->''"Not everything in a book will work in a movie... I think it's the director's duty to keep what he can use and throw out or change the rest."''
-->-- '''Creator/RogerEbert''', ''Questions for the Movie Answer Man''

When you're doing a version of a story, sometimes the writers are smart enough to know that for whatever reason -- budget, censors, pacing issues, et cetera -- there are things that just aren't going to make it through. They make the best of a bad situation and explore other aspects of the story. Hopefully, this will put a new and interesting spin on the series.

Time is often a factor in this. When you're adapting a 600-page book (or, for that matter, an [[Franchise/{{Batman}} eighty-year-old]] [[Franchise/{{Superman}} comic series]]) into a [[TheFilmOfTheBook two-hour movie]], something's gotta go. The reverse can also be true; stretching out a relatively short book into a much longer film and/or TV show often results in [[AdaptationExpansion changes]].

As with the Roger Ebert quote above, what works on the printed page doesn't necessarily work on the screen, which is another major reason that things in the story get changed.

FanDumb tends to be [[TheyChangedItNowItSucks rabid]] about this kind of change, although the rise of [=DVDs=] and bonus production commentary often include rationalization (or guilt-passing) for this sort of thing.

Video game adaptation can also fall into this, such as when one is adapting a PC game to a console game, or vice versa, due to any number of issues concerning the target machine that the game is being adapted to. In that case, gameplay elements as well as story elements would have to be adjusted to accommodate the translation. If done poorly, this can lead to a PortingDisaster. If a story is mishandled in its adaptation to a video game, it can lead to TheProblemWithLicensedGames.

Various signs of this include:
* CanonForeigner: Adding a new character, often to play the role of TheWatson in the adaptation of a book with a lot of dense exposition.
* CompositeCharacter: Combining character roles (and subsequently enlarging the role of one character) to make a simpler narrative to follow. Alternatively...
* DecompositeCharacter: Splitting the role of one character to two or more.
* {{Woolseyism}}: Dramatically altering key points but holding to the spirit of the original.
* AdaptationalModesty: Toning down the sexual content to meet the new medium's stricter standards.
* AgeLift: Upping the age of a certain character where you can find an actor more capable of playing them without resorting to DawsonCasting.
* AdaptedOut: Removing a character unnecessary to the plot.
* AbilityOverAppearance: Casting the most talented actor for the part, regardless of whether or not they look exactly like the character. Often occurs in adaptations of {{Superhero}} comics, where it's hard to find actors and actresses who fit the improbable physiques of the characters they're portraying.

Contrast with AdaptationDistillation: in a distillation, a complex story is simplified, without much substantive change. In a Pragmatic Adaptation, the story is changed with the shift in medium.
* PragmaticAdaptation/LiveActionTV
** ''PragmaticAdaptation/GameOfThrones''


[[folder:Anime & Manga]]
* ''Manga/{{Area 88}}'': The anime adaptations of the manga leave out the quirky humor that occasionally showed up in the manga. It also wisely chose to leave out the quasi-ScienceFiction elements that seemed to belong more in ''Franchise/GIJoe'' than a serious contemporary war melodrama. In the manga, the anti-government forces employed devices such as land-based aircraft carriers, robot-controlled F-18 fighters, a drill missile, laser sentries, and a massive air fortress. There was also an inexplicable connection between the Asran Civil War, TheMafia, Yamato Airlines, Communists, and various other groups, including a NebulousEvilOrganization.\\
The manga also included the successful use of nuclear weapons on several occasions, something that would have made worldwide headlines in the real world but, amazingly, went totally unnoticed by the public in the manga. The anime adaptations remove all of the byzantine subplots, conspiracies, eccentric guest characters, and soap opera twists. In the original manga, unlike the OVA, [[spoiler:Kanzaki's arrest]] is hardly the end of him. Like any villain worth his salt, he always has an escape plan and keeps coming back with another grandiose scheme. The anime's focus is on Shin's perceived loss of his humanity.\\
Also, it should be noted that the manga series, which lasted seven years (1979-1986), inexplicably lasted more than twice as long as Shin's forced mercenary contract of three years. It was still running when the original OVA was produced. The OVA's ending had to be different from the manga in order to avoid spoilers. The U.S. manga adaptation lasted briefly (42 issues and then briefly in ''Animerica'' magazine) and was nowhere close to the end, but by the time of the brief ''Animerica'' run, the series had already begun to JumpTheShark due to the meandering subplots. What little is known (to non-Japanese speaking readers) about the manga's ending is that fans feel it was a cop-out. [[spoiler:In the final battle, Shin gets his revenge on Kanzaki, but gets shot down, gets amnesia and forgets all about his experiences at Area 88. He and Ryoko get married and live happily ever after]]. The OVA's strong and powerful ending is widely considered preferable.
* ''{{Anime/Pokemon}}'':
** The anime couldn't adapt [[VideoGame/PokemonBlackAndWhite N]]'s original goal (to release Pokemon from their Trainers, as he compared owning them to slavery) because it would make zero sense in the anime: it's [[AdaptationExpansion been established in anime canon]] that Pokemon can leave their Trainers (one suggested origin of Ash's Snivy), battling is actually beneficial to a Pokemon's growth, and Pokemon regularly choose if they get captured or not. Furthermore, the protagonist is an AllLovingHero. Thus, the anime's story with Team Plasma takes place after an event similar to the climax of Black and White, and has N already against Team Plasma for exploiting Pokemon. His BW traits are either downplayed or immediately changed when he realizes how good Ash is to his Pokemon.
** Trading is a major element of the games -- however, trading in the anime (and most other adaptations) is extremely rare. The individual Pokemon are treated as characters; [[PutOnABus replacing them]] often wouldn't work as easily as in the games.
** This trope is often a general aspect that occurs on a daily basis in the anime by ''really'' changing plot points in the games for more "child-friendly" versions to accommodate the plot. The Team Flare plot goes off-the-rails by importing a "[[ExactlyWhatItSaysOnTheTin Legendary Giant Rock]]" all the way from Hoenn, while in the original there was no such connections with Hoenn and Kalos. This was done to avoid showing on the big screen how [[spoiler:the Ultimate Weapon was essentially a nuke powered up by living organisms that it would leave them dead]].
* Several things were toned down in the anime of ''Anime/MazingerZ''. In the original story, Dr. Kabuto was another MadScientist with [[GoodScarsEvilScars his face scarred]] who had never met Dr. Hell. In the anime, he was a well-meaning, nice old man who shared a backstory with Hell and built Mazinger Z for defending the world (apparently this was later retconned into manga continuity, since in the ''Anime/GreatMazinger'' manga Kouji claimed Dr. Hell had killed his grandfather). However, Kouji was nicer and less sexist -- albeit a bigger pervert -- in the manga, Sayaka was a Type B {{Tsundere}} instead of a Type A, and their fights were worse in the anime. Many manga characters (such like Inspector Ankokuji, the twin sisters Loru and Lori, or the Gamia assassin androids) and storylines never showed up in the anime; that, or their story was altered (such as Lorelei's story). Likewise, the anime came up with new characters (Professor Gordon and his daughter that modified Mazinger Z to be able to swim, or Viscount Pygman and Archduke Gorgon) developed some situations (Mazinger getting its MidSeasonUpgrade and other minor upgrades, the birth of Boss Borot) and characters (the other scientists of the Institute, Kouji and Sayaka's families) in a greater depth than the manga.
* The anime of ''Manga/DeathNote'' has a bit of this. While nothing too important to the story is omitted, several bits of information that would help explain things a bit better are retained in the manga. This causes a problem in that the manga feels comparatively wordy, while the anime comes across as an abridged series, what with the way characters derive information from seemingly nowhere. For example, when Near detects that [[spoiler:Mikami is X-Kira]], the manga lays out his ''entire'' thought process. The anime makes it seem like he just made a lucky guess.
* The anime of ''Manga/{{Berserk}}'' certainly [[LighterAndSofter toned down much of the series's violence,]] but is perhaps more well known for emphasizing themes of friendship and ambition -- and [[DownerEnding not in an optimistic way]] -- more than the manga did. This was a compromise with ''Berserk''[='=]s long supernatural plotline; most of the series is actually a flashback. The anime also did away with all the slapstick and face faults, which created a more consistently bleak mood. The changes are usually accepted by fans, seeing as creator Kentarō Miura [[WordOfGod gave his approval]].
* ''Anime/SailorMoon'':
** Zoisite is a fairly standard [[FlamboyantGay foppish, gay shoujo villain]]. He was [[ShesAManInJapan adapted into a woman]] in TheNineties Creator/DiC North American dub, but with a memorable, over-the-top delivery in a season which otherwise had no female lackies.
** Haruka and Michiru's lesbian relationship is glossed over in many dubs, such as TheNineties Cloverway North American dub, which infamously changed them to cousins. Amusingly, the dub seemed primarily concerned with modifying only the most blatant comments; the two are still unusually affectionate, if not [[KissingCousins outright romantic]].
* The first ''VideoGame/GalaxyAngel'' video game was delayed enough that TheAnimeOfTheGame would have to be aired at least a year beforehand. Rather than risk AdaptationDecay with the little information they had, the writers turned ''Anime/GalaxyAngel'' into a GagSeries that ''parodied'' AdaptationDecay, referring to even less source material than they had and stepping up CharacterExaggeration to outrageous levels. It worked. ''Anime/GalaxyAngelRune'', on the other hand...
* The ''LightNovel/HaruhiSuzumiya'' LightNovels' narration are one of the things that people like most about them. UnreliableNarrator Kyon tells us the story in a unique way, but adding the visual media to it destroys this, since you aren't ''told'' what happens anymore. Kyon does not have quotation marks when he talks, so it is ambiguous if he's talking or narrating. You can assume he is narrating for the most part, but sometimes character will ''reply'' to his supposed narration, much to the surprise of the reader. The anime actually manages to ''keep'' this by changing the camera perspective away from Kyon's mouth, so you don't actually see if he is narrating or talking.
* ''Anime/{{FLCL}}'': The manga adaptation isn't so much a retelling of the story in the anime as it is taking the same premise and characters and telling a completely different story.
