->"''Literature/{{Dracula}} would make a marvelous movie. In fact, nobody has ever made it... all the movies are based on the play."''
-->-- '''Creator/OrsonWelles'''

New adaptations of an original work -- generally a work which has inspired countless imitators -- tend to resemble the imitations more than the original. Sometimes the changes are subversive, or done because the original themes [[ValuesDissonance are no longer accepted by the audience]], but often it's [[TheCoconutEffect just because the writers think that it's what the audience is used to seeing at this point]]. It is especially prone when there is a PragmaticAdaptation in play, with a belief that a truly 100% faithful adaptation is not possible in another medium. Done properly, though, you have CharacterDevelopment like no one's business.

Usually started by a TropeCodifier. May involve DuelingMovies, where TheFilmOfTheBook of an imitator inspires a studio to film the original. Also often a result of AdaptationDisplacement.

Lost In Imitation can propagate itself in time, in which case what was not lost in the imitation will suffer from severe PopculturalOsmosis. Compare TruerToTheText, in that what is actually Lost In Imitation is actually being more faithful to the source material. But there are pitfalls there, removing the ''expected'' elements while still keeping much of the same framework may lead to being accused of changing it for the sake of being different.

A common cause of the UnbuiltTrope. Compare RetCanon, SeinfeldIsUnfunny, AudienceColoringAdaptation. Since the first imitators change things from the original work, this is strongly related to SadlyMythtaken and BeamMeUpScotty.



[[folder: Anime and Manga]]
* Since the 70's, almost all of the works in the ''Franchise/{{Lupin III}}'' franchise have been more heavily influenced by the LighterAndSofter [[Anime/{{Lupin III}} TV adaptations]], rather than the original DarkerAndEdgier [[Manga/{{Lupin III}} manga]]. The 2012 ''[[Anime/LupinIIITheWomanCalledFujikoMine Fujiko Mine]]'' anime was the first series to actually revisit the source material's violent and hyper-sexual tone.
* ''Anime/SailorMoon'' is most remembered by its anime adaptation, the epitome of idealism, where ThePowerOfLove and [[ThePowerOfFriendship Friendship]] always triumphs over evil. The original manga had the Sailor Senshi fight their enemies much more straightforwardly (see UnbuiltTrope). Furthermore, Usagi wasn't always the main character; Minako had that role for the prequel manga ''Manga/CodenameSailorV''.
* Most video games and promotional images of ''Franchise/PuellaMagiMadokaMagica'' wield the franchise's core characters as a much more cohesive group than they were in the original anime. This is justified in ''The Rebellion Story'', the anime's sequel movie, for plot-related reasons, but really, the ones we know as the "main five" were simply the ''only'' five who had any real role in things (with others appearing for only a few seconds in flashbacks, [[spoiler: Madoka's salvation montage]], and as silhouettes after the last episode's credits. Originally, certain Puellae Magi were never present at the same time, there was a lot of animosity between them (which Mami explicitly states is part of the life in general of being a MagicalGirl), and Madoka never becomes a Puella Magi until the very last episode, at which point she [[spoiler: wipes herself from the annals of history]]. The only time all five girls ever function as a full-fledged team is [[spoiler: in Homura's third (on-screen) timeline]] (and even then, Sayaka accuses Homura of "teaming up with that Kyoko chick" before Kyoko herself is shown fighting alongside the others against [[spoiler: Sayaka's Witch form]]).

