No Adaptations Allowed
Most of the time adaptations are seen as a positive thing and many works are made with adaptations or merchandise in mind
. These are the exception. They cannot
have adaptations due to various reasons. They're considered impossible to adapt, difficult to get rights to
, or the creators/publishers simply don't want adaptations.
Compare to Fanwork Ban
. Contrast to Self-Adaptation
, where the creator only permits adaptations that they are personally responsible for. See also Disowned Adaptation
(which may cause this in future works by the creator), when adaptations have
been made but the creator presumably wishes there weren't.
Anime & Manga
- Kiyohiko Azama has not allowed Yotsuba&! to be adapted into an anime, citing a belief that it's not well-suited to an animated format. However, there have been audio adaptations.
- Despite running for more than three decades and being quite popular, From Eroica with Love has never been adapted to anime, product of Yasuko Aoike not being a fan of animation.
- Art Spiegelman has turned down all offers to adapt Maus into a film, viewing it as commercialization of a very personal story he never expected would explode into such popularity. According to him, his wife even joked that his greatest accomplishment has been not adapting it.
Film - Live Action
- Unusually for such a popular comic strip, Calvin and Hobbes has never had an Animated Adaptation. Official merchandise is also exceedingly rare (though bootleg material is common, such as the infamous "Peeing Calvin" decals). Bill Watterson won't allow adaptations for various reasons, including fear of loss of control over his work and a dislike for other comic strips getting adapted and marketed to the point of growing stale, such as Garfield and Peanuts.
- The creators of Bob Roberts refused to have an official soundtrack released, despite the film having several original songs, because the song were all deliberately intended to be catchy far-right-wing anthems, and they feared that the soundtrack might attract a huge Misaimed Fandom.
- The poor handling of Destination Moon led to Robert A. Heinlein flatly refusing for any of his books to be adapted into films ever again. This ban extended well past his death, though we eventually got the likes of The Puppet Master and Starship Troopers. Yay.
- Dune: Owing to how the deal for the movie rights came about, no one else can ever make a Dune movie, ever. The Sci-Fi Channel (now Syfy) found a loophole and made a miniseries, though the lackluster performance of both miniseries (based on the first three books in the series) torpedoed any plans to keep going. It's only in 2017 when Legendary Pictures hired Denis Villeneuve to be the director for the new adaptation of the book. Time will tell if it will a success.
- After J. D. Salinger's short story Uncle Wiggily in Connecticut was adapted into the critically panned film My Foolish Heart, he refused to allow any more film adaptations of his works even after his death in 2010. This included his most famous story, the novel The Catcher in the Rye; he also rejected a proposal in the 1950s for a play based on that book.
- Roald Dahl hated Willy Wonka & the Chocolate Factory and refused to allow adaptations for his children's books for years afterwards. Eventually this was overruled, leading to various adaptations of the film (including the theatrical musical and Truer to the Text Charlie and the Chocolate Factory film) and adaptations of other books by him such as Matilda. Dahl put in his will a stipulation that prohibited its sequel, Charlie and the Great Glass Elevator, from being adapted into a film. This is why the Sequel Hook to the original film never went anywhere and why the second film never had a sequel.
- Mark Z. Danielewski has refused all offers to adapt House of Leaves, as by necessity it would have to discard the multiple layers of the Nested Story that's told through the footnotes, appendices, and bizarre formatting that make it such a compelling Scrapbook Story. In addition, most offers apparently only envision adapting the most straightforward of the book's elements, Navison's story, and ignore the fact that it would make far less of an impact without Johnny, Zampan, and all the other layers.
- Audrey Geisel, Dr. Seuss' wife, was absolutely dissatisfied with the film adaptation of The Cat in the Hat. So much so, that she would say that no further live-action adaptations of his works would be made again. Animated films are allowed though.
- Clive Cussler is taking this stance after the failure of the Raise the Titanic! and Sahara movies at the box office. Although given that both are listed under Troubled Production, this is understandable.
- Ian Fleming wasn't happy with his novel The Spy Who Loved Me and only sold the rights to use the book's title for an In-Name-Only movie.
- The estate of J. R. R. Tolkien has forbidden any film adaptations of The Silmarillion, due to dissatisfaction with the LOTR movies.
- There are several hard to license tables that are impossible to port to home computers. Not only are the rights for the table itself needed, but music in the game, any movie license and actor likenesses can be involved too. But at least any patents are either expired or included.
- Variant: LEGO shot down all pitches for a theatrical film involving the BIONICLE universe. This is due to these pitches involving human kids, which is contrary to the world building of the series, which states humans don't exist or will ever be a part of the universe. However, BIONICLE still got four direct to video movies.
- Nintendo was initially lenient with allowing their properties to get adaptations, such as the Donkey Kong segments of Saturday Supercade, elements of their works in Captain N: The Game Master, and the Super Mario Bros. and Zelda cartoon and the obscure Mario OVAs. This all came crashing down when the live-action Super Mario Bros. movie came about, played fast and loose with the source material, and critically and commercially flopped as a result. Because of its failure, Nintendo instated a mandate that their properties could no longer be adapted into feature films, and they have gotten much, much more strict with how licenses can use their characters (for example, when Bowser made a cameo appearance in Wreck-It Ralph, Nintendo gave very specific instructions for how Bowser would do things, even something as mundane as picking up and holding a cup) so far fewer animated adaptations have come about in the last few decades, save ones based on Pokémon, Kirby, and Animal Crossing. The only exceptions they've made for their feature ban is with the Pokémon anime movies. It was rumored that they were willing to allow a live-action Metroid movie to be made, but that never got off the ground. However, Nintendo seems to be lightening up on their mandate due to their announcement of an animated Mario movie made by Illumination. Nintendo's discomfort with adaptations also applies to western comics. A few 80s and early 90s comics aside, they don't allow western comics. Archie Comics once pitched a group of Nintendo comics, similar to their Mega Man and Archie Comics' Sonic the Hedgehog comics, but were declined permission.
- Nintendo's main exception to the rule is manga. Super Mario Bros. has been running Super Mario-kun since the 1990s, Pokémon has numerous manga (admittedly, that's a Game Freak property), Metroid has a manga, Splatoon has a manga, The Legend of Zelda has many manga, etc. Almost none make it outside of Japan however Nintendo is still profilic with letting their games have manga.
- ZUN has turned away multiple investors seeking to make an official Anime adaptation of Touhou or translate it into other languages, largely because he would lack control over such a project, and doesn't like retreading old ground in general. He is, however, very supportive of Fanime and Fan Translations as long as their unofficial nature is obvious. Due to Touhou's nature as a niche format within a niche medium, it gets a lot of its fame from Pop-Cultural Osmosis; something as mainstream as an anime would run a real risk of displacing the original in the public consciousness.