* The ''Anime/{{Grenadier}}'' anime, ''Grenadier ~The Smiling Senshi~'', follows a BroadStrokes account of the manga, but without the AfterTheEnd connotations of the later volumes of the manga, the last four members of the Juttensen, and the [[BigBad Iron-Masked Baron's]] final assault on the Capital.
* The [[Anime/FullmetalAlchemist 2003 anime adaptation]] of ''Manga/FullmetalAlchemist'' was put into production when only a few volumes of the manga had been released, and the writers had to not only come up with a conclusion based on the existing material, but make a story that would span about 50 episodes. So, in addition to [[AdaptationExpansion expanding]] on certain scenes from the manga and adapting everything they possibly could (namely light novel spinoffs and {{omake}} gags), the anime also gives most of the characters wildly different characterizations and the plot goes in a very different direction, complete with GeckoEnding. Creator Hiromu Arakawa even [[EnforcedTrope encouraged them]] to do this. In addition, the tone became much less [[SlidingScaleOfIdealismVsCynicism optimistic]], and the focus shifted toward themes like sacrifice and the value of life. The result was an anime that was widely praised by critics, but is very different from its source. Whether or not it's as good as (or better than) the manga is subject to [[BrokenBase much debate.]]
* ''Manga/ExcelSaga'':
** When [[Anime/ExcelSaga the anime]] was made, the manga was still ongoing. It turned what content was already written into different show parodies, and [[GeckoEnding wrote its own ending]] based on what original content they made themselves.
** The Latin-American dub toned down Excel's [[GenkiGirl genki nature]] a little bit for practical reasons. She screams ''so much'' that in the English dub, Creator/JessicaCalvello ended up ''destroying'' her vocal cords (don't worry, she got better).
* ''Franchise/ShinMegamiTenseiPersona'':
** ''Anime/PersonaTrinitySoul'' was supposed to take place in the same universe as ''VideoGame/{{Persona 3}}'' (at least, the presence of Akihiko implies that much), though the anime has since been declared non-canon. However, the rules for Persona summoning are drastically changed for pragmatic reasons. In the games, a Persona has to be repeatedly summoned for every skill you use. This works wonderfully for a turned based game, but it would lack the same effect in an animated series. So in ''Trinity Soul'', the "rules" for Personas were changed so that the battles would look more visually engaging.
** The manga adaptations of ''VideoGame/{{Persona 3}}'' and ''VideoGame/{{Persona 4}}'' modified the rules for Persona users quite a bit. For example, Mitsuru at one point was seen using Persona powers to freeze the cast outside the Dark Hour, which was eventually revealed to be possible, but the cast wasn't capable of it at this point, only learning to do it years later.
** ''Anime/Persona4TheAnimation'' condenses a 90+ hour game into 26 half-hour episodes, showing no class time and cutting out the vast majority of the dungeon crawling--basically showing condensed versions of the dungeon plots and then skipping straight to the boss battles. (However, they also show the very sidestory-ish Social Link plots.) Similarly, the team no longer uses weapons, since it's a whole lot harder to convince viewers that the investigation team has been sneaking swords and chairs into Junes under their clothes when everything is being fully animated.
* Many, ''many'' things were shortened or outright removed in the ''VisualNovel/HigurashiWhenTheyCry'' anime. The manga mostly averts this by leaving in most of the details, but the story is still compressed for time (the arcs are two volumes long).
* ''Anime/RebuildOfEvangelion'' cuts lots of things that appeared in [[Anime/NeonGenesisEvangelion the show]] in order to save time. Most significantly, Ritsuko is almost DemotedToExtra, and a number of the Angels were also excluded while others were turned into {{Composite Character}}s. No longer applies as of ''3.0'', however, due to going seriously OffTheRails.
* While the anime version of ''Manga/HanaYoriDango'' closely follows the original manga, the live action show compressed the story into a neat two-season package. There are instances of both characters (Kazuya and Makiko's roles are now given to Sakurako, making her ''much'' more devious) and events (important events from three separate parties now all occur at one party) being combined, and there are several storylines where someone tries to seduce Tsukasa or Tsukushi which are done away with entirely.
* ''Manga/{{Bokurano}}'', since the director of the anime didn't like how the story got ''way'' too dark for his taste. Quite a few things got changed as a result.
** A few of the pilots' orders got switched around. For example, Kako is third in the anime, meaning that he's the first to pilot after learning that [[spoiler:the chosen pilots die even if they win]], making his reaction somewhat more fitting. By contrast, in the manga, Chizu notes that the pilots are gradually getting used to what is happening.
** When Komo fights, instead of [[spoiler:baiting the enemy pilot with a piano recital]], she has a more standard battle with an enemy mech, [[CurbStompBattle which she wins easily]].
** Near the end, instead of [[spoiler:Kana having a turn and dying like everyone else]], in the anime, [[spoiler:Dung Beetle tries to manipulate Kana into contracting, but Jun and Youko manage to turn the tables on him and kill him, leaving Kana as the SoleSurvivor]].
* This was apparently what they were going for with the ''Manga/WanderingSon'' adaptation, what with starting InMediasRes, the various changes, etc. [[SubvertedTrope To fans of the manga, though]], it comes off as AdaptationDecay.
* ''Manga/{{Kanamemo}}'' uses this to amplify the comedy, but also adds '''tons''' of CharacterDevelopment for Kana, making her whole orphan situation much more realistic [[AngstWhatAngst than in the manga.]] Backstory was added on the Fuushin Gazette by adding a new character that was never in the manga.
* In ''Manga/DearS'', the producers quickly realized that they wouldn't be able to juggle the full cast of characters and the sci-fi plot in a TwelveEpisodeAnime. Taking lemons and making lemonade, they turned the series into a straight-up [[HaremSeries harem comedy]] that [[SupportingHarem focuses on Takeya and Ren]], which works pretty well in the allotted space.
* The anime adaptation of ''Manga/TheWorldGodOnlyKnows'' is extremely faithful to the manga, but about the biggest change is that the second-to-last episode of the second season was chapter 41 of the manga; then, for the finale, chapter 75 was adapted. The reason this worked was because chapter 75 contained none of the new characters that had been introduced in the interim in the manga, so nothing was spoiled. Then the third season jumps ahead to the Goddess arc, effectively skipping over 50 chapters of, admittedly, highly repetitive story.
* ''Manga/AttackOnTitan'': Following the fall of Wall Maria, the story of the manga skips the training arc, only to cover it some volumes later. The anime series doesn't, following the events' chronological order instead. Also, as the anime reached the end of the first season, there was an increase in {{Filler}} scenes (approved by the mangaka and mostly well-received by the fanbase) to pace the show so the season could end at a certain dramatic point. These scenes also expand on many side characters.
* Creator/JunjiIto did a manga adaptation of ''Literature/{{Frankenstein}}'' that patched a rather significant plot hole in the original work that would have been only more glaring to modern audiences. In the original story, Victor Frankenstein is threatened by the monster into creating a bride for him, but despite having everything on the line, he decides to destroy it before completion on the biologically nonsensical premise that the pair could spawn a whole race of similar monsters. In the manga, [[spoiler:Victor goes through with it, since to do otherwise is to put himself and those he loves at risk. In the end, though, the bride ends up a mindless, violent monster rather than the thinking being his first creation was. The monster assumes Victor deliberately sabotaged the work and seeks his revenge.]]
* The ''VideoGame/VirtuaFighter'' anime turns Akira from being more or less a [[StreetFighter Ryu]] clone into a BigEater IdiotHero more akin to [[Franchise/DragonBall Goku]]; also, it turns Pai into a {{Tsundere}} that's heavy on the Tsun, Jacky into a DeadpanSnarker, and Sarah into a GirlyGirl with a [[TeamPet flying squirrel]], at least until she's brainwashed. The anime also eschews the World Fighting Tournament from the games, focusing on the heroes fighting against huge criminal organizations. The anime retains other elements, such as Sarah's kidnapping and brainwashing, Pai's estranged relationship with her father Lau, and the creation of Dural. The main plot itself involves Pai trying to avoid being kidnapped and married to the villain, which her father had arranged so there would be a successor to the fighting style of Koenkan. Said villain has ''turned it into'' a criminal organization, something that was never in the games. Since the games themselves are very light on plot and characterization, there wasn't much to mess up.
* When the original ''SpaceBattleshipYamato'' was created, it was generally assumed that the WWII Battleship Yamato sunk and remained in one piece. In 1985, it was discovered that this was not the case. The 2010 ''2199'' remake couldn't plausibly justify the idea of building a spaceship out of the wreck of the Yamato. Therefore, the sunken wreck was turned into camouflage for a completely new ship that was being built under it.
* ''VisualNovel/FateStayNight'':
** You really can't do ''Fate/Stay Night'' justice by just following the ''Fate'' route, but the episode/continuity limits don't really let you do both and tell a coherent story. So the anime took ''Fate'' and add a little ''Unlimited Blade Works'' to it and came up with something, even if it doesn't match the original in quality. They also threw in the odd reference to ''Heaven's Feel'' as well -- namely [[spoiler:the revelation that Rin and Sakura are sisters]].
** ''Unlimited Blade Works'' film: Especially noticeable, where some of the romantic undertone between Shirou and Rin are lost, as well as merging separate visits to locations in the original into a single, very eventful one, and things happening for different (but more easily explainable) reasons.
* ''Manga/TokyoGhoul'' condenses approximately 80 chapters worth of material into a 12-episode anime, with break-neck pacing and many scenes removed for the sake of brevity. It also switches the order of the arcs focusing on Hinami and the Ghoul Restaurant, allowing the characters killed in the first arc to live longer in the anime and introducing Tsukiyama earlier.
* By necessity, the anime adaptation of ''VisualNovel/{{Hakuouki}}'' cannot cover all of the game's various divergent story paths. The anime thus primarily follows Hijikata's route, due to that route covering the most of the Shinsengumi's history, and [[MergingTheBranches incorporates significant scenes from other paths]] where they can fit into the sequence of events. The anime also adds scenes to provide closure for Okita and Harada's character arcs, since they separete from the Shinsengumi halfway through the storyline and disappear from Hijikata's route in the game.