[[folder: Comic Books ]]
* In ''Franchise/XMen'' adaptations, the need to keep the sprawling cast of the comics relatively simple tends to lead to villains who are unassociated in the comics working for whoever the main villain of the adaptation is. This has a tendency to become their default status in other adaptations:
** In ''ComicBook/XMen'', almost all adaptations to feature Sabretooth have made him TheDragon to ComicBook/{{Magneto}}, despite the comic version of him never having worked for or with Mags. The rare exceptions are ''WesternAnimation/WolverineAndTheXMen'', in which Sabretooth was simply a Weapon X operative, and ''Film/XMenOriginsWolverine,'' in which Magneto does not appear and Sabretooth is Wolverine's brother. The [[WesternAnimation/XMen '90s show]] did have him take a job from Magneto to infiltrate the Institute, but he otherwise doesn't work for him. (When he finds out about the scheme, Wolverine points out that Sabretooth usually doesn't do someone else's dirty work.)
** In comics, Mystique is the leader of the new Brotherhood and has rarely worked for anyone else. Most adaptations have her working for Magneto or Apocalypse. In the [[WesternAnimation/XMen 1990s series]], she worked for Apocalypse. In ''WesternAnimation/XMenEvolution'', she worked for Magneto until he ditched her, then operated on her own, then joined Apocalypse. In the [[Film/XMenFilmSeries movieverse]], she worked for Magneto until he ditched her in ''[[Film/XMenTheLastStand X3]]'' (came after ''Evo'' ended).
** Magneto's reliance on Mystique and/or Sabretooth as TheDragon can also be explained by most adaptations featuring a significantly [[StrongAsTheyNeedToBe powered-down]] version of the Master of Magnetism. In the comics, he's a [[HeroKiller top-tier threat]]: strong enough to fight an entire team of X-Men to a standstill (if not [[CurbStompBattle stomp them]] outright) and has a [[ComboPlatterPowers combo plate of powers]] that let him perform feats well beyond what magnetic fields are theoretically capable of.
** In the comics, the Juggernaut is Professor X's step-brother and isn't even a mutant, getting his powers from a magic gem, and he originally worked alone or with one partner. Since he's one of the X-Men's most iconic villains he tends to be one of Magneto's henchmen in adaptations, usually not mentioning the nature of his powers and his relationship to Prof. X or actually making him a mutant and/or not related to Xavier at all. It's even partially made it back to the comics: while he's still Xavier's non-mutant stepbrother, writers more familiar with the adaptations than the comics often have him mention being a former member of the Brotherhood. He finally did appear as a member of a short-lived incarnation of the Brotherhood, albeit one largely unconnected to previous versions aside from using the same name; this hasn't stopped artists from drawing him fighting alongside Magneto (which he has never done) in flashbacks.
* In the ''ComicBook/GuardiansOfTheGalaxy'' comic books, Rocket Raccoon does not speak with any sort of discernible accent, but was given a cockney British accent in ''VideoGame/UltimateMarvelVsCapcom3''. This proved popular enough that he was given the same one in ''WesternAnimation/TheAvengersEarthsMightiestHeroes'', and a New York / Creator/JoePesci-ish accent in ''WesternAnimation/UltimateSpiderMan''. When it was revealed that Creator/BradleyCooper would not be using an accent in the ''Film/GuardiansOfTheGalaxy'' movie, some people complained, even though that's how Rocket sounds in the source material.
* ''ComicBook/SpiderMan'':
** TheSymbiote originally had minimal influence over Peter's mind at best -- the reason he gave it up was because it had a habit of taking his (sleeping) body out at night to websling and because he discovered it was alive and planning on merging with him on a genetic level -- which freaked him out. In fact, the original comics symbiote had no emotions of its own, but developed them as a result of spending so long bonded to Spider-Man, even sacrificing itself (well, almost) to save its former host after being rejected. Though Eddie Brock, who hated Spider-Man, was able to use it to go against him as Comicbook/{{Venom}}, the symbiote still tried to jump ship and return to Spider-Man when Spidey made the offer. In [[WesternAnimation/SpiderManTheAnimatedSeries the '90s animated series]], the Symbiote was portrayed as having its own, extremely aggressive personality, which was starting to overwrite Peter's as the bond grew stronger, and all adaptions since have taken this up.
** Also, none of the adaptations since -- ''Ultimate'' ([[ComicBook/UltimateSpiderMan comic]] and [[WesternAnimation/UltimateSpiderMan cartoon]]), ''[[WesternAnimation/TheSpectacularSpiderMan Spectacular]]'', or [[Film/SpiderMan3 film]] -- have kept its origin from ''Comicbook/SecretWars'', where it essentially came from an alien vending machine. ''Spectacular'' and ''3'' had it come from space, as in the '90s animated series; the ''Ultimate'' comic had it as a product of his father's research into a cure for cancer; and the ''Ultimate'' cartoon had ComicBook/DoctorOctopus create it.
** The symbiote also initially made Spider-Man ''weaker'' since it was feeding off his adrenaline (even going as far as PuppeteerParasite while Peter slept). The '90s show was the first to show the symbiote actually augmenting Spidey's powers along with his aggression, with the other adaptations following suit.
** Another Spidey-related example is [[ComicBook/NormanOsborn the Green Goblin's]] split personalities TalkingToThemself. In the original version, Norman was simply unaware he was the Goblin, which lead to a SplitPersonalityMerge. In [[WesternAnimation/SpiderManTheAnimatedSeries the '90s animated series]], there is a scene where Norman and the Goblin talk to each other in a mirror. This was carried over into [[Film/SpiderMan1 the movie]].
** Another scene from that series: When the black suit first gets on Spidey and takes him for a ride, he finds himself staring at his reflection in a skyscraper window as he hangs upside down, having no idea how he got there. That scene can now be found in every version of the black suit saga ''except'' the original comics.
** The iconic bridge scene from ''ComicBook/TheNightGwenStacyDied'' gets adapted a lot -- ''WesternAnimation/SpidermanTheAnimatedSeries'', ''ComicBook/UltimateSpiderman'', [[Film/SpiderMan1 the movie]] -- and they always replace Gwen with Mary-Jane and let her live. The child-friendly cartoon series actually came the closest to adapting the tragedy by having Mary-Jane fall into a dimensional time and space rift (alive but in an AndIMustScream state of floating through a no-mans-land outside reality, and definitely believed dead by Peter, with an arc about grieving her loss.) When the ''Film/TheAmazingSpiderman2'' FINALLY gets the right girl, and [[KilledOffForReal kills her off for real]], they have to replace the iconic setting with a clock tower because people have already seen the familiar set up with Mary-Jane too many times. They also replace Norman with Harry. Don't expect a 100 percent faithful adaption anytime soon.
* The film adaptation of ''Film/{{The Avengers|2012}}'' has been so successful that it has influenced a number of other works and adaptations.
** ''WesternAnimation/AvengersAssemble'' uses the same cast from the film, with the inclusion of ComicBook/TheFalcon. The character designs usually come straight from the Franchise/MarvelCinematicUniverse or from the Franchise/UltimateMarvel universe, which inspired the films.
** Likewise, it's becoming increasingly common to feature ComicBook/CaptainAmerica, ComicBook/BlackWidow, and ComicBook/{{Hawkeye}} as founding members of the Avengers, even though they were not founders in the comics and indeed replaced ''actual'' founders ComicBook/AntMan and ComicBook/TheWasp in the movie. Captain America was retroactively given founder status in the comics, as he essentially replaced [[ComicBook/TheIncredibleHulk the Hulk]] so early in the team's history.
** The movie team itself has become the public face of the entire Avengers franchise. The ''Marvel Universe LIVE'' uses the movie team (complete with their designs) along with ComicBook/TheFalcon and [[ComicBook/MsMarvel Captain Marvel]] for some [[TokenMinority added]] [[AffirmativeActionGirl diversity]].
* Of all things, the comedic ''WesternAnimation/TheSuperHeroSquadShow'' gets to provide one of these: its version of ComicBook/TheFalcon has FeatherFlechettes. Every animation since it has had them, though sadly the comic has yet to take them up. (The movies lack them too - as a military man, movie Falcon is a SuperheroPackingHeat.)
* ''Film/IronMan'':
** Tony's Arc Reactor from the first ''Film/IronMan1'' movie is now standard issue for pretty [[WesternAnimation/IronManArmoredAdventures much]] [[WesternAnimation/TheAvengersEarthsMightiestHeroes any]] [[WesternAnimation/AvengersAssemble adaptation]], even though in the comics, his chest piece in the armor was originally just a magnet to keep the shrapnel from his heart.
** Likewise, the cartoons all use Pepper Potts and [[ComicBook/WarMachine James Rhodes]] as his two confidantes, which originated in the movie. Though they have both had close associations with Stark in the comics, the two generally had very little interaction (in fact Pepper had more or less been PutOnABus by the time Rhodey first showed up, and by the time she came back as a regular, Rhodey was on his own as War Machine).
** The people who captured Tony in his origin story were originally unconnected to any major ''Iron Man'' villains. Adaptations usually tie them with a famous villain (or sometimes, replace them): in the '90s animated series, Tony was held captive by the Mandarin. In the ''Invincible Iron Man'' animated movie, he was captured by a group trying to prevent Mandarin's return. In ''Marvel Adventures'', he is captured by AIM. In the movies, the group is called Ten Rings, hinting at Mandarin, [[spoiler:and they were hired to kill Stark by Obadiah Stane]]. Though linking Tony's origin to the Mandarin dates back to a 1991 RetCon of his comic book origin shown in issues 267-268 of his series.
** ''Film/IronMan2'' was the first adaptation to portray ComicBook/BlackWidow with an American accent rather than Russian. All subsequent depictions of the character (save ''WesternAnimation/TheAvengersEarthsMightiestHeroes'', which was in development at the same time as ''Iron Man 2'') have followed suit.
* Some adaptations of ComicBook/TheJoker since ''WesternAnimation/BatmanTheAnimatedSeries'' have drawn from Creator/MarkHamill's performance as the character, particular either the high pitch, slight rasp or both, and definitely the laugh. It can be jarring for even older fans to watch [[Film/{{Batman}} the 1989 film]] again and note that [[Creator/JackNicholson Jack Nicholson]]'s laugh for the character was very different: more "weasel" than [[TheHyena "hyena"]], and often a lot more lower-pitched than the Joker is "supposed" to laugh. Nicholson himself drew from the "hoo-hoo-hoo" laugh (not unlike that of Tigger of ''WinnieThePooh'' fame) popularized by Creator/CesarRomero on the [[Series/{{Batman}} TV series]].
* Comic-style Chitauri have yet to appear outside the comics, ever. The ''WesternAnimation/UltimateAvengers'' films, and everything that followed including the live-action Avengers movie, treat them as your basic AlienInvasion - no sign of having ShapeShifting abilities and never showing their true forms. It makes sense, though: The comic Chitauri are the UltimateUniverse version of the Skrulls, only ''actually threatening,'' at a time when the Skrulls were mostly remembered for the early appearance the ended with them [[NeverLiveItDown getting tricked out of invading when convinced monster movies were real, and winding up turned into cows. Some people at their meat and got powers later on]]. With ''ComicBook/SecretInvasion'' the comic Skrulls TookALevelInBadass, making "like the Skrulls, except competent" something that's no longer needed. When you need shapeshifting aliens you use them; when you just need ''bad'' aliens, the Chitauri are a name comic fans recognize.
* Franchise/TeenageMutantNinjaTurtles
** Most people would not know that the original turtles all wore red bandannas and had tails; those two details were altered when the first action figures were made, and have since become standardized. It wasn't until ''WesternAnimation/TurtlesForever'' that the original characters' designs were seen outside the comic books.
** The Shredder wasn't the major villain in the original Mirage run. He died in the first issue, and only came back once in canon as a worm colony clone. It was only through the Fred Wolf series that he took on the arch-nemesis position, and any other appearances and allusions to Shredder in the Mirage comics (such as the Shredder Shark monster) came out much, much later.
** Also, Baxter Stockman is never known to have ever met Shredder in the Mirage comics, but [[WesternAnimation/TeenageMutantNinjaTurtles2003 the 4Kids cartoon]], which was usually much more true to the comics, has him working for Shredder just as he did in [[WesternAnimation/TeenageMutantNinjaTurtles1987 the Fred Wolf show]].
** The turtles didn't originally say [[TotallyRadical stuff like "Cowabunga!"]] They were much more formal. Just read [[http://www.waltkneeland.com/archives/essays/tmnt.htm Leonardo's opening narration]], and you'll get an idea.
** Splinter started out as an ordinary non-mutated rat in the Mirage series, while his original owner Hamato Yoshi was [[DeathByOriginStory killed by Oroku Saki]]. The 1987 cartoon made Splinter a [[CompositeCharacter mutated Yoshi]] [[SparedByTheAdaptation instead]]. The 1990 and 2014 film series, as well as the 2003 cartoon, went back to the rat origin (though the 2014 film series omits Yoshi altogether), while the 2012 cartoon once again has Yoshi becoming Splinter.
** And to top it all off, [[WhatDoYouMeanItsNotForKids the original comics were not at all kid-friendly]]. They were nothing short of bloody and ultraviolent.
* When Robin was introduced in ''WesternAnimation/BatmanTheAnimatedSeries'', he was redesigned so that his elf boots and scaly shorts were replaced with pants and a pair of more practical black combat boots, bringing him closer to the then-current Tim Drake look, despite the character being Dick Grayson. Virtually every cartoon to feature Robin since then (''WesternAnimation/TheBatman'', ''WesternAnimation/TeenTitans'', ''WesternAnimation/BatmanUnderTheRedHood'', ''WesternAnimation/YoungJustice'') has used a similarly "modern" design rather than using his classic look. Also, the new black-and-red costume Tim Drake got when he finally appeared in the cartoon (since his comic look was stolen by Grayson) eventually made it back to the comics.
** Likewise when he graduates to Comicbook/{{Nightwing}}. Nearly every DC Comics adaptation following ''WesternAnimation/BatmanTheAnimatedSeries'' featuring Dick's adult identity (a BadFuture in ''WesternAnimation/TeenTitans'', a not-so-bad future in ''WesternAnimation/TheBatman'', the second season of ''WesternAnimation/YoungJustice'' and ''WesternAnimation/SonOfBatman'') uses a variant of the costume from ''New Batman Adventures'': a blue bird ChestInsignia with serrated wings on an otherwise unmarked black outfit. Make the bird red (and of course add the infamous nipples) and you have his Robin outfit from ''Film/BatmanAndRobin.'' Nightwing has never worn this outfit in the comics, the closest being a black outfit with a blue stripe that went down the arms and formed a sort of arrow on the chest. His ''New 52'' outfit was kind of like this, but with a red, more stylised bird. ''Teen Titans'' and ''Young Justice'' also follow ''NBA'' in not including the bat-symbol mask. (Exceptions: ''WesternAnimation/BatmanTheBraveAndTheBold'' uses the original seventies costume; ''WesternAnimation/BatmanUnderTheRedHood'' uses the blue-stripe version.)
* ComicBook/LexLuthor's [[BodyguardBabes bodyguard]] Mercy Graves from ''WesternAnimation/SupermanTheAnimatedSeries'' proved popular enough to not only become a CanonImmigrant, but has also been featured in a number of subsequent adaptations such as ''WesternAnimation/TheBatman'' and ''WesternAnimation/YoungJustice''. Even when Mercy herself doesn't appear, it's become pretty standard for Luthor to now have [[{{Expy}} a female bodyguard or assistant]] whenever he appears in an adaptation. In another example, ''The Batman'' {{Race Lift}}ed Mercy into an Asian woman, an idea that was later used in ''Film/BatmanVSupermanDawnOfJustice''.
* Ever since ''Series/{{Smallville}}'' cast Creator/PhilMorris to play the Comicbook/MartianManhunter's "John Jones" identity, just about every subsequent adaptation (such as ''WesternAnimation/YoungJustice'' and ''Series/{{Supergirl 2015}}'') has made the Manhunter's human form a black man.
* Franchise/{{Superman}}:
** As [[http://www.supermanhomepage.com/other/other.php?topic=phonebooth this page]] analyzes, “If you ask the average person on the street, ‘Where does Clark Kent change into Franchise/{{Superman}}?’, nine out of ten people will answer ‘In a phone booth’”. This particular part of Superman mythology was not originated in the comics, but in "The Mechanical Monsters", a Fleischer WesternAnimation/{{Superman Theatrical Cartoon|s}}. The page presents another 9 mentions until 1978 (another Fleischer cartoon, 1 Superman Sunday Newspaper, 1 Continental Insurance Superman Ad, some references to [[Radio/TheAdventuresOfSuperman the radio series]], and one reference to the Superman Broadway Musical, and four cover in the comics). But then mentions the joke in ''Film/{{Superman}}'' (1978) works because, for some reason, everyone "knows" Clark Kent uses a phone booth to make his quick-change into Superman. How could this be if the joke was made only ten times in Superman Canon? Because the joke was made ''far'' more often than that in canon. The author of the article admits (toward the bottom) that he didn't bother to find all the instances of Superman changing in a phone booth in the comics; he's (mostly) only citing appearances in other media. It may have originated in the serials, but the comics were quite happy to pick it up and run with it.
** Creator/RichardDonner's original Film/SupermanTheMovie and its sequel, Film/SupermanII remain the main template for live-action adaptations to the extent that recent Superman movies like Creator/BryanSinger's Film/SupermanReturns and Film/ManOfSteel still use the same familiar tropes and characteristics from these movies with Singer using the first two movies (made in TheSeventies) as continuity. For instance, Superman's RoguesGallery in movies can be restricted to Luthor and Zod, and it took Film/BatmanVSupermanDawnOfJustice to introduce a new member of Superman's RoguesGallery: Doomsday, who was himself a deformed clone of [[spoiler:General Zod's body]]. There have been talks of bringing in Brainiac, Mxyzsptlk, Bizarro, Toyman, Parasite among many others and secondary characters like Comicbook/{{Supergirl}} into the movie continuity but the first two Donner movies remain the main reference point.
** This even extends to characterization. For instance Lex Luthor in the comics and the animated series is a genius inventor/criminal mastermind and CorruptCorporateExecutive. Despite appearing in five movies, played by three actors, we have yet to see Luthor invent any of the scientific contraptions, devices and superweapons his comics counterpart was known for.
* In the original comics, Cheshire doesn't wear a mask. The ''WesternAnimation/TeenTitans'' animated series featured her briefly, but her appearance was quite memorable, and she wore a big grinning cat mask, its smile the last to fade when she was being stealthy. Since then, all her animated appearances (''WesternAnimation/YoungJustice,'' ''WesternAnimation/JusticeLeagueCrisisOnTwoEarths'') feature it.


