and interquels to the films. (1955–1959) had unrelated titles: Pather Panchali (Song of
Computer games are an increasingly common medi- the Little Road), Aparajito (The Unvanquished), and Apur
um for sequels to films. The Matrix Online, Stranglehold, Sansar (The World of Apu). Similarly, Akira Kurosawa’s San-
and Scarface: The World Is Yours are sequels to the films The juro (1962) also had an unrelated name from its predeces-
Matrix, Hard Boiled, and Scarface, respectively. sor Yojimbo (The Bodyguard) (1961). Sergio Leone’s Dollars
Whether these alternate-medium sequels are consid- Trilogy also lacked a naming scheme for its titles: A Fistful
ered canonical, varies. Bungie Studios, the developer of of Dollars (1964), For a Few Dollars More (1965), and The Good,
the Halo video games, considers the novel sequels to be the Bad and the Ugly (1966).
canonical. The novels, comics, video games, and other The James Bond franchise stuck to the titles of Ian
media that comprise the Star Wars Expanded Universe Fleming’s novels until they ran out, then fashioned new
are divided into tiers of canonicity by Lucasfilm, the titles with similar forms, none of which use the name
films’ production company, though the subject is often "James Bond 007" or a number. The Pink Panther series
debated amongst fans. Likewise, novel sequels to the film started out with a different title for each (The Pink Pan-
Blade Runner are authorized and officially considered ther, A Shot in the Dark, Inspector Clouseau) in the 1960s.
canonical, but the issue is also a topic of debate amongst When the series was later resumed, the new approach
fans. was to append phrases to The Pink Panther, many of which
came from classic horror films, i.e. Son of Frankenstein, The
Mummy’s Curse. Even if the actual Pink Panther diamond
5
From Wikipedia, the free encyclopedia Sequel
that the series takes its name from is not involved in a cle Buck became Allein mit Onkel Buck, or Alone with Uncle
given sequel, they were named The Return of the Pink Pan- Buck), even though the two films were not linked in the
ther, The Pink Panther Strikes Again, Revenge of the Pink Pan- same continuity. When Dawn of the Dead was released in
ther, Trail of the Pink Panther, Curse of the Pink Panther, and Italy under the title Zombi, a similar but unrelated Italian
Son of the Pink Panther to clearly associate them with each film was in production, which was released as Zombi 2.
other. Numbers in the titles of sequels sometimes indicate
Numbered sequels (particularly using Roman numer- the order in which the sequel was produced, regardless
als) became very popular in films and video games in the of the chronological events in the story. For example, the
1970s and 1980s. The Godfather Part II (1974) was the first video game Devil May Cry 3 was the third title in the Devil
major motion picture to use Part II in the title. The suc- May Cry series to be produced, though it is a prequel that
cess of The Godfather, Part II began the Hollywood tradi- takes place before the events of Devil May Cry and Devil
tion of numbered sequels; the first sequel to designate May Cry 2. Devil May Cry 4 is set between the original game
itself as such simply by using a number in the title was and Devil May Cry 2. However, while the sequel to the Ja-
1975’s French Connection II, and the trend continued with panese movie Ring was called Ring 2, the subsequent pre-
films such as Rocky II, Jaws 2 and Halloween II. Occasionally, quel was Ring 0.
a homophonous word is substituted for the number, such Occasionally a work is designated as a sequel to an
as in the case of Look Who’s Talking Too, the sequel to Look unrelated but similar work strictly for marketing purpos-
Who’s Talking, or the upcoming film Fletch Won, which is a es. After releasing the computer game Quake, developer
prequel to the film Fletch. As sequels developed a reputa- id Software decided to name its next game Quake II, de-
tion of being inferior to the original works, the number- spite the fact that the two games are completely unre-
ing of sequels became less common, or sometimes used lated. Quake III is also unrelated to either of the previ-
for humorous effect. Naked Gun 33⅓: The Final Insult is sim- ous Quake games, although Quake 4 continues the story
ply the third in the Naked Gun series. Leonard Part 6 had no of Quake II. A further example is Capcom’s Street Fighter
predecessors, while History of the World, Part I was made 2010, which had nothing to do with any of the other Street
with no intention for a sequel. Many sequels use subti- Fighter games.
tles instead of numbers or in addition to them, such as In recent years, many sequels have been given the
Resident Evil: Apocalypse, Underworld: Evolution, X-Men: The name of the title character, to imply a new beginning
Last Stand, and Star Trek II: The Wrath of Khan. In other cas- for a series. This is commonly known as a "Stallone," for
es, sequels use titles similar to their predecessors, such the actor who has given such outstanding examples of
as Analyze This sequel Analyze That, Meet the Parents sequel this nomenclature. The sixth Rocky film was titled Rocky
Meet the Fockers, and Night of the Living Dead sequel Dawn of Balboa; the fourth Rambo movie, following on from First
the Dead. Some such titles give a playful nod to the num- Blood, Rambo: First Blood Part II, and Rambo III was called
bering practice, as with The Whole Nine Yards sequel The Rambo. Another example of a film to utilize a "Stallone"
Whole Ten Yards, 101 Dalmatians sequel 102 Dalmatians, or is the sixth St Trinian’s film, titled St Trinian’s. In a similar
Ocean’s Eleven sequels Ocean’s Twelve and Ocean’s Thirteen. trend, the third sequel to The Fast and the Furious was sim-
Throughout this period of numbered sequels, like- ply named Fast & Furious, while the fourth sequel to Final
named sequels remained somewhat popular, and some- Destination was named The Final Destination.
times the original film was renamed when it was released Yet another form of titling is the use of the plural ver-
on home video to match the naming of the sequels. What sion of the original work’s title, as in Aliens, the sequel to
was once known as Star Wars is now known as Star Wars Alien, and Predators, a sequel to Predator.