* The anime adaption of ''Anime/YokaiWatch'', in order to distinguish itself from other {{Mons}} anime, focused on using summoned Yo-Kai's abilities to change emotions and behavior to defeat the [[MonsterOfTheWeek section's yokai]], rather then direct battles. This is different to the video games the anime is based on, where Yo-Kai do directly battle each other.
* The ''Franchise/LyricalNanoha'' movies each [[CompressedAdaptation condense]] a TwelveEpisodeAnime into a single movie, so naturally many things get cut, removing a lot of WorldBuilding and [[MagicAIsMagicA explanations of magic]], as well as reducing the relative screen time of most characters or excising them entirely (in particular: Nanoha's family don't even get a single line, Yuuno gets DemotedToExtra from the beginning, and Graham [[AdaptedOut isn't present at all]]). But what is left behind is expanded on: the relationships between Nanoha, Fate and Hayate are given more focus than in the series, and Precia and Reinforce are given extra backstory and character focus. The end result is something that's a bit difficult to understand for those unfamiliar with the series, but which, to fans, is [[PanderingToTheBase exactly what they wanted]].
* The anime version of ''Manga/SchoolLive'' had to change numerous things in order to fit in Taroumaru, who originally was an OneshotCharacter. The ending episode was changed considerably. No mention of the rescue helicopter is made and thus [[spoiler:there's no scene with it crashing and blowing up]]. The TearJerker is instead [[spoiler:how Taroumaru doesn't make it even with the anti-zombie vaccine]]. The episode ends on a ''considerably'' lighter turn due to [[spoiler:Miki and Kurumi lacking injuries, Yuuri never having her breakdown, and Yuki never killing a zombie and her world subsequently crashing down on her]], though it still has a BittersweetEnding.
* The manga adaptation of the first ''Anime/TenchiMuyo'' movie, ''Tenchi Muyo in Love'', changes a lot of the second half of the movie -- the Galaxy Police agent seeking him is excised completely, a mistake on Mihoshi's part is added in (the manga has Mihoshi mess up and go to the wrong shrine needed to set up a special dimension portal) and the final battle is condensed and changed (Achika sees Tenchi's final fight with Kagato instead of the lonely, crying young Tenchi and Tenchi fights Kain with Achika using her powers to help deliver the final blow instead of Achika fighting him solo).
* While the ''Anime/AceAttorney'' anime is very faithful to [[VisualNovel/PhoenixWrightAceAttorney the visual novels]], some changes in the progression of the cases were made due to time constraints, and others to better suit the story's pacing. This results in some gags (Sahwit hilariously throwing his wig at Phoenix's face) and optional content ([[RunningGag the ladder/stepladder debate]]) being cut out, and changes in locales (Cody's interrogation taking place during the investigation).
** Though not every change was completely positive. The stun gun scene in "Turnabout Goodbyes" isn't nearly as impactful and memorable in the anime as it was in the game, now that it's only between Maya and a random officer, instead of von Karma himself knocking out both Phoenix and Maya.
* The ''Anime/YuGiOh'' anime's adaptation of the [[Manga/YuGiOh manga's]] Millennium World arc. The very complex tabletop RPG was simplified, and Seto's battle with the Pharaoh took place just before Zorc awoke rather than after his defeat. In exchange, Kisara and Yugi's friends got more to do, and the consequences of Yugi's wish for friends was brought up as well.
* In the anime adaptation of ''Manga/Brave10'', because of time constraints some characters disappear and others take their roles, some fights and events are cut and some villains are weakened. And because of MoralGuardians, there's a general helping of BleachedUnderpants.
* The ''Anime/BunnyDrop'' anime ends one year into Daikichi's stint as surrogate father to Rin, and doesn't for a moment acknowledge the developments of the manga's second half. Many who checked out the manga to see how the story continues there ended up [[BrokenBase wishing they hadn't]].
* ''Anime/KirbyRightBackAtYa'' hits this trope hard in the face with the ''Franchise/{{Kirby}}'' video games. Kirby has become an AdaptationalWimp and there are more [[CanonForeigner characters that don't exist]] than ones that do.

[[folder:Comic Books]]
* The "War of the Symbiotes" arc in ''Comicbook/UltimateSpiderMan'' adapted the events of the now-[[CanonDiscontinuity non canon]] ''VideoGame/UltimateSpiderMan'' video game. Among other things, the arc shortened the plot and omitted characters like {{Wolverine}} and [[ComicBook/NormanOsborn Green Goblin]], while also reconciling the fact that the game and comics had two ''entirely'' different versions of Carnage (in the game it was Peter, while in the comics Carnage was established as Gwen Stacy).
* ''ComicBook/ArchieComicsSonicTheHedgehog'':
** After a major lawsuit forced the book to undergo a small reboot via CosmicRetcon, it had to erase nearly ''twenty years'' worth of characters, some of whom were integral to the current story arc. How did it get around this? By making a few games from the [[Franchise/SonicTheHedgehog video game series]] officially tied into the new continuity to establish most of the game cast (i.e. Shadow debuts in ''VideoGame/SonicAdventure2'', so his current personality and motives are tied to that in the book) and by altering the past of the remaining CanonForeigner characters (i.e. the Freedom Fighters). It results in something of a hybrid of the video game series and some of the televised western adaptations (mainly from ''WesternAnimation/SonicSatAM'', and ''WesternAnimation/AdventuresOfSonicTheHedgehog'').
** Its first major story arc is adapted from ''VideoGame/SonicUnleashed'', but accommodated for the new continuity. Namely, Dark Gaia's release is a completely unintended effect of Eggman's attempt to take Sonic with him at the end of the ''ComicBook/SonicTheHedgehogMegaManWorldsCollide'' crossover that kicked off the reboot. Knuckles is the one who meets and bonds with Chip, as opposed to Sonic, and his status as [[spoiler:Light Gaia]] is established from the start. More characters that weren't present in the original game have a larger role (the Chaotix, Knuckles, Team Dark, etc.), and Sonic's Werehog form is triggered by severe stress and makes him severely more agitated due to TheCorruption of Dark Gaia, something only alluded to at times in the original game.
*** The ''VideoGame/SonicTheFighters'' adaptation, done during this storyline, also had some changes, excising the excuse plot involving eight Chaos Emeralds and the Death Egg II in favor of a TournamentArc and putting in DummiedOut character Honey the Cat and CanonImmigrant [[WesternAnimation/AdventuresOfSonicTheHedgehog Breezie the Hedgehog]].
* In ''ComicBook/WarlordOfMars'', the comic book adaptation of ''Literature/JohnCarterOfMars'', is relatively faithful but it contained a couple of changes:
** When John meets his long-lost son Carthoris, whom he has never met before, they recognize each other almost immediately. In the books, the two spend an extremely long time together before [[LukeYouAreMyFather realizing the true relationship between them]]. This was done to save time and compress as much material as they could.
** The Black Martians are depicted as grey-skinned humanoids rather than looking like black humans, to avoid [[UnfortunateImplications any racist connotations]] since they are depicted as a race of bloodthirsty cannibal raiders that steal from others rather than creating anything of worth, and the males' favorite pastime is to capture women from other races, mainly the Red and White Martians.

[[folder:Fan Works]]
* ''Fanfic/CreamedCherries'' is a ''Disney/{{Bambi}}'' fanfic that serves as a lighthearted retelling of the [[Recap/TheSimpsonsS7E2122ShortFilmsAboutSpringfield "Steamed Hams"]] [[WesternAnimation/TheSimpsons Simpsons]] skit, and given the story is set in a forest with normal woodland critters, several of the original story elements are tweaked to match the setting. For starters, the eponymous hams are replaced with apples, since it would be rather nonsensical ([[ImAHumanitarian and disturbing]]) for Bambi and Faline, who are deer and thus herbivores, to eat meat. The threat of Skinner's oven being left unattended is replaced by the threat of a swarm of angry bees terrorizing Thumper and Flower. And most of the lines are completely rewritten to better suit the characters.
* While many things are changed in ''WebVideo/DragonBallZAbridged'', it still carries the spirit of the series. At the same time, it also condenses hours of long, drawn-out fights into about one tenth of the time.
* Due to adapting games dozens of hours long, ''FanFic/PaperMarioX'' had to cut out a lot of item collecting and sidequests to keep the stories a reasonable length. Fortunately, between the crossover elements and main plot, there's still plenty of story to tell in the first place.
* ''FanFic/TheNextFrontier'', being a crossover between ''VideoGame/KerbalSpaceProgram'' and (SpoilAtYourOwnRisk folks!)[[spoiler:''Firefly'']], has some very big AcceptableBreaksFromReality to HandWave away. Quoth WordOfGod:
-->[[http://forums.spacebattles.com/threads/the-next-frontier-ksp-something.266217/page-3#post-11697818 "... I'm going to scale the Kerbol system up and pretend KSP's an "edutainment" game made by the Kerbals themselves, with some compromises between realism and playability. The reference to "Buzz Kerman's Race Into Space" in one of the blog posts is a nod to that."]]
* According to ''Fanfic/Digimon02TheStoryWeNeverTold'', TK's [[Anime/DigimonAdventure02 original novel]] is a [[LighterAndSofter more idealized]] and radically altered version of what [[CrapsaccharineWorld truly happened]] in their real life. His wife Kari calls him out on it and prefers that TK wrote the [[DarkFic true version of their experience]]. And thus this fan fiction is born.
* The ''WesternAnimation/JackieChanAdventures'' fanfic ''Fanfic/TheUltimateEvil'' has one. While Uncle's spell banishes Shendu's astral form from Jade's body in the retelling of the episode ''Project A, For Astral'', the Demon Sorcerer isn't trapped in his statue prison. He's still able to wander around in his spirit form, allowing him to [[StalkerWithACrush spy on]] his eventual [[VillainousCrush love interest]] [[OriginalCharacter Valerie Payne]] (though for the sake of not altering the plot too much, he's made unable to go near the Chans or their home).