[[folder:Fan Works]]
* ''Fanfic/{{Cupcakes}}'' is a particularly infamous ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' fanfic that has inspired hundreds of fanworks. The problem is, most seem to be based less on the actual fic and more off of other fanworks. In the original fanfic, the creepiness comes from Pinkie being her normal, fluffy maned self. ''Blog/AskPinkaminaDianePie'' helped cement the image of ''Cupcakes''' Pinkie being a monotone, straight haired mane named "Pinkamena". It also spurred a lot of works to have Scootaloo as Pinkie's assistant, despite the fanfic having [[spoiler:Apple Bloom]] in that role instead.

* References to fairy tales generally have more to do with the Franchise/{{Disney a|nimatedCanon}}daptation than to the original story. The Seven Dwarves will have names, Cinderella only goes to one ball instead of two, and Snow White's wicked stepmother will ''not'' be put to death by the newlywed Snow White and the Prince but killed off in some other way (though her [[CruelAndUnusualDeath horrific execution]] had also been removed from earlier {{Bowdlerise}}d editions).
** In ''Series/TheTenthKingdom'', Virginia (who knows the child-friendly versions) has to have originals explained to her to understand what's going on. And, including the 1987 live-action movie, an animated movie by Jetlag Productions, and [[http://en.wikipedia.org/wiki/The_Legend_of_Snow_White one animated series]], this remains one of only four works that included the stepmother's other attempts on Snow White, including the poison comb.
** In an episode of ''Series/ThirtyRock'' when Liz was going to a ball with Jack, Jenna insisted that Liz couldn't be Cinderella because "Cinderella is blonde. You could be Snow White and party with the little people." These hair colors, of course, reflect the Disney versions. Although, of course, Snow White had black hair in the fairytale.
** Most modern adaptations of ''Literature/SnowWhiteAndTheSevenDwarfs'' tend to portray Snow White with short hair, in many cases also wavy. It is rare to find a version of the princess that doesn't draw inspiration from Disney's version in the portrayal of the titular character, like giving her long, straight hair or with a dress that isn't similar to the German-inspired gown that makes the character so iconic. Walt Disney himself was inspired by ''Film/SnowWhite1916'', which had a short-haired Snow White.
* Good luck finding anyone who knows that [[MissingMom Aladdin's mother is still alive]], [[CompositeCharacter the vizier and the sorcerer aren't the same person]] or [[SadlyMythtaken genies don't always live in lamps and grant exactly three wishes]](to say nothing of the fact that the one in the lamp is the ''second'' genie in the story.). Or that Aladdin was originally Chinese. Granted, it was Chinese InNameOnly. Notably averted in the British pantomime tradition.
* In WesternAnimation/{{Pinocchio 1992}}, Pinocchio, Geppetto and the Cricket behave like their counterparts of [[Disney/{{Pinocchio}} the Disney film]] and the Blue Fairy looks similar to the latter version. Inverted with Mangiafuoco, who is actually nicer than his literary counterpart.
* ''Series/OnceUponATime'' has a tendency to do this by adapting {{fairy tale}}s to resemble the Franchise/DisneyAnimatedCanon versions, even having actors that resemble their animated counterparts. For example, in "Ariel", which adapts ''Literature/TheLittleMermaid'', not only do they use the names of the characters in [[Disney/TheLittleMermaid the animated film]] ([[NamelessNarrative all characters were originally unnamed]]), but the mermaid was also cast as a redhead. "Quite a Common Fairy" and "The Price of Gold" included [[Disney/PeterPan Tinkerbell]] and {{Disney/Cinderella}}'s {{Iconic Outfit}}s from the Disney films, respectively.
** One arc explicitly focused around the characters from Frozen instead of the characters from the original Snow Queen story (although parts of that have been added in too). Most likely done because of the enormous popularity of the movie, and since ABC is owned by Disney they can get away with it.
* In the UK, most cultural understanding of fairy tales and folk tales via the Disney version is supplemented by another medium in which they have also been popularly canonised - Pantomime. These are by no means more 'faithful' to any kind of original than the movies (and are themselves subject to including Disney-originated elements. At least in small-scale productions, theatres can get away with ripping off plenty of copywrited material without anyone suing). Ask most British people whose Aladdin's mother is or who Cinderella's UnluckyChildhoodFriend is and they'll know the answers immediately (Widow Twanky and Buttons respectively) despite these points having no place in the original tales.