Episode IV: A New Hope. Similarly, Raiders of the Lost Ark is Though very seldom, a proper sequel, and not a re-
known in its current video release as Indiana Jones and the boot, may have exactly the same title as the original
Raiders of the Lost Ark to better align it with its prequel and work, with none of the variations mentioned above. The
sequel, and the DVD of Pitch Black was renamed The Chron- 2009 film Star Trek, is one such case; by means of a time
icles of Riddick: Pitch Black to help promote it as a prede- travel plot it is at once a prequel, sequel and reboot to
cessor to its sequel The Chronicles of Riddick. the 1960’s television series of exactly the same name. An
With the rise of pre-planned series such as The Lord of even clearer example is the 2011 film The Thing, which is
the Rings, filmmakers turned more to long titles that in- a prequel to the 1982 film with the exact same title.[17]
clude the franchise name and the title of the film sepa- Likewise the 2006 video game Sonic the Hedgehog is set lat-
rated by a colon. Examples of these include Pirates of the er in the same continuity as the first game in the series,
Caribbean: The Curse of the Black Pearl and The Chronicles of 1991’s Sonic the Hedgehog.
Narnia: The Lion, the Witch and the Wardrobe.
Sequel-naming in translation varies. Following the
success of Home Alone in Germany (German title: Allein zu
See also
Haus, or Alone at Home), some of Macaulay Culkin’s oth- • Cliffhanger
er films were retitled to capitalize on the success (Un- • Film series
6
From Wikipedia, the free encyclopedia Sequel
• List of video game franchises [9] Schellenberg, Betty A. "To Renew Their Former
• List of film sequels by box-office improvement Acquaintance’: Print, Gender, and Some
• Prequel Eighteenth-Century Sequels." Part Two Reflections
• Spiritual successor on the Sequel (Theory / Culture). Ed. Paul Budra
• Tetralogy and Betty A. Schellenberg. New York: University of
• Trilogy Toronto, 1998. Print.
[10] Riley, E.C. "Three Versions of Don Quixote." The
References [11]
Modern Language Review 68.4 (173). JSTOR. Web.
Brewer, David A. The Afterlife of Character,
[1] Fabrikant, Geraldine (March 12, 1991). "Sequels of 1726-1825. Philadelphia: University of
Hit Films Now Often Loser". The New York Times. Pennsylvania, 2005. Print.
http://www.nytimes.com/1991/03/12/movies/ [12] Schellenberg, Betty A. "To Renew Their Former
sequels-of-hit-films-now-often- Acquaintance’: Print, Gender, and Some
loser.html?scp=9&sq=robocop&st=cse. Retrieved Eighteenth-Century Sequels." Part Two Reflections
2010-08-09. on the Sequel (Theory / Culture). Ed. Paul Budra
[2] Rosen, David (June 15, 2011). "Creative and Betty A. Schellenberg. New York: University of
Bankruptcy". Call It Like I See It. Toronto, 1998. Print.
http://www.callitlikeiseeit.com/?p=230. [13] Michie, Allen. “Far From Simple: Sarah Fielding’s
[3] interquel @ Dictionary.com’s 21st Century Lexicon Familiar Letters and the Limits of the Eighteenth-
[4] Brewer, David A. ‘’The Afterlife of Character, Century Sequel” On Second Thought, Edited by
1726-1825.’’ Philadelphia: University of Bourdeau and Kraft. Cranbury, NJ: Rosemont, 2007.
Pennsylvania, 2005. Print. Print.
[5] Schellenberg, Betty A. "The Measured Lines of the [14] Takatsuki, Yo (December 27, 2007). "Cost headache
Copyist." On Second Thought, Edited by Bourdeau for game developers". BBC News.
and Kraft. Cranbury, NJ: Rosemont, 2007. Print. http://news.bbc.co.uk/1/hi/business/
[6] To Renew Their Former Acquaintance’: Print, 7151961.stm.
Gender, and Some Eighteenth-Century Sequels by [15] http://www.shacknews.com/onearticle.x/61911
Betty A. Schellenberg from Part Two: Reflections [16] Newswise: Researchers Investigate Box Office
on the Sequel Impact Vs. Original Movie Retrieved on June 19,
[7] Budra, Paul, and Betty Schellenberg. 2008.
"Introduction." Part Two Reflections on the Sequel [17] [1]
(Theory / Culture). New York: University of
Toronto, 1998. Print.
[8] Schellenberg, Betty A. "To Renew Their Former
External links
Acquaintance’: Print, Gender, and Some • Slate: "The Midas Formula (How to create a billion-
Eighteenth-Century Sequels." Part Two Reflections dollar movie franchise)"
on the Sequel (Theory / Culture). Ed. Paul Budra • Box Office Mojo: Film franchise earning comparison
and Betty A. Schellenberg. New York: University of
Toronto, 1998. Print.
Retrieved from "http://en.wikipedia.org/w/index.php?title=Sequel&oldid=460405549"
Categories:
• Narrative forms
• Film and video terminology
• Sequels
• Continuity (fiction)
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