** Unlike in canon, the [[RewritingReality Book of Ages]] is actually [[ThresholdGuardian guarded by a powerful entity]] whom Shendu has to outsmart before being able to tamper with the reality. At the conclusion of the [[VillainWorld Demon World]] arc, [[spoiler:the Guardian uses the Book to seal the gateway to the Book and render Shendu's spirit unable to leave the Netherworld]], giving plausible explanations to why in canon the Book was never again sought out by the villains and why Shendu never again left the Netherworld until [[spoiler:Daolon Wong resurrected him]].
* ''Fanfic/PastContinuous'' doesn't follow [[http://sto.gamepedia.com/Mission:_Of_Bajor "Of Bajor"]] precisely, but it makes multiple references to events of the mission. A stand-in for the Klingon PlayerCharacter, a fellow named Commander Yarik, is captured trying to bug Starfleet or Bajoran Militia areas for Klingon Intelligence (it went off without a hitch in the actual mission), and there are anti-Federation and anti-Klingon protests going on in Hathon accusing them of creating a renewed Occupation (in-game, one side mission is to defuse these). There's also an appearance by Ensign Jirelle Kav, who appears in the mission and later becomes the ops officer of the USS ''Enterprise''-F.
* The ''Series/BuffyTheVampireSlayer'' fanfic ''[[https://www.fanfiction.net/s/6060732/1/West-of-the-Moon-East-of-the-Sun West of the Moon, East of the Sun]]'' is an adaptation of both the Norwegian fairytale of the same name and the Greek myth ''Cupid and Psyche'', and takes place in an alternate season 5. It makes a lot of changes to the story in order for it to fit in the Buffyverse, though for the most part it stays faithful to both stories, at the same time being very well written to the extent that some consider it to be BetterThanCanon (for people wondering, it's a Spuffy fic).

[[folder:Film -- Animated]]
* Several films in the Franchise/DisneyAnimatedCanon fall into this:
** Disney's ''Disney/TheAdventuresOfIchabodAndMrToad'': Very much so in the Mr. Toad segment. It does avoid being an InNameOnly adaptation by keeping Toad's personality the same as in the book (even if other characters are very different) and staying true to the basic story structure of the Toad parts of ''Literature/TheWindInTheWillows'', but it does change a few things up, attempting to make Toad more sympathetic by [[AdaptationalHeroism having him be innocent of the crime he's imprisoned for]]. The Sleepy Hollow segment, on the other hand, is quite true to [[Literature/TheLegendOfSleepyHollow the original tale]], both story- and character-wise, though a few other liberties were taken.
** Creator/WaltDisney's 1951 adaptation of ''Disney/AliceInWonderland'': The film is actually a combination of the [[Literature/AlicesAdventuresInWonderland original book]] and its sequel ''Through The Looking Glass''. Retaining every character from both books would be too much for a feature-length film to handle, so the movie uses the most iconic ones from each book. While the plot itself is based off ''Wonderland'', Tweedledee and Tweedledum, the Walrus and the Carpenter, and the singing flowers are originally from ''Through The Looking Glass''.
** Disney's adaptation of ''Disney/{{Hercules}}'': The [[Myth/ClassicalMythology original Heracles myth]] -- and Greek mythology in general -- were as family-unfriendly as you can get and had a ''lot'' of built-in ValuesDissonance. The basic conflict ''alone'' was unacceptable for a family film, since Hercules is a product of Zeus' adultery with a mortal, and Hera, Zeus' wife, is the villain who constantly makes Hercules' life miserable because of this. The studio was forced to [[DisneyFication heavily rework the concept]]: it borrows the character names (not so much the personalities), plot points, and setting from the myths, but [[AdaptedOut throws out]] and [[CanonImmigrant adds in]] things from other parts of Greek myth (such as Pegasus and the Muses, who were not in the original Heracles story) and reworks everything else, such as expanding Hades's role in the story [[EveryoneHatesHades by turning him into the main villain]]. Ultimately, this makes the film less an adaptation of Greek mythology and more like a [[JustForFun/XMeetsY mashup of]] ''Film/SupermanTheMovie'' and ''Film/{{Rocky}}'' [[RecycledInSpace set in a]] [[TheThemeParkVersion burlesque of Ancient Greece]].
* Despite being a main character in ''ComicBook/TheUltimates'', ComicBook/{{Hawkeye}} is excluded from both of the ''WesternAnimation/UltimateAvengers'' animated films in order to keep the movies from featuring too many characters. The adaptation also streamlined the plot of the first Ultimates mini-series, provided an entirely new plot for the sequel involving the Black Panther and Wakanda, and made the characters more likable by toning down some of their more JerkAss traits and [[CompositeCharacter blending them with aspects of their mainstream counterparts]].
* The first half of ''WesternAnimation/SupermanDoomsday'' runs ''ComicBook/TheDeathOfSuperman'' fairly straight, save for the absence of the Justice League, but the second half, based on ''The Reign of the Supermen'', gives us a single replacement Superman, who's a clone like Superboy, but [[CompositeCharacter with elements of both]] the Eradicator (crimefighter with [[WellIntentionedExtremist extreme zero-tolerance policy]]) and the Cyborg (a villain secretly working with another villain). This half also drops the complex Mongul plot entirely in favor of a straightforward battle of the Supermen. It also manages to squeeze in a little of ''Funeral For a Friend'', which took place in between the two halves. One effective choice was leaving out Pa Kent: this cut his heart attack subplot and intensified Martha's mourning by leaving her without both of them (it also ties in better with the Superman movie franchise, which contemporary audiences would be familiar with).
* ''WesternAnimation/GreenLanternFirstFlight'' breezes over Hal Jordan's classic origin story in about 5 minutes to focus on the intergalactic dealings of the Franchise/GreenLantern [[TheChosenMany Corps]]. This was partially because the LiveActionAdaptation of ''Green Lantern'' was planned to delve into said origin, but also because they examined much of the same story in ''[[ComicBook/DCTheNewFrontier Justice League: The New Frontier]]'', and they didn't want to rehash his origin with every new DTV. Ironically, it turned out to be much, much better received than the live-action film.
* ''WesternAnimation/BatmanUnderTheRedHood'' did this to its original story, "Under the Hood", as well as "ComicBook/ADeathInTheFamily". Among the changes were: omitting everything from "Death" unrelated to Jason Todd's death, removing or altering things related to ''ComicBook/InfiniteCrisis'' to make it more standalone (including changing how Jason Todd was resurrected to the more-familiar Lazarus Pit), and replacing then-current Gotham City police commissioner Michael Akins with the more familiar James Gordon, who'd retired from the post and wouldn't return until after the aforementioned ''Infinite Crisis''.
* To make ''ComicBook/PlanetHulk'' fit the length of a feature film, [[WesternAnimation/PlanetHulk the animated movie]] removed large parts of the story, such as visiting the shadow people and acquiring the stone ship, and Brood's character is removed altogether. The Warbound section is also condensed and, due to rights issues, the ComicBook/SilverSurfer is replaced by ComicBook/BetaRayBill and Mr. Fantastic is hidden in the shadows.
* ''Animation/SonOfTheWhiteHorse'' was originally meant to be a mashup of several old Hungarian and Avarian folk stories and origin myths, with which the director wanted to express his beliefs about the cyclic nature of time. Given that this idea didn't sit well at all with the communist censors, he was forced to dial it back, and so the movie became a drastically reimagined version of the fable it shares its name with. Many folklorists were not amused.
* ''WesternAnimation/BatmanGothamByGaslight'' took some liberties to make its version of the UsefulNotes/JackTheRipper mystery work better than simply adapt the suspect of [[ComicBook/GothamByGaslight the original comic]]. Namely, [[AlternateHistory limiting Jack's crimes to Gotham]] and [[spoiler:while [[DemotedToExtra demoting Jack Packer, the book's Ripper, to a voiceless cameo]] and making [[AdaptationalVillainy Commissioner Gordon]] is the film's Ripper.]]

[[folder:Film -- Live-Action (Superhero)]]
* Most comic book–inspired movies are like this, though many fans can't get past a TheyChangedItNowItSucks reaction. The original example is ''[[Film/{{Superman}} Superman: The Movie]]'' and its sequels. The first half of the film maintains the backstory of the characters, and Supes looks just like he does in the comics, as do many supporting characters. The film makes stylistic changes and alters the backstory (e.g. Clark was never Superboy), yet is still very much in tune with the spirit of the comics up to that point.
* ''Film/TheDarkKnightSaga'' removes or attempts to justify the more fantastic elements of the Batman mythos, in order to keep the theme of it being "realistic" and happening in a world [[LikeRealityUnlessNoted only slightly different from ours]]. Most critically, Joker wears make-up instead of being scarred by an acid bath (which also adds mightily to the theme that he has no OriginStory and is just doing everything himself), Bane doesn't use [[PsychoSerum venom]], and Ra's Al Ghul is only immortal [[LegacyCharacter in the figurative sense]]. The films also show some detail as to [[WhereDoesHeGetAllThoseWonderfulToys where Bats gets all those wonderful toys]], which most adaptations don't bother trying to explain.
* The ''Film/SpiderManTrilogy'' changed ILoveNuclearPower to GeneticEngineeringIsTheNewNuke in regards to Spider-Man's SuperHeroOrigin, as it was slightly easier to HandWave a scientifically altered spider than a random million-to-one chance of an irradiated spider (and [[ArtisticLicensePhysics irradiating a spider wouldn't make it do that]]). The comic book's artificial webshooters were dropped because the movie didn't have time to believably show Peter inventing them (and because they felt that a single teenager being able to invent a wonder adhesive that 3M couldn't strained WillingSuspensionOfDisbelief). In fact, most of the first two films were this, and so was some of Part 3 in regards to the Symbiote.
* ''Film/TheAmazingSpiderMan'' has another nice take on it: Peter ''steals'' an experimental web formula from Oscorp, which he simply needs to refine a bit and build web-shooters for (based on the already-existing technology) to serve his purposes. Peter Parker does ''not'' begin his career with the 'ubergeek' personality. Someone capable of building gadgets[[note]]a talent that we see put into practice with more than just the webshooters, which he can't even take full credit for in this film[[/note]] like him would actually be considered pretty cool, so he's more of a loner here; the only one at his school who really looks down on him is Flash Thompson. Uncle Ben's role is expanded, but this just makes his death sadder. The 'wrestling' bit is left out, too. These changes are ''all'' needed to keep the film from being a retelling of the origin story as shown in the first film of the previous trilogy.