[[folder:Film - Live Action]]
* 1992's ''Film/TheLastOfTheMohicans'' starring Daniel Day-Lewis (the version people are most like to remember fondly) is explicitly credited as based on the 1936 screenplay. [[SoBadItsGood The book]], [[CanonDisContinuity not so much]]. To quote one critic:
-->''"Even in its 1936 version, which starred Randolph Scott, ''Literature/TheLastOfTheMohicans'' was thought to be badly dated, and so stodgy it required considerable modification to allow its hero and heroine a genteel kiss. Drawing upon the novel with ''merciful selectivity''... Michael Mann has directed a sultrier and more pointedly responsible version of this story."''
* Professor Challenger has, similar to Quatermain, returned in various projects which seem to cash in on ''Film/TheLostWorldJurassicPark'' and ''Film/KingKong'' -- which Challenger's debut, ''Literature/TheLostWorld1912'', influenced.
* Vampire movies in general often follow the ClassicalMovieVampire conventions created by ''Film/{{Nosferatu}}'' (1922) and ''Film/{{Dracula|1931}}''. This goes so far that any departure from the [[OurVampiresAreDifferent vampire tropes]] of these two films is likely to be seen as "breaking the rules" and may confuse the audience. Never mind that neither film is strictly consistent with traditional vampire folklore, nor that any two cultures' vampire legends are the same. ''Film/TheWolfMan1941'' had a similar effect on [[OurWerewolvesAreDifferent werewolf conventions]].
* The 2007 film of ''Film/IAmLegend'' is an adaptation of 1971's ''Film/TheOmegaMan'' much more so than of [[Literature/IAmLegend the Richard Matheson novel]] from which it draws its name. Right down to ghouls instead of human-looking vampires (capable of speech, wearing clothes, [[spoiler: rebuilding society]], etc). All film adaptations since ''Film/TheLastManOnEarth'' have also kept the idea of Robert Neville being well educated and fairly urbane rather than the rough factory worker of the original story who learned all of his science through excursions to the library and was concerned more over a lack of sexual fulfillment than over the idea of the world ending.
* Except for the Hungarian comic, there has never been a faithful adaptation, sequel or parody of Pierre Boulle's novel ''Literature/PlanetOfTheApes''. All references are to the 1968 film. In the novel, the story is a message in a bottle found [[SpaceIsAnOcean in space]]. There are three French astronauts (Merou, Antelle and Levain) and their test chimpanzee, Hector, that travel to a distant Earth-like planet named Soror in the year 2500. Upon arrival, Hector is killed by Nova and the men are captured by primitive humans (butt-naked and behaving like chimpanzees) who tear off their clothes. Hours later they are hunted by intelligent apes with 20th-century technology. Levain is killed, Antelle is placed in a cage in a zoo (where he somehow loses his intelligence), and Merou is sent to Zira's research facility where he proves himself to be intelligent and is taught the [[AvertedTrope apes']] [[AliensSpeakingEnglish language]]. Merou then becomes a celebrity, makes Nova his partner and has a child with her. But archaeologic evidence and brain surgery in humans reveal that humans created civilization in Soror and were overthrown by apes they used as slave labor, leading to mankind's degeneration. Zaius decides that Merou is a threat, since his son is intelligent and even Nova has become smarter in his presence, so the three leave in the same spaceship for Earth, and Merou finds it has also been taken over by apes in his absence. They then leave again in search for other planet to live. That message in a bottle? It is being read by two ape scientists that find the idea of intelligent humans ridiculous.
* Both remakes of ''Literature/{{Carrie}}'' take more hints from TheSeventies movie rather than the actual source book. Noticeably [[spoiler:Carrie's RoaringRampageOfRevenge happens right after the prank in the movies, but in the book she goes outside before she snaps.]]
* Films based on the biblical Exodus tend to borrow a lot from Creator/CecilBDeMille[='s=] ''Film/TheTenCommandments'', most notably the Pharaoh being called Ramses ([[EveryoneCallsHimBarkeep he's referred to only as "Pharaoh" in the Bible]]). It's also common to depict the Pharaoh as bald, apparently just because Creator/YulBrynner was. (To be fair, however, most high-class Egyptians ''did'' deliberately shave their heads, though they often wore wigs.)
* The book version of ''Literature/MaryPoppins'' was published in 1934 and set in the contemporary 1930s. The [[Film/MaryPoppins 1964 Disney version]] moved the setting back to 1910. Since then, the character of Mary Poppins has become intractably linked to TheEdwardianEra.
* The 1965 and 1974 film adaptations of ''Literature/AndThenThereWereNone'' took more major cues from the 1945 film than the original book: Anthony Marston playing the titular nursery rhyme on a piano, Vera and Lombard falling in love and the two of them actually being innocent of the crimes they were accused of, and the AdaptationalAlternateEnding of [[spoiler:Vera only pretending to shoot Lombard and the two of them surviving after Wargrave falls for their deception and takes poison after delivering a MotiveRant to Vera]] were all absent from the book but were popularized by the 1945 film.

[[folder: Folk Lore]]
* [[Myth/KingArthur Arthurian Legend]] gives us the trope of ExcaliburInTheStone, which is a very good example of how this can happen.
* In Romanian folklore, vampires and werewolves aren't really distinct—the word in Romanian that comes from the Slavic for werewolf, ''vârcolaci'', is a type of vampire (it eats the moon to cause eclipses). However, many other cultures do distinguish them—other than that both are often witches, for instance, French loup-garous and [[OurVampiresAreDifferent revenants]] don't really have much in common. Bear in mind also that the tenuous connection of vampires to UsefulNotes/VladTheImpaler is non-existent in Romania (bar PopCulturalOsmosis) and was included by Stoker almost as an afterthought. This caused a minor scandal in Romania when somebody suggested building a theme park that would conflate ''Dracula'' and Vlad the Impaler, who is [[AlternativeCharacterInterpretation considered a national hero]] for doing his best to keep the Turks out of the country.