* The ''Film/XMenFilmSeries'', which focus on the human–mutant conflict, greatly simplify the Marvel universe, cutting out the magic powers, scheming alien empires, and the like. Several characters who aren't mutants are made into mutants for simplicity's sake, the Phoenix Force is [[spoiler:a destructive aspect of Jean Grey's personality which was [[MindRape psychically repressed]] by Prof. Xavier]], and [[ComicBookMoviesDontUseCodenames almost none of the characters are referred to by their "superhero" names except in passing]]. (That explanation for Jean's Phoenix powers was in fact the original one, before later comics {{retcon}}ned them by creating the Phoenix Force as a godlike cosmic entity.) Rogue is unable to fly, has no fighting/combat abilities, and does not have super strength or invulnerability. This is because, unlike in the comic books, she has none of the abilities that she acquired from Ms. Marvel (Carol Danvers).
* In the comics, Fred Dukes, A.K.A Blob, is a mutant whose specific abilities seem to revolve around being morbidly obese. In ''Film/XMenOriginsWolverine'', however, Dukes is physically fit until he develops an eating disorder; his super strength is what allows him to carry his own weight.
* Given that in the comics, Sebastian Shaw's power is depicted by having him growing, and ''Film/XMenFirstClass'''s producers thought it was too [[Comicbook/IncredibleHulk Hulk-like]], the VFX artists instead portrayed it in a way that resembles full body RapidFireFisticuffs.
* ''Film/TheWolverine'' is a loose adaptation of the Japan arc in the Creator/ChrisClaremont and ComicBook/FrankMillersWolverine series, with its own spins to the characters. Viper and Yukio, {{Badass Normal}}s in the source material, are mutants here, a PoisonousPerson and a [[PsychicPowers precognitive]] respectively.
* In ''Film/XMenDaysOfFuturePast'', the ageless Wolverine gets sent back in time instead of Kitty Pryde, as film!Kitty wouldn't have been born in 1973.
* ''Film/IronMan'':
** The [[Film/IronMan1 first movie]] changed Obadiah Stane to be an old friend of Tony's and his father's to heighten the sense of villainy and betrayal. Jarvis was changed from a butler with a fake English accent to an English-sounding talking computer, probably because another [[Franchise/{{Batman}} famous and popular superhero]] already had a British ServileSnarker.
** The [[Film/IronMan2 sequel]] went a little bit further, [[CompositeCharacter conflating Whiplash and Crimson Dynamo into a single character]] and changing Justin Hammer's age to closely match that of Tony Stark.
** The [[Film/IronMan3 third film]] took ''great'' liberties with its main villain, the Mandarin, while still having him faithful to the source material... in a way. [[spoiler:Trevor Slattery's in-universe impersonation of the Mandarin was based in part on the same YellowPeril tropes that inspired the original version seen in the early ''Iron Man'' comics, while Aldritch Killian is based on modern versions of the character and claims to be the ''true'' Mandarin. However, it turns out that both Slattery ''and'' Killian merely stole the ''real'' Mandarin's persona; ''Film/AllHailTheKing'' reveals that the real one is not only still out there, but hungry for vengeance against those who stole his name]]. This was mostly to avoid the YellowPeril stereotype and make it appeal to the ever-growing Chinese film industry.
* Say what you will about the ''ComicBook/FantasticFour'' [[Film/FantasticFour movies]], but at least they had a legitimate reason for Johnny and Sue to go out to space; Sue's a genetics researcher, and Johnny's an astronaut. They're also on a space ''station'', not a space ''ship''.
* The ''ComicBook/{{Watchmen}}'' [[Film/{{Watchmen}} film]] has ''numerous'' changes to the source material, most of them extrapolated from the comic. Two significant changes ([[spoiler:Dan Dreiberg seeing Rorschach's death and subsequently beating up Ozymandias, and changing some of the dialogue for the ending]]) were most likely done to prevent leaving the audience with a complete and horrible DownerEnding (though the graphic novel leaves the thread open). For the climax, they decided on [[spoiler:a device that emulated Dr. Manhattan's energy signature, allowing the world to scapegoat ''him'', rather than the alien squid]]. People are undecided as to which works better ''overall'', but it's definitely the best they could have done with that ending in film. The moment where Rorschach snaps was changed, mostly to avoid comparison with ''Franchise/{{Saw}}'', but the new scene also allows us to see the moment his mind snaps without an overabundance of narration.
* ''ComicBook/TheMightyThor'' [[Film/{{Thor}} film]] didn't use the [[YeOldeButcheredeEnglishe pseudo-Elizabethan English]] that the Asgardian characters spoke for many years in the comics, which they themselves have already dropped this highly campy element. However, while movie Thor doesn't use the pseudo-Elizabethan English, he ''does'' still speak in the largely antiquated and hammy style of the comics to largely the same effect (just minus the "thou's" and "thy's"). It was also decided that Thor's iconic helmet would only make one appearance near the beginning of the film before being discarded due to looking a little ridiculous on the big screen. It also gets a brief nod in ''Film/ThorRagnarok'', in a way that's reminiscent of ''{{Film/Gladiator}}''.
* ''Film/{{The Avengers|2012}}'' took a number of liberties with the source material to make it more (in the film's view) palatable for a mainstream audience. Among the major changes were having ComicBook/{{Hawkeye}} forego his classic purple costume in favor of his more realistic leather outfit from ''ComicBook/TheUltimates'', as well as both he and ComicBook/BlackWidow being made into founding members of the Avengers. The plot also combines elements of both the first issue of ''ComicBook/TheAvengers'' from back in the '60s and the first storyline from ''The Ultimates''.
* ''Film/CaptainAmericaTheFirstAvenger'' features the costume Cap wore in the comics, but it's for a propaganda show and he looks [[{{Camp}} utterly ridiculous]]. When he gets his actual fighting suit, it's radically different and much more plausible: changes include a helmet instead of a cowl, mere decals instead of large head wings, body armor, and the red of his costume is in the form of red utility straps rather than gaudy decorative stripes.
* ''Film/CaptainAmericaCivilWar'' completely upends [[ComicBook/CivilWar its comic book namesake]], changing the Superhero Registration Act into the Sokovia Accords, the reasoning for the accords (from a panicking Nitro setting off his expanded powers to kill ComicBook/TheNewWarriors and 600 others in Stanton to a suicide vest worn by Crossbones going off and killing bystanders in a botched Avengers mission), giving new reasoning between Captain America and Iron Man's disagreements (both the Accords and the possible innocence of the Winter Soldier) and increasing the importance of ComicBook/BlackPanther, Black Widow, and ComicBook/ScarletWitch (who either had bit parts or weren't around in the comic story) while decreasing that of ComicBook/SpiderMan (who played a major part in the original comic).
** The film scales down the CrisisCrossover elements of ''ComicBook/CivilWar'' to focus on a ([[LoadsAndLoadsOfCharacters relatively]]) smaller conflict between various superheroes, along with the ideological conflict represented between Iron Man and Captain America.
** Since there are next to no {{secret identit|y}}ies in the MCU, the SuperRegistrationAct is instead about forcing heroes to work as agents of world governments.
** Spider-Man does not publicly reveal his SecretIdentity because of the change in the nature of the SuperRegistrationAct and because he makes his debut in the MCU here -- not to mention that he's still in high school when the movie occurs. He also [[spoiler:does not change sides]].
** The ComicBook/NewWarriors and Nitro (the original instigators) do not currently exist in the MCU. Instead, the catalyst for the SuperRegistrationAct is an international incident involving the Avengers. Not to mention, the original catalyst -- a bunch of teenage superheroes causing a catastrophe simply to get more viewers for their reality show -- would sound a little too far-fetched for a live-action movie anyway. However, while Nitro isn't involved, the incident ''is'' someone blowing himself up, just instead of Nitro, it's Crossbones.
** Elements of Creator/EdBrubaker's ''[[ComicBook/CaptainAmericaWinterSoldier Winter Soldier]]'' story arc are incorporated to tie ''Civil War'' into the [[Film/CaptainAmericaTheWinterSoldier previous Cap film]].
** Characters who had only minor roles in the original comic book event (e.g. Black Panther, Black Widow, Hawkeye) have bigger roles due to the differences between the MCU in 2016 and the Franchise/MarvelUniverse circa 2006.
** Rather than ask us to believe all these heroes would literally go to war simply over a political issue, the film has the more concrete issue of the Avengers ''not'' having HeroInsurance and what to do with Bucky as the catalysts for the fighting.
** Most importantly, [[spoiler:none of the Avengers die. In the comics, Bill "Goliath" Foster and Captain America (and a bunch of C-list heroes and villains nobody cares about) died. The most serious casualty in the movie is Rhodey, who is paralyzed but mobile thanks to Stark Tech. Cap also does not surrender at the end of the fight, and instead remains a fugitive.]]
** Also, in the comic, S.H.I.E.L.D. attempted to arrest Captain America for simply saying he wouldn't personally enforce a law that hadn't been passed yet. Here, Cap isn't a target until he actually breaks the law to help Bucky, and there is an earnest attempt to convince him to change his mind. Cap, for his part, doesn't break the law until he hears there's a kill-on-sight order out on Bucky – prior to that, he and Falcon were apparently just going to retire.
* ''Film/CaptainAmericaTheWinterSoldier'' heavily alters the [[ComicBook/BuckyBarnes title villain]]'s origin to fit the context of the movie and its predecessor, while still maintaining much of his background. They also made ComicBook/TheFalcon into a V.A. counselor and former soldier to better justify his inclusion in the plot. Some changes were also made to [[spoiler:Arnim Zola]] to avoid him seeming too silly and "comic booky" to mainstream audiences.