* Almost every adaptation of ''Literature/AChristmasCarol'' borrows something from [[YetAnotherChristmasCarol the numerous adaptations that came before it]]. Thus, the things people most commonly know about Ebeneezer Scrooge are that [[TheScrooge he's a miser who cares only about money]] and that [[TheGrinch he hates Christmas]]. In the novel itself, while these flaws are present, the main character flaw that gets examined is that Scrooge has StoppedCaring about the poor (or really, anyone except himself). Adaptations tend to paint him as a JerkassWoobie for the many tragedies that happened to him around Christmas, but the novel points out that this is really no excuse for how Scrooge is acting, especially when the Ghost of Christmas Present throws Scrooge's words back in his face about Tiny Tim. Finally, the whole story was an AuthorTract, like many works of Creator/CharlesDickens, about the disparity between the rich and the poor in Victorian England, and how the rich really need to do more with their money to help the underprivileged instead of hoarding it. The class warfare aspect of the story almost ''never'' gets brought up in modern adaptations.
* ''Literature/CharlieAndTheChocolateFactory'''s first major adaptation, 1971's ''Film/WillyWonkaAndTheChocolateFactory'', has cast a shadow over later versions. [[Film/CharlieAndTheChocolateFactory The 2005 film]], in its effort to be TruerToTheText, wound up drawing criticism from viewers unfamiliar with the book. But three '71-specific details stick like glue to parodies, adaptations, etc.:
** Practically every [[CharlieAndTheChocolateParody parody]] portrays the Oompa-Loompas as orange-skinned, green-haired, Germanic clothing-wearing LittlePeople, but in the original 1964 novel, they were actually African pygmies (males wore skins, females wore leaves, and the children were naked)! The '71 film changed their appearance to one that was "exotic" yet significantly different. Creator/RoaldDahl subsequently made an OrwellianRetcon to the book that made the Oompa-Loompas Caucasian {{Lilliputians}} and residents of the FictionalCountry Loompaland, though their clothing preferences remained the same. Later adaptations tend to dress their Oompa-Loompas in uniforms/costumes of varying, often wacky designs rather than hold to the book's description and most hold to the change in their stature from {{Lilliputians}} to LittlePeople, a [[PragmaticAdaptation pragmatic choice]] in terms of staging them for live theatre. The 2005 film hewed a little closer to the novel in this regard, but was subject to YourSizeMayVary.
** The 1971 film, unlike the novel, assigned specific nationalities to the four bratty kids: Augustus is German, Veruca is British, and Violet and Mike are American. The 2005 film, a 2005 stage musical (''Roald Dahl's Willy Wonka''), and the 2013 stage musical keep to these, though the specific cities they're stated to be from vary from version to version.
** Finally, the conceit of a clean-shaven Willy Wonka comes from the '71 film. In the novel, Mr. Wonka has a pointed black goatee. While illustrators avoid this trope -- some even give him ''more'' facial hair, usually a neat little mustache -- almost all film and stage Wonkas are clean-shaven, to say nothing of the [[CharlieAndTheChocolateParody parody Wonkas]]. The principal exception is Creator/DouglasHodge, the actor who originated the role in [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical]] (he wore a prosthetic chin tuft and mustache).
** With regards to the [[Theatre/CharlieAndTheChocolateFactory 2013 stage musical]], it struck out in its own, largely book-faithful, direction but threw in a few {{Internal Homage}}s to and (due to ExecutiveMeddling) one song ("Pure Imagination") from the '71 version. When that wasn't enough for fans of the movie, PanderingToTheBase ensued as it was {{Retool}}ed for its 2017 Broadway premiere, with most of the changes -- Mr. Bucket suffering DeathByAdaptation, the grandparents aside from Joe being DemotedToExtra, and the substitution of several original songs with their movie counterparts -- serving as examples of this trope.
* In the original Literature/TheCountOfMonteCristo novel, the eponymous count ''isn't'' Albert's father and ''doesn't'' get with Mercedes in the end. The Count also humiliates Fernand Morcerf with evidence of his war crimes, instead of having a totally awesome sword duel.
* A [[DisproportionateRetribution major]] complaint from Tolkien fans about ''Film/TheLordOfTheRings'' movies was that Gimli's more comical and somewhat cruder depiction borrowed more from the [[OurDwarvesAreAllTheSame accumulated exaggerated stereotypes of dwarves in modern fantasy]] than Tolkien's 'original' dwarves. Even so, however, Gimli was [[OlderThanTheyThink the butt of a joke or two in the original]]. Gimli and Legolas keeping score of their kills at the Battle of Helm's Deep comes straight from the books.
* ''Literature/{{Dracula}}'' got hit with this ''hard'', as referenced in the quote above. It is claimed to be the origin of all modern vampire stereotypes and the definitive line between the vampires of folklore and the vampires of literature, film, and fiction, but most of his archetypal image - slicked black hair with a [[VillainousWidowsPeak widow's peak]], black high-collared stage cape, tuxedo, off-tempo Eastern European accent - is 100% Bela Lugosi, compounded by endless imitations. In the book, Dracula was a gaunt old man with dead-white hair and skin, a hawky face, and a flowing moustache, who grew young when he drank blood and spoke English ''more flawlessly than the native English speakers'' ([[UncannyValley to the point where it mildly creeps them out]]). Also, the origin of sunlight killing vampires outright was introduced by the silent German film ''Film/{{Nosferatu}}''. In ''Dracula'', the only difference it makes is that they lose access to their powers until they get out of it.
** Jesus Franco's rather unfortunate Dracula movie is one of few in which Dracula maintains his original mustache and de-aging.
** Dracula's signature cape has its origins in ''stage'' adaptations of the story, added simply so the Count could twirl it dramatically to cover up his mystical exit by theatrical trapdoor, and to signify that he was biting someone without actually ''doing'' it onstage. Needless to say, it stuck. It was an Episcopal clerical funeral cloak. The "cape" portion of the cloak was flipped up in a collar so the actor's head couldn't be seen as he disappeared.
** The stage play was the inspiration for a lot of the modern interpretation of Dracula-- buying the rights to the stage play was cheaper for Universal, and so that's what they did. (In fact, both of Universal's ''Dracula'' films-- the [[Film/{{Dracula 1931}} Lugosi]] and [[Film/{{Dracula 1979}} Langella]] films-- both featured actors from stage versions of the play in the title role.) Arthur Holmwood and Quincey Morris? Dropped from the stage play, and so not featured in the movies. Ironically, legal research for Universal later established that the novel was never copyrighted in the States!
** Creator/FrancisFordCoppola's [[Film/BramStokersDracula film adaptation]] was possibly the most loyal to the original story, most notably Dracula's frequent appearances during daylight. The thick Eastern European accent introduced by Lugosi remains, though the character's Transylvanian origin makes this a bit justified. The film's major departures from the book and most other adaptations comes from making Dracula's character and backstory much more sympathetic. Ironically, the movie was criticized by some for breaking the "no vampires in sunlight" rule and then [[HandWave Handwaving]] it away.
*** Supposedly, Coppola wasn't planning on giving Dracula an Eastern European accent, but Creator/GaryOldman said he would only play the part if they allowed him to do the accent.
*** Although Coppola is partly to blame for another part of the original novel being lost - his was one of the first films to focus on the idea that Mina Harker was a reincarnation of Dracula's lost love, an idea that has been repeated again and again through modern adaptations of Dracula, despite there having been no mention of any connection between Dracula and Mina in the original novel (short of him trying to turn her into his next bride).
** The BBC's 1977 TV adaptation is the most accurate, except in dropping Arthur Holmwood and in the depiction of the count, himself.
** In the novel, Mina Harker was A) In love with Jonathan for the entire book B) Was FORCED to drink Dracula's blood and C) repeatedly came up with the successful ideas to counter Dracula after the men's initial plans failed. (in fact, keeping her out of it caused her to be bitten as she didn't realize she should prepare) None of this generally ends up in any adaptation. MAYBE she likes Jonathan in the beginning, but that's about it.
** The book's Dracula doesn't even live in Transylvania. Jonathan travels '''across''' Transylvania, and finds Dracula's castle right after crossing the border. It is presumably in Valachia, where the historical Vlad Dracul was actually from.
* Adaptations of ''Literature/ThePrisonerOfZenda'' such as ''Film/{{Dave}}'' and ''Film/MoonOverParador'' always present the identical characters as strangers who just happen to look alike. However, in the original novel, the two are distant cousins who look alike due to features introduced by adultery of a previous generation of their families, which [[IdenticalGrandson crop up every couple of generations]].
* ''Literature/MobyDick''; just about every adaptation or, more frequently, parody features the great whale as an all-white behemoth, despite the fact that he's described to retain only a white forehead and a white hump in the original novel. It doesn't help that that the book repeatedly refers to Moby Dick as the "white whale" almost exclusively. By the time they actually find it and the reader [[FridgeLogic realizes that only parts of it are white]], the image of a completely white whale is too powerfully engraved. Most book covers depicting the whale also make it completely white. Let it be noted that the reader should know that as early as chapter 42 (of 136 chapters), called "The Whiteness of the Whale", in which [[LampshadeHanging even the book itself]] recognizes the falseness of calling it a "white whale", justifying that, the whale being a creature that lives under the water and only lifts its body out of it slightly to breathe, the forehead and the hump are the only parts of it you see most of the time.
* The original ''Literature/TheLegendOfSleepyHollow'' short story is about an annoying Connecticut schoolmaster who invades a Dutch community and gets run out of town by the prank of a clever local. The story was actually about cultural tensions in the new American society. Since the Disney version of the story, however, most adaptations focus on the ghost story exclusively, although it did manage to keep the subtle implication that the ghost was, indeed, a ScoobyDooHoax.
** [[Film/SleepyHollow The Tim Burton film]] is clearly based more on the Disney version than the original story. Though Crane has a cowardly personality, he is ultimately the hero of the story. The villagers, on the other hand, are mostly turned into corrupt villains, and the prankster Brom Bones is a bully. The scene where Ichabod rides across the covered bridge is a direct reference to the Disney adaptation, complete with the frogs seeming to croak "Ichabod". The shot where he ends up on his horse backwards is also borrowed from that version.
* Traditionally, Myth/RobinHood is a brilliant archer who steals from the rich and gives to the poor, a noble outlaw fighting corrupt officials, and sometimes even a brave Saxon fighting against the Norman oppressors... or is he? This myth largely originates in 19th century Romantic adaptations of the Robin Hood legend (such as Howard Pyle's ''The Merry Adventures of Robin Hood'' and Walter Scott's ''Literature/{{Ivanhoe}}''), many of which were developed specifically for children. In the original ballads, Robin is a trickster outlaw who steals for himself, couldn't care less about helping the poor, doesn't care about class differences (likely because by the time the stories were born the Norman population had already long assimilated), and can be pretty callous and cruel. Pretty much the only thing Robin's current and original image have in common is him being an outlaw and a great archer.
** Robin Hood, in every version, symbolizes principled resistance to unjust authority. What form that takes varies with the era, but it's always there. Originally it was simply taking from the rich. "Robbing from the rich to give to the poor" wasn't specifically added until John Major's ''Historia Majoris Britannae'' (1521).
** Robin Hood is one of those that seems to pick up elements with each iteration. For example, it's become common to include a Moor amongst Robin's men and to portray Marion as an accomplished fighter, herself. Also, Robin's role as a returning Crusader is "borrowed" from the title character of ''Literature/{{Ivanhoe}}''.
*** The first such "borrower" was Creator/DouglasFairbanks Sr. for [[Film/{{Robin Hood 1922}} his movie version in 1922]]. He spent the first several reels trudging along in chain mail on Crusade before receiving an Urgent Message from back home in Merrie Old....
*** The Moorish companion and the feisty Marian, alongside several other elements, can be traced down to the excellent Eighties series, ''Series/RobinOfSherwood''. The Kevin Costner version ripped several of these elements off (to the point where there was talk of a lawsuit) and brought them into the worldwide mainstream.
** {{Lampshade|Hanging}}d in ''Webcomic/PeterIsTheWolf'': The characters there explain yet ANOTHER old version of the myth, and mention some of the issues, if not others. It's not treated as the original story, either. For one thing, Robin is a werewolf!
** Robin's identity as "Robert, Earl of Huntingdon" dates from a 17th century play by Anthony Mundy. "Robin of Locksley" isn't much older. Alan-a-Dale was added around this time as well.
* ''Literature/DonQuixote'' is explicitly stated in the first paragraph of the novel to be ''almost'', but not even, 50 years old; later he's said to have graying hair and a black moustache. Yet any adaptation depicts him as a bumbling old man in or around his 70s, often with completely white hair and beard.
** Also, for the people who didn't read the novel may come as a surprise to see that the so much iconic windmill scene lasts barely a page.
** He's also a JerkAss in the book, whereas nowadays everyone remembers him as only a WideEyedIdealist. He's mainly a CloudCuckoolander, whose particular Cloud Cuckoo Land is "ChivalricRomance novels". Most of his JerkAss moments come as a result of him being outraged that the "peasants" he meets are failing to give him what he regards as only the proper and appropriate respect due the KnightErrant he believes himself to be.
** The pervasive idea that the novel cheers Don Quixote's rejection of reality and depicts him as a misunderstood hero is also nothing but [[DeathOfTheAuthor centuries-old]] AlternateCharacterInterpretation. In reality, the first book has little but contempt for Don Quixote or his condition. The second book is more sympathetic to Don Quixote, but it also ends with him [[FixFic recovering his senses]], sending Sancho away for buying into the fantasy world [[OutgrownSuchSillySuperstitions he has now rejected]], and [[TorchTheFranchiseAndRun dying after learning what a fool he has been.]]
* Most versions of ''The Wizard of Oz'' are based more on the 1939 film (''Film/TheWizardOfOz'') than on the original novel (''Literature/TheWonderfulWizardOfOz''.)
** The silver slippers in the book were changed to ruby for the movie in an effort to show off the new-fangled color film they were working with and by having Glinda be the witch who directs Dorothy to the Emerald City (in the book it's the Good Witch of the North, who appears only in that scene and succumbed to [[CompositeCharacter character composition]]).
** ''Literature/{{Wicked}}'' splits the difference, claiming the slippers were crafted from silver treated with ruby dust. The [[Theatre/{{Wicked}} stage version]] manages to incorporate both by having the shoes be silver, but shining a red light on them when they're enchanted. ''Wicked'' uses both ''The Wizard of Oz'' and ''Literature/LandOfOz'' as its inspiration. Elphaba uses her MGM design, Glinda is a CompositeCharacter, the Emerald City is actually green-tinted, etc while at the same time the books go into book-exclusive lore and include usually AdaptedOut characters like princess Ozma.
** Averted in ''Film/TheMuppetsWizardOfOz'': Dorothy is correctly given silver slippers, and Glinda is ''not'' the witch who first sends Dorothy off to the Emerald City.
** There's also a long-running animated series based directly on the first three or four ''Oz'' books, and not based on the film. ''{{Series/TinMan}}'', a Sci-Fi Channel mini-series, also draws heavily from the book canon.
** This might also be a case of pragmatism, as the original book is in the public domain, while the 1939 film version and all new concepts introduced therein, including the ruby slippers, are still under copyright.
** Oh, and the iconic line, "You wouldn't have believed me"? That originated from the film, in which for whatever reason the writers decided to [[http://www.cracked.com/article_18881_5-reasons-greatest-movie-villain-ever-good-witch.html flanderize Glinda into a total jerkass]], and for equally unknown reasons, most people [[ComicallyMissingThePoint took it as an actual reason why she wasn't informed of the real way to return home]]. Originally, the witch who sent Dorothy on her quest [[CompositeCharacter was different]] from the one who told her about the slippers' powers, and knew nothing on the subject.
** Just ''try'' finding any ''Oz'' Adaptation that mentions the [[NightmareFuel Tin Woodsman's backstory]]. Even better, try explaining Ozma spending her first years as a boy to a modern audience.
** Just about the only exception to this is Marvel's ''Oz'' comics, which are ''extremely'' faithful adaptations of the books. This means that only the first miniseries, "The Wonderful Wizard of Oz", has anything to do with that movie you might have seen, and even then resembles it only slightly. Of course, again, the movie is still under copyright, so it's not as though they could have used much from it in the first place.
* The version of ''Literature/OliverTwist'' which most people think they know is notably different to the novel. Since the 1960 musical, the public perception of Fagin is as a LoveableRogue rather than like the original who betrays his cohorts to the hangman to avoid sharing the spoils and [[ManipulativeBastard manipulates]] Sikes into killing Nancy. The first two sound films, in 1933 and 1948, introduced the practise of removing characters and simplifying the plot: In the original, Oliver is not the grandson of Brownlow but (concentrate now) the son of an old friend of Brownlow's, the paternal half-brother of BigBad Monks (who is often left out) and the maternal nephew of Rose (ditto...and when she is included she's often Brownlow's daughter to tie in with the traditional but non-original back story). Most surprisingly of all, Oliver spends the last two thirds of the novel completely safe with his family while they try and get his inheritance for him. Adaptations usually can't resist keeping him in peril to the end.
* The novella ''Literature/TheStrangeCaseOfDrJekyllAndMrHyde'' is a mystery story about a lawyer who turns detective to discover why his client has made a will leaving everything to a mysterious ne'er-do-well, with the twist that they're the same person only revealed at the end. Since the twist is so famous, adaptations tend to focus on the drama between Jekyll and Hyde, often making Jekyll more heroic and giving him a love interest or two to further enhance the tragedy. Utterson, the viewpoint character in the book, often has his role reduced, combined with Dr. Lanyon, or omitted entirely.
* [[Literature/TwentyThousandLeaguesUnderTheSea Captain Nemo]] will invariably be portrayed as European in adaptations (usually French, as a result of confusing the character with the author) but he was an Indian prince in the books. Amusingly, Verne's first version of the character was a Polish nationalist that fought the Russians, but had to change it because of ExecutiveMeddling[[note]]France wanted to improve its relations with Russia as a counterpoint to Germany after the debacle of the UsefulNotes/FrancoPrussianWar[[/note]]. In the 1954 Disney film, the one that has inspired most the later iterations, Nemo's nationality is a mystery, but his claim of being an escapee of Rura Penthe ([[Film/StarTrekVITheUndiscoveredCountry not that one]], but a fictional Russian penal colony mentioned in ''Literature/WarAndPeace'') makes him compatible with Verne's original 'Polish rebel' idea. ''Film/TheLeagueOfExtraordinaryGentlemen'' kept the Indian nationality, however, and received much undeserved flak as a result (not that the rest of the film doesn't deserve any, [[InNameOnly on the contrary]]). On the other hand, they depicted him as a Sikh but had a scene of him praying to Kali, a Hindu (not Sikh) goddess, so by all means, get mad.
** The ''1916'' film version, of all adaptations, got this right!
** The 1973 Italo-Hispano-French series "L'Île mystérieuse" took some liberties with the source material, but Nemo correctly appeared as an Indian prince (played by Omar Sharif).
** Another element common in adaptations that isn't in the original is the ''Nautilus'' being described as nuclear powered. In the original book, it's only described as powered entirely by electricity, which was enough of a Shiny New Technology in 1869 to be exciting and high-tech. Given what we know about submarines today, nuclear power would probably be needed to accomplish the feats the ''Nautilus'' was capable of, so it could be called a sort of PragmaticAdaptation-- but it's definitely ''not'' in the original text. Since the existence of atoms was not considered certain when the book was written, and those authorities who did accept them believed that they were immutable spheres with no sub-components, it should be obvious that nuclear power is not in the book.
* ''Literature/HowTheGrinchStoleChristmas'' was mostly black-and-white with some red [[SplashOfColor added for emphasis]], so the Grinch wasn't a specific color. As of [[WesternAnimation/HowTheGrinchStoleChristmas the animated version]], he is depicted as being green.