* ''Film/GuardiansOfTheGalaxy'' has both major and minor changes, most of which will only be picked up by fans of the original material. Examples include turning Drax's adversary from Thanos to Ronan (to give Drax a more obvious motive), a RaceLift and costume change for Korath the Pursuer, and Yondu as the leader of the [[SpacePirates Ravagers]].
* ''Film/AvengersInfinityWar'' and its (hithereto unnamed) sequel are more of an adaptation of ''ComicBook/TheInfinityGauntlet'' than the titular ''Infinity War'' comic, but even then makes significant changes to the former due to the changes in the MCU's continuity. For starters:
** The first film is a loose adaptation of ''The Thanos Quest'' by Jim Starlin. In order to avoid having the plot exclusively focus on Thanos (as was the case in the original story), the movie adds in the Black Order and Outriders from ''Comicbook/{{Infinity}}'', and has them attempt to claim the Infinity Stones that are on Earth while Thanos goes after the ones on other worlds. This gives the heroes someone to fight and provides an excuse for the narrative to focus on Earth while Thanos is off doing other things, since audiences likely wouldn't respond well to an Avengers movie where the Avengers are {{Demoted to Extra}}s and don't really do anything for most of the film.
** As the original ''ComicBook/CivilWar'' event took place after the original ''Infinity'' trilogy, The Avengers were still an active team at the time of the original ''Infinity Gauntlet'' comic. However, a main point in the ''Infinity War'' duology is how the Avengers have to reunite ''after'' the events of ''Film/CaptainAmericaCivilWar''.
** As characters associated with the ComicBook/XMen [[note]]including Professor X, Shaman, Firestar, Beast, Colossus, Jean Grey, Storm, Cyclops, Windshear, Wildheart, Talisman, Forge, Rogue, Gambit, Archangel, Iceman, Psylocke, Polaris, Strong Guy, Havok, Multiple Man, Bishop, Wolfsbane, Guardian, Sasquatch, Weapon Omega, Northstar, Aurora, Valerie Cooper, Wolverine, and the Shi'ar; Scarlet Witch and Quicksilver are exceptions to this rule due to being shared by the companies[[/note]] and ComicBook/FantasticFour [[note]]including Mister Fantastic, Human Torch, Invisible Woman, Thing, Silver Surfer, Galactus, Doctor Doom, Uatu, Annihilus, Nova (Frankie Raye), Mole Man, the Badoon, Kang The Conqueror, and the Moloids; the Skrulls, with the sole exception of [[AllYourPowersCombined Super-Skrull]], may be shared between the two companies, and the [[ComicBook/TheInhumans Inhumans]] (who started out as ''Fantastic Four'' characters before spinning off into their own franchise) are also exceptions[[/note]] franchises were, at the time of the duology's announcement, maintained by Creator/TwentiethCenturyFox and were not returned to Marvel until ''after'' production for ''Infinity War'' wrapped up and its sequel began filming, they will not be featured in this duology. To compensate for this, Infinity War will give existing characters who play major roles in the MCU[[note]]including Star-Lord, Rocket Raccoon, Groot, Black Panther, the Dora Milaje, Falcon, Captain Marvel, War Machine, Winter Soldier, and various members of S.H.I.E.L.D.[[/note]] who were either not present or had smaller roles at most in the original Infinity trilogy.
** Furthermore, at least ''some'' of the characters who appeared in the original Infinity saga that Marvel ''did'' have the film rights to[[note]]This list includes--among others--Magus, Pip, Sersi, Firelord, Starfox, Mentor, I.S.A.A.C., Quasar, She-Hulk, Wonder Man, Namor, Namorita, Eternity, Kronos, Master Order, Mistress Love, Master Hate, Ziran the Tester, One-Above-All, Lord Chaos, Living Tribunal, Stranger, Moon Knight, Nova (Richard Rider), Eon, Sire Hate, Moondragon, Spider-Woman, Living Lightning, U.S. Agent, Speedball, Silhouette, Darkhawk, Crystal, Hercules, Doctor Druid, Nomad, Charlie-27, Nikki Gold, Major Victory, Sleepwalker, Infinity, Goddess, Mephisto, Valinor, Night Thrasher, Rage, Maxam, Kray-Tor, Autolycus, the Erik Masterson Thor/Thunderstrike, and any Gods that aren't Norse in origin; this is subject to change based on character introductions in the forthcoming films and television series.[[/note]] will likely be AdaptedOut, partly due to the changes in the MCU's contuinity, and partly to keep the movies from getting too crowded.

[[folder:Film -- Live-Action (Other)]]
* ''Literature/{{Filth}}'' is an adaptation of one of Irvine Welsh's novels, considered to be "unfilmable." The movie manages to stay relatively close to the source material and is faithful to the novel's spirit; however, it does cut several aspects of the book that wouldn't work in film in order to make a more cohesive work. Bruce's cruelty is (very slightly) toned down to make him less irredeemable (although he is far from sanitized) and [[spoiler:The Self/The Tapeworm is played down]], with his role being given to Bruce's psychiatrist, Dr. Rossi. [[spoiler:It still makes a brief appearance in one of the film's most intense scenes.]]
* ''Film/ForrestGump'': While the screenplay stays fairly close to the novel's structure (mostly as it relates to Forrest getting involved in life events), the character of Forrest is, in the novel, fairly smart; he just has extreme difficulty articulating his thoughts. The book is also rather dark and mean-spirited in several instances.
* ''Film/TeenageMutantNinjaTurtles1990'' was praised for combining choice elements of the bright and silly [[WesternAnimation/TeenageMutantNinjaTurtles1987 80's cartoon show]] (the colored masks, love of pizza, April as a reporter) with the [[Comicbook/TeenageMutantNinjaTurtlesMirage darker and more mature comics]] (Raphael's anger issues, Casey Jones' violent vigilantism, The Shredder's murder of Splinter's master) into a movie that was engaging enough for adults but not ''too'' scary for kids with enough action and one-liners to satisfy both. 2007's ''WesternAnimation/{{TMNT}}'' was similarly praised with the main discussion now being which one is better.
* ''Literature/JurassicPark'' contained huge chunks of material and detailed exposition about the nature of the dinosaurs, the setup of the park, and the complex interplay of chaotic factors in the environment. It was impossible to include all of this [[Film/JurassicPark in a movie]], so they trimmed it down and presented it in the form of a park orientation cartoon. There are also a large number of exciting incidents that were cut because they added little to the actual plot. In this case, author Creator/MichaelCrichton had a heavy hand in adapting his own novel for the screen.
* ''Film/{{Adaptation}}'' is this trope on {{MetaFiction}}al [[ThisIsYourPremiseOnDrugs steroids]]. In essence, faced with the task of adapting the un-adaptable Susan Orlean novel ''The Orchid Thief'', a nonfiction book which is essentially simply about flowers, screenwriter Charlie Kauffman [[MindScrew instead wrote a script about himself trying to adapt ''The Orchid Thief'', and ending up writing a script about himself trying to adapt the book instead]]. The film features Orlean as a major character, but largely discards the content of the novel.
* The 2005 movie ''Tristram Shandy: A Cock and Bull Story'' is similar. It's a {{mockumentary}} about the filming of the famous (and "unfilmable") book. The premise of the book is that it's an autobiography written by an author so distracted that he doesn't even get to his own birth in the first 3 volumes. The movie is about the making of a film adaptation of the book that gets so sidetracked and distracted that it, also, goes nowhere.
* French comedy ''Le Jumeau (The Twin)'' is based on Donald E. Westlake's novel ''Two Much!'' You can bet how... "much" of the novel's comical aspect is highlighted and how much of the original violent ending survived the adaptation.
* ''Literature/AmericanPsycho'' by necessity had to be streamlined, as most of the excruciatingly detailed murders (and the similarly detailed sex scenes right before) in the book would not have a hope in hell of being let through by the MPAA (for those who have read the book: the use of the rat in particular). In addition, the chapters in which Bateman talks about his music choices are generally combined with the murder scenes. This actually [[AdaptationDistillation improves some scenes]], most obviously the 'Hip To Be Square' scene, and helps play up the BlackComedy elements of the novel through the sharp juxtapositions.
* ''Film/{{Dune}}'': In the 1984 David Lynch film, the Bene Gesserit Weirding way was changed to weirding modules that employed sound as a weapon. Lynch justifies this by explaining that he didn't want a MartialArtsMovie in the desert. The TalkingHeads nature of the novel was replaced with a more moody and atmospheric environment, thanks to surreal direction and trippy visuals.
* The well-known 1980 film, ''Film/TheElephantMan'', while generally held in high regard, has little to do with the events of the title character's life. However it has earned good standing with most Joseph Merrick aficionados.
* ''Film/TheLordOfTheRings'' is full of this, and indeed makes up a majority of the [[DVDCommentary Director's commentary]].
** At the start of the movie, several years during which Frodo has the Ring in the Shire are left out.
** Arwen has a [[AffirmativeActionGirl much more active role]] in the first movie than in the book. A grand total of three scenes featuring Aragorn and Arwen were added, none of which happened in the books and all of them eating up tons of screen-time. This was probably done in part to help prevent the movies from being a sausagefest, which for the most part the books were. Arwen was also intended to fight in the Battle of Helm's Deep, but the filmmakers thought this was a bridge too far. You can still see her very briefly in the background of wide shots, wearing pink and on a white horse.
** Once the Fellowship separates, Frodo and Sam's journeys are recounted in separate chapters (taking up whole Books) from Aragorn and the rest without intercutting until they finally all reunite at the end. The films, like Ralph Bakshi's before them, take a more conventional approach.
** The alterations of Faramir's actions and motivations in ''The Two Towers'' are a result of this. The Shelob scene that provided the cliffhanger in the book doesn't chronologically take place until the battle of Minas Tirith, so according to Jackson something else had to form the climax of the second movie for Frodo and Sam. Further, it was noted that every other character in the films had an adverse reaction to being in the presence of the Ring, and for Faramir to let them go without a second glance at it felt somewhat off to Jackson and company. (This is more due to the films exaggerating the effect the Ring has on people; Faramir doesn't actually see the Ring in the book, but does briefly contemplate holding the hobbits prisoner once he finds out about it.) Narrative concerns helped, too; with Shelob moved to ''Return of the King'' (since Jackson rightly felt that anything would pale after Helm's Deep), Frodo and Sam needed to be placed in peril ''somehow'', and Faramir was there.