* ''Literature/TheBourneIdentity'' is about an amnesiac American [[spoiler: Vietnam Special Operative]]. The Matt Damon movie got the characterization wrong once you get past the word American.
* Franchise/SherlockHolmes
** Most portrayals of John Watson are based on Nigel Bruce's bumbling Watson from the Creator/BasilRathbone films rather than Doyle's more competent character. Notably averted by Jude Law in the [[Film/SherlockHolmes 2009 movie]], Creator/MartinFreeman in ''Series/{{Sherlock}}'' and Creator/LucyLiu in ''Series/{{Elementary}}''. Each of those Watsons provides the common sense to complement Holmes' genius. And while it was television rather than movies, give [[Series/SherlockHolmes Edward Hardwicke and David Burke]] some love too.
** Holmes inspired a long line of similar imitators. It was to the point that Holmes [[IconicOutfit trademark hat, pipe and browncoat]] became visual shorthand for "detective" and Holmes himself is shown dressed this way in cameos and other popular depictions far more than he actually wore them in the original stories. Also, many adaptations forgot the quirkier aspects of his personality and focused on his famous detective skills. Indeed, he never explicitly wore a deerstalker in the original stories at all. The iconic physical depiction of Holmes comes from Sidney Paget's [[http://www.arthes.com/holmes/ illustrations]] in the stories' first appearances in ''Strand'' magazine. In the books he did smoke a pipe (although the illustrations never depicted the famous calabash pipe which first became associated with Holmes due to a theatrical adaptation) but he smoked cigarettes and cigars almost as often.
** Moriarty and Mycroft were not major characters in the books; they appear in only one and two stories respectively and were referenced in a few others, but are major figures in many adaptations.
* Disney's [[Disney/TheHunchbackOfNotreDame adaptation]] of Victor Hugo's ''Literature/TheHunchbackOfNotreDame'' owed far more to [[Film/TheHunchbackOfNotreDame the silent and 1939 film versions]] than it did to the novel. This, perhaps, is why it's a fair bit easier to forgive its inaccuracies than, say, ''Disney/{{Pocahontas}}''.
* Virtually all modern adaptations of ''Literature/BeautyAndTheBeast'' portray the prince/Beast as an initially unpleasant person who was cursed as a direct result of his selfishness and has to learn kindness and humility to win over the Beauty. Most people don't even know that in the original Villeneuve story, the prince was a genuinely innocent victim who was cursed by an evil fairy after he refused to marry her and was kind and gentlemanly to Beauty from the start. As such, the newer versions pretty much eschew the original moral, which is that the Beauty character needs to accept the Beast as a suitable husband despite his appearance, since now she has ''good'' reasons to reject him.
** Another example of how much the Disney film has influenced later ''Beauty and the Beast'' adaptations is the 2014 French film ''Film/LaBelleEtLaBete'''s inclusion of a DanceOfRomance scene clearly inspired by the Disney film's ballroom scene despite it being a remake of the 1946 French film that had no dancing scenes.
* Most movie adaptations of ''Literature/TheThreeMusketeers'' make Cardinal Richelieu the iconic villain and antagonist of the heroes, despite his ambivalent position in the first book and total absence in all following books. Athos and d'Artagnan even ponder if they were wrong in opposing Richelieu a few times.
** Rochefort's promotion to TheDragon, where in the books, Milady filled the roll. It is hard to find a film version in which Rochefort ''doesn't'' get killed by d'Artagnan in a climactic fight, rather then by accident during a riot. In the novels, d'Artagnan and Rochefort became friends after dueling each other. He also has no eyepatch in the books either; that started with Creator/ChristopherLee in the 1970s version.
* Our conception of FrankensteinsMonster ([[IAmNotShazam not to be confused]] with Victor Frankenstein himself) is based largely on Creator/BorisKarloff's [[Film/{{Frankenstein1931}} depiction of him]] as a largely [[TheVoiceless silent]] and [[TheGrotesque misunderstood giant]], which, in turn, has largely been {{Flanderiz|ation}}ed into a flat-headed [[SmashMook hulkish killing machine]] with green skin that was based on the advertising art (the film was black and white). Very rarely will we get to see him as the verbose and vengeful monster portrayed in Creator/MaryShelley's [[Literature/{{Frankenstein}} original book]]. To be entirely fair, he was [[NotEvilJustMisunderstood misunderstood]] in the book as well, but his reaction to it [[ThenLetMeBeEvil was indeed vengeful]], rather than ever being Creator/BorisKarloff's gentle giant.
** Subverted in ''Film/YoungFrankenstein'', where the monster has been given an abnormal brain that causes him to be the stereotypical groaning monster. After Frankenstein gives him a brain fluid transfusion, he becomes verbose and civilized. The vengeful part is left out due to Frankenstein's HeelFaceTurn and subsequent displays of kindness towards his creation.
** In addition, every adaptation has Frankenstein using some form of electricity to animate his creation. In the book, the framing device is the Doctor telling his story to a sea captain, and when he gets to ''how'' he created the monster he basically says, "And then I gave it life. [[AndSomeOtherStuff I'm not telling you how, because I don't want anybody to repeat what I did]]." Obviously, that wouldn't have worked on the big screen. The only exceptions are [[Film/{{Frankenstein 1910}} the 1910 version]] by Edison Studios -- that one uses a vat of chemicals -- and the 1973 TV-movie ''Frankenstein: The True Story'', which uses solar energy. Ever since the famous Universal version, however, electricity has been standard.\\
While he maintains that he won't tell the sailor the exact details necessary to know how to pull off the trick (for the sailor's own good, and the good of humanity), the book makes it very clear that he used some potion inspired by the alchemical notion of the elixir of life as studied by Agrippa and others. In the novel, he does mention that when he saw a lightning strike at fifteen, he longed to harness that power, and he even brings up the work of Galvani, who made dead flesh move by running current through it. This does seem to suggest that electricity may well have somehow been involved in the process of creation. In addition, Shelley did write that her idea for the story came in part from discussions that touched on Galvani's experiments.
** The existence of [[TheIgor Igor]], who became a staple of Frankenstein movies and the horror genre in general without having appeared in either the book or the film ''Frankenstein''. PopculturalOsmosis took the hunchback character of Fritz from the first Karloff Frankenstein picture, and combined him with Creator/BelaLugosi's character Ygor from ''Film/SonOfFrankenstein'', the third and last Karloff Frankenstein film, a film that seems to have fallen out of the public consciousness despite being pretty good and being a major basis for ''Young Frankenstein''.
** The B-film ''Film/FrankensteinMeetsTheWolfMan'' is the source of the image of the monster as stumbling around with his arms outstretched, as the monster becomes blind in the film.
** [[Film/{{Frankenstein2004}} The 2004 movie]] is one of the few screen adaptations of the source material that averts the [[SmallReferencePools stereotypical look of Frankenstein's creation established by the Karloff films]], trying to be more faithful to Shelley's original description.
** ''Film/MaryShelleysFrankenstein'' is also much more faithful to the original source material-- [[{{Dissimile}} except where it isn't]].
** And say what you will about ''Film/VanHelsing'', but they at least made an effort to make him more like he was in the book.
** A ''lot'' of manga fans were surprised at ''Creator/JunjiIto''s take on Frankenstein for how "unique and creative it was." Hilariously, his take on it is ''one of the closest and most faithful to the original source material'' that you can find.
** ''Series/PennyDreadful'' also attempts to stick fairly close to the source material, with 'Caliban' (the name given to the Monster to distinguish him from his maker) looking appropriately like a corpse that has been resurrected and who is even rather eloquent, as he similarly is in Shelley's original text.
* A minor aversion occurs in ''Film/{{Hook}},'' featuring Creator/RobinWilliams as Peter Pan. ''Hook'' is supposed to be a sequel to ''Disney/PeterPan'' set in the modern day. While it gives a few nods to Disney's adaptation of the stage play, it actually winds up being more faithful to J. M. Barrie's [[Literature/PeterPan book]] (even sometimes quoting the book in the script), in that much of the characterization and dialogue that was left out of the Disney version has found its way into the live-action sequel (although some of the signature quotes are paraphrased).
-->'''Tinker Bell:''' Peter, you know that place between asleep and awake... That place you still can remember your dreams... That's where I'll always love you. \\
'''Hook:''' Prepare to die, Peter Pan! \\
'''Peter:''' To die would be a grand adventure!
** Note, however, that Hook's hook is still on his left arm (as in the Disney version) and not his right (as in the book). Creator/DustinHoffman, who is right-handed, insisted.
** The Tinker Bell in ''Hook'', however, bears only a passing resemblance to the play's Peter Pan. The Disney version is much closer with the silent, jealous portrayal. After all, the theatre version was played by a spotlight.
** The higher loyalty to the book makes sense in context of the movie. The old lady Wendy is supposed to be the original and real Wendy whose family stories the book was based on. The twist comes when she reveals to Peter Banning that all the stories were true and he is, in fact, the real Peter Pan.
** The 1954 Broadway musical version of ''Theatre/PeterPan'' was apparently the first adaptation to call Neverland "Never-Never Land."
* Any given adaptation of ''Literature/TheNutcracker'' will draw more from Tchaikovsky's famous [[Theater/TheNutcracker ballet suite]] than the story itself. The music, plot, and characterization will usually come from the suite, and the Mouse King and his story will follow the plot of the first act. Another good sign of this is the name of the protagonist; while she's named Marie in the story, most adaptations will call her Clara as the suite did.

[[folder:Live Action TV]]
* Although the syndicated TV show ''Series/{{Beastmaster}}'' has a credit on each episode claiming it's InspiredBy the Creator/AndreNorton novel, it's really an adaptation of [[Film/TheBeastmaster the B movie]] -- which diverged so wildly from the source text that Norton had her name taken off it. As such, it has absolutely nothing in common with the Andre Norton novel, and the only things different from the movie are that Dar doesn't wear a crown or use a sword (for the early part of the series); it takes place in the jungle instead of the desert; and Dar's loincloth doesn't have fringe on it. Oh, and Ruh's a tiger instead of a puma (probably because the black paint killed the one from the movie).

* A musician well noted for being significantly innovative and well-regarded for their technique, style, sound, or choice of equipment to produce that style or sound, who becomes very influential to other musicians of a certain era, can fall victim to this [[FollowTheLeader as whatever made that musician unique or influential is exaggerated or misinterpreted]] by imitators. This can especially be true with innovators with a constantly evolving technique, style, sound or choice of gear, or one that has a certain amount of mystique to them.

[[folder: Newspaper Comics ]]
* A minor example occurs for ''ComicStrip/{{Peanuts}}''. Lucy is usually depicted as less bombastic in modern derivations of the comic, including the [[TheMerch merchandise]], with 'crabby mode' Lucy items being rare because they're objectively less marketable. Most people forget Schulz intentionally made Lucy extremely argumentative from the get-go, making the gentler concessions only because she sounded more severe to the ear than on paper. Even in the animated adaptations, it's implied that Lucy is a BitchInSheepsClothing.
** In the comic strip, Charlie Brown and Linus are in different classes, while Peppermint Patty, Marcie, and Franklin all go to a different school. The animated adaptations (including WesternAnimation/ThePeanutsMovie) usually depict all of the main cast as being in the same class (though there are specials where Peppermint Patty, Marcie, and Franklin are all shown to go to a different school).
** None of the adaptions of ''ComicStrip/{{Peanuts}}'', save ''Theatre/YoureAGoodManCharlieBrown'', give Snoopy his ThoughtBubbleSpeech from the original strip.

* In its original radio series incarnation, ''Franchise/TheGreenHornet'' posited no remarkable skills of The Hornet's valet, Kato. In particular, he was not characterized as either a skilled fighter in general or a martial arts master in particular. However, after the producers of the 1966 television adaptation cast Chinese martial arts master Creator/BruceLee as Kato, they used every chance they could to show off Lee's martial arts mastery in the series. The television characterization of Kato has been so influential that it is now probably mandatory that Kato be a skilled martial artist in any subsequent adaptation of the property. In the 1990s NOW Comics series of Green Hornet comics, all the Katos were skilled in martial arts, and rumors of various movie adaptations since the 1966 series have always mentioned some prominent martial arts star as having the inside track to being cast as Kato.
** Some references to the Hornet and presumably Kato knowing judo and jiu jitsu did occur in the radio show and/or comic book tales, usually adapted from the former.
* The 1981 film ''The Legend of the Lone Ranger'' introduced the idea of John Reid as a lawyer or law student prior to his taking on the role of the Lone Ranger, an idea carried forward by the 2003 WB pilot and the 2013 films-which met with similar rejection as that of the 1981 film.

* The musical ''Theatre/JekyllAndHyde'' is based on movie versions of Stevenson's novel more than the text itself. Later Broadway revivals hew closer to the show's original vision, which was darker and edgier than the 1997 version and closer to the book, having Jekyll revel in the freedom Hyde gave him and paraphrasing directly from the book as he contemplated his dual natures.
* ''Franchise/ThePhantomOfTheOpera'':
** Most depictions nowadays include a half-mask, either leaving the Phantom's mouth free (as done in Creator/LonChaney's [[Film/ThePhantomOfTheOpera1925 silent film]]) or the diagonally cut mask because that's what was used in Andrew Lloyd Webber's famous [[Theatre/ThePhantomOfTheOpera stage version]], though his entire face was deformed in [[Literature/ThePhantomOfTheOpera the original novel]], not just half, and the rest of his body was abnormal. The stage version only used a half-mask because the first actor to play the Phantom found it too difficult to sing while wearing a full mask. (A full mask is depicted on the poster.) His mask was also black, instead of white as in many adaptations.
** Averted quite nicely in ''[[Literature/{{Discworld}} Maskerade]]'', where the full face mask (and the [[spoiler:stupidity of "not recognising someone because they are wearing a mask"]]) is a plot point.
* The musical and film ''Theatre/MyFairLady'' are actually much closer (particularly in the RevisedEnding) to the 1938 film version of ''Pygmalion'' than to the stage play ''Pygmalion''. For instance, the Zoltan Karpathy character was created for the 1938 film (and based on that film's producer). Indeed, the musical is officially based on both the play and film: as the credit in the program reads, it was "adapted from Bernard Shaw's play and Gabriel Pascal's motion picture ''Theatre/{{Pygmalion}}''." The best-selling original cast album only names the Shaw play on its cover, however.
** Many later spoofs of the PygmalionPlot are based on the lesson scenes in ''Theatre/MyFairLady'', which gave Eliza's lessons far more significance than in previous versions of ''Pygmalion'' (Shaw considered the lesson scene he wrote dramatically redundant).
* ''Theatre/TheKingAndI'' resembles the 1946 movie version of ''Anna and the King of Siam'', though only Margaret Landon's novel is credited as a source.

[[folder:Video Games]]
* ''Franchise/SonicTheHedgehog'':
** Neither Sonic's love for chili dogs nor his nemesis Eggman/Dr. Robotnik's famous line, "I HATE THAT HEDGEHOG!", come from the games. It was ''WesternAnimation/AdventuresOfSonicTheHedgehog'' that came up with both of them. In fact, when Sonic's co-creator, Yuji Naka, was asked in an interview what Sonic's favorite food is, chili dogs didn't even come to his mind. This didn't stop other Sonic adaptations from using them and the Robotnik line: later American Sonic cartoons featured them (due to them being produced by the same company as AOSTH and their writers being told to use previous cartoons as a basis for the characters), and so did the American Sonic novels and [[ComicBook/ArchieComicsSonicTheHedgehog comics]] (due to them being adaptations of the aforementioned cartoons, rather than the games). The chili dogs eventually [[RetCanon made their way to the games]], but that was in 2008, way after the aforementioned adaptations were produced, so they're still an example of the trope.
** Similarly, many of the lines that [[BeamMeUpScotty some think of as Sonic's catchphrases]], such as "Way past cool!", "Let's juice" or "Let's do it to it!", were never used in a Sonic game. They, too, originated in the cartoons and made their way to later American adaptations based on them.
** Sonic lives on a planet named Mobius... In just about everything ''but'' the actual games. In the games, he lives on a FictionalEarth that is mentioned by name as "Earth". This was the intention from the very beginning of the franchise. In western countries, Sega decided to say that Sonic lived on a WorldOfFunnyAnimals called "Mobius". This is why all three 1990s cartoons, both the Archie's comic and [[ComicBook/SonicTheComic Fleetway]] comic, and most {{Tie In Novel}}s for the franchise throughout the '90s mention Sonic living on Mobius. By ''VideoGame/SonicAdventure'', "Mobius" was abandoned due to the games blatantly taking place on Earth. Despite this, the idea that Sonic lives on Mobius is near omnipresent amongst fans (likely due to Archie's comic continuing to use it even after the games stopped). "Mobius" as a concept still exists in adaptations. ''WesternAnimation/SonicBoom'' and even the Japanese anime ''Anime/SonicX'' have Sonic and friends living on unnamed planets devoid of humans ([[TokenHuman minus Eggman]]).
* ''Franchise/{{Pokemon}}'':
** Some adaptations, most notably ''Manga/TheElectricTaleOfPikachu'', feature [[Anime/{{Pokemon}} a Pikachu who stays outside its Poké Ball]]. It was just another of the various {{mons}} in the original game, but ascended to MascotMook status from the anime, which itself had Pikachu walking outside the ball. The anime influence also extends to Pikachu's portrayal in manga. A large number, such as Red's Pikachu in ''Manga/PokemonAdventures'' and Shu's Pikachu in ''Gotta Catch 'Em All'', start off as jerks before warming up to their trainer.
** It's also worth mentioning ''Pokemon Yellow'', which was heavily altered from Red/Blue to resemble the Anime, including using Pikachu as the starter. Much fan-art to this day still includes Pikachu as [[MyFriendsAndZoidberg the odd one out]] among the starters, despite excluding other unusual examples like Eevee.
** The idea of having an Eevee as a starter itself came from the anime, and was later adapted into ''Yellow'' (as your rival's starter, meant to be yours) and the [[VideoGame/PokemonColosseum Orre]] [[VideoGame/PokemonXDGaleOfDarkness duology]].
* Cloud from ''VideoGame/FinalFantasyVII'' was the epitome of IJustWantToBeBadass who did his best to act cool and play up his reputation as a badass super soldier, acting like a loose cannon and only really getting serious wherever the villain is concerned. Even a certain [[ItWasHisSled death]] didn't effect him enough to stop him from going snowboarding immediately afterwards. When he appeared in ''VideoGame/KingdomHearts'' however, he ended up having Vincent's design and personality, essentially becoming Cloud InNameOnly. Now Cloud is known for a reputation of being an "emo" hero with a perpetually somber expression and spending a lot of time brooding, with these traits also carrying over to his appearances in TheMovie ''Anime/FinalFantasyVIIAdventChildren'' and in ''VideoGame/DissidiaFinalFantasy''. Outside of the source material, only his appearance in ''VideoGame/DirgeofCerberus'' accurately depicts his original cocky, showy hero personality, enhancing it further with sunglasses.

[[folder:Web Original]]
* Some people are puzzled as to why the antagonist of ''WebVideo/MarbleHornets'' is called "the Operator", because "he's exactly the same as Franchise/{{The Slender Man|Mythos}}". However, the Operator is actually a little different to the original Slender Man from Website/SomethingAwful; Marble Hornets spawned so many imitators that their portrayal became the standard.
** Then again, the Slender Man was an InterpretiveCharacter from the start, with creator Victor Surge creating multiple posts giving him differing appearances and ''modus operandi'' in each post.

[[folder: Real Life]]
* ''WesternAnimation/LooneyTunes'' created a stereotype of rabbits eating carrots when [[ShoutOut paying homage]] to a Clark Gable movie called ''Film/ItHappenedOneNight''. In reality this is horrible for rabbits in anything but small amounts.