** All adaptations of ''The Lord of the Rings'' omit Tom Bombadil; most people see this as a painless way to save screentime, not to mention that his scenes were much more suited for the books than for movies, being as he relies heavily on backstory of Middle-Earth that doesn't translate well to film without exposition, and is seemingly a character with StoryBreakerPower that Gandalf had to explain how he didn't actually have.
** The Scouring of the Shire was entirely cut out, both because it would have added another hour to the films, but also because it would have ruined the pacing of the end sequence; Ring gone, BigBad gone, now let's get to the [[WhereAreTheyNowEpilogue Where Are They Now]].
** The film spends time bringing Elves to Helm's Deep as reinforcements... then has them all die in the first part of the battle so that they have no actual impact. The new stuff with Faramir is internally consistent with the rest of the film narrative, but adds at least a half hour to the film when he had to cut original content for time. The theatrical release doesn't even finish off the Uruks, leaving the viewer wondering why they don't just regroup and attack again. The point of the extended cuts is to include as much cut content as possible without worrying about time restraints.
** In the books Aragorn is ([[HeroicBSOD usually]]) quietly confident in himself and his status as the rightful heir to the throne of Gondor, willing to become King if [[BecauseDestinySaysSo that is his fate]], and letting out some {{Badass Boast}}s about his heritage at certain times – just like heroic kings and princes of ancient and medieval literature. However, the filmmakers thought this could lead to ValuesDissonance for a modern audience, so Aragorn becomes full of self-doubt and only fully accepts his royal heritage and destiny in the third film. One way this is enforced is by giving Aragorn the ancient sword of kings, [[NamedWeapons Narsil/Andúril]], only in the third film, while in the books he carries it from his first appearance (he uses a generic sword before that). Also, before the sword is reforged by the elves, Aragorn reveals the broken Narsil with him in his introductory scene, which Peter Jackson thought would look ridiculous on screen.
** The movies' change from Denethor being well-meaning but ultimately quite flawed to [[AdaptationalJerkass a cartoonish jerk]] could be for the same reason: if Denethor was a good, competent Steward of Gondor, the audience would see no real reason for Aragorn to take back the throne beyond the Rule of Law, "he's the heir so he can if he wants". (As it happens in the book, Aragorn was also acclaimed as ruler by the people of Minas Tirith for saving the day and [[HealingHands for healing the sick and wounded]]. The coronation was more of a formality.)
** Éowyn makes no attempt to hide her identity from Merry (and therefore the audience) while riding to Gondor. It was obvious that [[PaperThinDisguise we could tell it was Miranda Otto no matter how she disguised herself]], so Merry would have looked quite dim for not figuring it out.
* Creator/PeterJackson's adaptation(s) of ''Film/TheHobbit'' have quite a few differences from the original; in the source material, Azog the Orc is actually already dead, having been killed by Dain long before the events of the story, and the hazards that the traveling party face are more localized. This makes for a somewhat incohesive film, though, so Jackson kept Azog alive thus and a primary driving force for Bilbo and the dwarves.
* The ''Film/HarryPotter'' films vary depending on the movie and on the director.
** Peeves doesn't exist anywhere in the movies, whereas he's a recurring character in the books and somewhat so in the games, and so his roles and scenes involving him were either minced or cut entirely.
** Dobby is introduced in both the [[Literature/HarryPotterAndTheChamberOfSecrets second book]] and the [[Film/HarryPotterAndTheChamberOfSecrets second movie]], ''The Chamber of Secrets'', but he doesn't appear in the films again until ''[[Film/HarryPotterAndTheDeathlyHallows Deathly Hallows Part 1]]''. In the books, however, he's only absent from ''[[Literature/HarryPotterAndThePrisonerOfAzkaban The Prisoner of Azkaban]]'', before reappearing in ''[[Literature/HarryPotterAndTheGobletOfFire The Goblet Of Fire]]'' and showing up here and there in every book afterward. In the Triwizard Tournament, [[spoiler:he serves as the reason and apparent source alongside Neville for Harry to use Gilliweed in the second challenge, whereas the [[Film/HarryPotterAndTheGobletOfFire movie]] simply made Neville give a passing reference to the weed]].
** In the movie version of ''[[Film/HarryPotterAndThePrisonerOfAzkaban Prisoner of Azkaban]]'', nearly the entire Quidditch season is cut. In [[Literature/HarryPotterAndThePrisonerOfAzkaban the book]], [[spoiler:it was Oliver Wood's last year as captain of Gryffindor team, and the first year Harry actually won the House Cup. The movie only shows Harry being attacked by dementors while chasing the snitch]]. Also in the movie, the conflict between Harry, Ron, and Hermione over Harry receiving a new broom from a mysterious source is largely removed, giving Hermione a reason why she was alone to use the time-turner in the book.
** ''[[Film/HarryPotterAndTheGobletOfFire Goblet of Fire]]'' showed how they cut down [[Literature/HarryPotterAndTheGobletOfFire the book's]] GambitRoulette. ThePlan revolved around chance encounters, backstories, and things we don't know about until the book explains it. Voldemort himself, in the graveyard scene with Harry, spends several pages detailing much of his EvilPlan (and even then, there are depths yet to be revealed until we get to Dumbledore and Barty Jr). The movie omitted most of that: [[spoiler:the explanation of how Barty escaped Azkaban is ignored, nothing is stated about how Barty assumed the form of Moody, nor the status of Voldemort before Wormtail found him]]. This leaves a few things unexplained, but considering the sheer mass of plot they had to work with, they did a pretty good job.
** Despite ''[[Literature/HarryPotterAndTheOrderOfThePhoenix Order of the Phoenix]]'' being the longest book of the series, it was adapted into the [[Film/HarryPotterAndTheOrderOfThePhoenix second-shortest movie]][[note]]Only ''Deathly Hallows Part 2'' is shorter, although it wasn’t covering the entire book, meaning that ''Order of the Phoenix'' had the ''shortest'' adaptation overall despite being the longest book[[/note]]. On the one hand, everything related to the Quidditch B-plot was cut, but partially cutting it instead would have no doubt made things choppy and awkward. A nice touch was also significantly emphasizing Harry's NotSoDifferent fears -- which in the book take the form of fears of being possessed. It does, however, leave out a crucial scene from the Snape's Worst Memory chapter, where [[spoiler:Snape calls Lily a Mudblood, destroying their relationship and sending Snape on his StartOfDarkness, instead making it seem like he was only affected by James' bullying into becoming who he is]]. ''[[Film/HarryPotterAndTheDeathlyHallows Deathly Hallows Part 2]]'' shows this moment during The Prince's Tale scene though. Also, to replace Rowling's gobs of exposition for off-Hogwarts stuff (usually via Hermione in the book), ''[=OotP=]'' uses a high-end SpinningPaper visual to quickly fill the audience in for the important stuff away from the castle.
*** They wanted to cut out house-elf Kreacher from ''Order of the Phoenix'' -- JKR herself stepped in and told them to leave him in. It wouldn't have hurt ''[=OotP=]'' at all, but would've left giant holes in subsequent films (particularly for ''The Deathly Hallows'').
*** The spell that kills [[spoiler:Sirius Black is changed from a nondescript jet of light to Avada Kedavra. In the book, a nondescript jet of light ("the next jet of light hit him squarely on the chest") was used to push him into an artifact that sent him into afterlife (or somesuch) with no hope of return. However, this left many fans hoping he'd [[UnexplainedRecovery get better]] and come back in later books.]] Avada Kedavra is instant death (kinda like getting shot in the head but less messy), which means there's no such ambiguity in the film.
** In ''[[Film/HarryPotterAndTheHalfBloodPrince Half Blood Prince]]'', they figured out how to work around the non-visual aspect of everyone reading and talking about the attacks by the Death Eaters: they scrapped all the scenes with people reading about loved ones being attacked and/or killed, and created one with Harry being attacked at the Weasleys. It also gave Ginny Weasley more CharacterDevelopment and a more proactive role. On top of that, the Death Eaters [[spoiler:burn down the Burrow]].
** The ''[[Film/HarryPotterAndTheDeathlyHallows Deathly Hallows]]'' films handle [[SpeakOfTheDevil the Taboo]] differently (which is also mentioned by Ron much earlier than in [[Literature/HarryPotterAndTheDeathlyHallows the book]]). Instead of a blink-and-you'll-miss-it IdiotBall moment from Harry which would look very anticlimactic on film, [[spoiler:Xenophilius Lovegood calls the Death Eaters to ambush the PowerTrio inside by yelling out Voldemort's name.]] Since the scene where Dumbledore and Harry talk about [[spoiler:what the Horcruxes could be]] was cut from the ''HBP'' movie, Harry's scar acts as a [[spoiler:"Horcrux sense" of sorts.]]
*** The climactic battle [[spoiler:between Harry and Voldemort is expanded from the wordy confrontation in the book. Instead, Voldemort chases Harry around Hogwarts and they claw and tear at each other as they Apparate, before ending up back in the grand courtyard for their final duel.]]
* ''Film/JamesBond'':
** ''Film/{{Goldfinger}}''. For instance, they condensed an extended golf game scene to just the critical point where Bond thwarts Goldfinger's cheating. Furthermore, the film changes [[Literature/{{Goldfinger}} the book]]'s ridiculous plot to physically steal the gold of Fort Knox (which the movie Bond points out is impossible) which includes poisoning the soldiers through the water system before they can react to such a slow method and using a nuclear bomb to open a door with everyone suicidally close. The movie changes the scheme into a genuinely ingenious plan to have the poison as a gas sprayed from a quick aerial pass over the fort and then Goldfinger's troops raid the fort for just long enough to use a high power laser to open the vault building's door and place a nuclear bomb in the main vault. Then the villains get away and wait for the bomb to detonate. Whatever gold survives the blast would be radioactive (and thus worthless) for decades while Auric Goldfinger's own gold's value would jump at least tenfold. In the event, the fort personnel, who are warned about the scheme by Bond, play along to make it seem to work so they can ambush the invaders.
** ''Film/CasinoRoyale2006'' (the straight adaptation starring Creator/DanielCraig, not the David Niven sendup from [[Film/CasinoRoyale1967 the 1960s]]) featured one in the change of [[Literature/CasinoRoyale the book]]'s card game from baccarat to poker. While admittedly playing into the fact that Texas Hold 'Em is wildly popular these days, it allows the audience to understand what's going on without an explanation (as more people are familiar with poker than baccarat). An additional benefit comes from the nature of the game itself: baccarat does not involve bluffing or other forms of trying to read the other players--which poker certainly does--and becomes critical when Le Chiffre cons Bond by faking his "tell" and causes Bond to eventually realize that at least one of the people working with him is a traitor. Baccarat, depending on the specific version, is also purely based on chance and the skill of the player is therefore irrelevant. Poker, on the other hand, requires a great deal of skill to play at a high level and, as M explicitly pointed out, the only reason she was sending Bond in the first place after his series of high-profile misadventures thus far was that he was the best poker player they had among their agents.
* The ''Film/BattleRoyale'' movie is generally considered as good as or better a work than the novel it's based on, by removing most of the more ludicrous political justifications for why a school class would have to fight each other on a deserted island, giving the BigBad a more sympathetic relationship to the class, and generally attempting to focus on fewer characters. The Manga on the other hand is condensed RuleOfCool, to the point where it almost parodies itself. On the other hand, they also cut out the backstories and development for several characters, glazed over their deaths, and completely changed some of the characters. No longer is Kiriyama a classmate without emotions [[StopHavingFunGuys who chooses to play to win]] -- he's just some random guy who volunteered for fun. Same with Kawada; no longer a classmate, but a stranger who got pulled back in.
* ''Franchise/{{Transformers}}'':
** Most of the cartoons have HammerSpace to explain the Transformers gaining or losing mass between forms. For [[Film/{{Transformers}} the 2007 movie]], director Creator/MichaelBay insisted upon avoiding this, which lead to changes such as Optimus Prime being a Peterbilt rather than a cab-over-engine tractor-trailer, which would have given him a much smaller robot form, as well as not using the magically-appearing/disappearing trailer (which has also been picked up in ''WesternAnimation/TransformersAnimated''). The third film gave Optimus a trailer; however it doesn't disappear when he transforms, and also transforms into his field armory. The fourth film re-introduces the cab-over-engine tractor-trailer form of Optimus.
** The comet protoforms (taken from ''WesternAnimation/BeastWars'') work on a FridgeLogic they had with the Transformer spaceships, which is why would robots who can transform into vehicles need a spaceship? The comet protoforms keep the action focused on Earth, and while the ExpandedUniverse and ''Revenge Of The Fallen'' introduces the Transformer spaceships, they continue to downplay their role to focus on the planet-bound story.
** Having humans playing a major role in the battle between the Autobots and Decepticons ''because'' this is a LiveActionAdaptation.
* James Ellroy's books are good examples since the outrageous number of subplots and characters make them unfilmable (Ellroy has admitted that he does it ''on purpose''). The scenarists who made ''Film/LAConfidential'' into a movie were aware of the difficulty, and ended up cutting part of the plot while keeping the complexity of the story, focusing the movie on the evolutions of the three main characters and reorganizing scenes from the book (with the climax of the movie being the first scene in the book).
* The novel of ''Film/HardCoreLogo'' took a "scrapbook" approach (telling the story through character monologues and documents such as journal entries and phone messages) that would have been difficult to convert to film. The movie is a Mockumentary with an UnreliableNarrator. The movie script also added lots of HoYay and substituted a [[spoiler:main character's suicide]] for the rather anticlimactic ending of the book, creating a more emotionally compelling work.
* A particularly good MadeForTVMovie adaptation of ''Literature/GulliversTravels'' does this a ''lot.'' One excellent example is how they handled the {{Aesop}} that people covet immortality without seriously considering just what that might really entail. In the book, this is conveyed through the plight of the Struldbrugs, who have eternal life without eternal youth becoming decrepit and senile for eternity -- and this along with the usual immortal problem of losing everything they knew, and social penalties designed to keep the country from collapsing under the weight of supporting them, or their abusing their immortality in an attempt to gain disproportionate power; however, this is conveyed in a monologue that doesn't translate well to television, so they dropped it and substituted a new scene with the same moral.
** In the book, Gulliver returns home after each of four separate voyages. The 1996 TV movie adds a framing story that increases the overall tension: after finally returning home (the adventures all happened consecutively, keeping Gulliver from getting home), Gulliver has been committed to an insane asylum, and is testifying, by flashback, to convince them that his stories are true.
** This is one of the very few adaptations that shows the third and fourth voyages -- that is, the ones other than Lilliput and Brobdingnang. One might consider this "pragmatic", because it makes the movie stand out from all those other versions.
* The stage musical version of ''Theatre/LittleShopOfHorrors'' (itself a [[AdaptationDistillation distilled adaptation]] of an overlong Creator/RogerCorman comedy horror) finished with a rave-up ending. The action breaks off when Seymour Krelborn confronts Audrey II, the GreekChorus announces that this scene is being repeated in places up and down the country, and the cast file on and perform the final number -- "Don't Feed the Plants!". The writers knew that this wouldn't work in a feature film, even if it was a musical, and so ditched it and wrote a new final number, "Mean Green Mother from Outer Space" against which the final confrontation could play out to its conclusion. At first, the writers wrote an even more extravagant ending, also set to "Don't Feed the Plants!" that was already filmed and ready to go. The film's final ending is a result of test audiences rejecting an ending in which [[spoiler:the main character and his innocent girlfriend get eaten alive by Audrey II, and the plants go on to go Godzilla on New York.]]
* [[Literature/TheBourneSeries The Bourne movies]], even displacing the books to most. However, it outright discarded significant portions of plot from all three books (especially the last two).
* In the original ''Film/InTheHeatOfTheNight'' novel, Virgil Tibbs is a quiet, deferential African American detective who never seems to lose his temper or ever seem annoyed working in a deep south town even as the racial slurs are thrown at him. For the film version, director Norman Jewison realized that this would never fly in the late 1960s, nor would the star, Creator/SidneyPoitier, want to play this type of character yet again. So, the film was rewritten with Tibbs being someone who does not hesitate to assert his status to bigoted neanderthals with a hearty "TheyCallMeMisterTibbs!" or instantly striking back at a bigot slapping him, a bold action for an African American hero to do on film at that time.
* The film adaptation of ''Film/ThePrestige'' directed by Christopher Nolan has very little in common with its source material, the lesser known novel by Christopher Priest. The changes are so many, it would be pointless to list them all here, changing everything from the plot to characterization, going so far as to actually leave out ''the main characters'' from the book. Without detracting from the original work, all the changes make for a film far better than your usual adaptation, and despite the wild differences it's obvious the Nolan brothers love the novel and prioritized respecting its spirit and originality instead of the superficial details.
* The film version of ''Film/TheMask'' differs significantly from [[ComicBook/TheMask the original comic book version]] in that where the former takes a mostly clean-cut, slapstick approach, the latter is much more violent and dark overall. This was because no matter how many initial drafts that kept the original's tone, director Chuck Russell felt it just wouldn't work on-screen and asked the studio to take a more comedic approach. The film turned out to be a commercial and moderately critical success.
* In ''Literature/AboutABoy'', the ending of the book is centered around Kurt Cobain's (the character Elle's favorite musician, and the guilty pleasure of Will) suicide. In the movie, Will's guilty pleasure is changed to hip-hop music, as the novel was written in the early 90s and the movie made nearly a decade later. The end of the movie also focuses on a talent show instead, completely different than the novel version- yet it still plays out rather well.
* Likewise, the adaptation of ''Literature/HighFidelity'', by the same author, changes the setting from England to Chicago, the time of the film from the late 1980s to a modern but non-specific time, and so on. It still works very well, although the British-isms (for example, Laura taking a job for 40k because she couldn't find one for 20k, both laughable amounts for a US lawyer to be paid) are a bit strange if you've seen the movie first.
* There's quite a difference between ''Film/FieldOfDreams'' and the book it's based on, ''Shoeless Joe''. For instance, the movie omits lengthy subplots about Ray's twin brother Richard and an elderly ex-Chicago Cub named Eddie Scissons; and the movie uses fictional writer Terrence Mann as a replacement for [[RealPersonFic J.D. Salinger]] from the book (undoubtedly for various legal reasons). Plus, the movie saves the bit about [[spoiler: Ray's late father joining the team]] as a big reveal for the end, when it actually is revealed pretty early on in the book and is significantly less poignant.
* ''Film/WhoFramedRogerRabbit'' differs significantly from its source material, the novel ''Literature/WhoCensoredRogerRabbit''. For one thing, the book deals with comic book and comic strip characters, not cartoon characters, who all speak in physical, tangible word balloons. This is clearly unadaptable to film, wherein all Toon characters would have had to be mute, so they received the power of speech. Additionally, they became animated cartoon characters and the story was set in 1947, smack-dab in the middle of the golden age of American theatrical animation. Not to mention that Toons went from being just as vulnerable as humans but possessing an elaborate method of faking their own deaths for theatrics' sake (it's complicated) to really being as unkillable as they seem. When Gary Wolf later wrote sequels that [[RetCanon adjusted the books' universe to more closely match the movie's]], he left in the word balloons and other comic-strip elements from the first book, but adopted the movie's mostly-invulnerable Toons.
* Creator/DavidCronenberg's [[Film/NakedLunch adaptation]] of the unfilmable ''Literature/NakedLunch'' took story elements from the book and melded them together with parts of William S. Burroughs' biography.
* [[TheFilmOfTheBook The Films of]] ''Literature/TheChroniclesOfNarnia'' have done this.
** ''Literature/TheLionTheWitchAndTheWardrobe'' was faithful to the book in many respects, but added a scene about the bombing of London - given all of half a line in the novel - which helped give some background to the Pevensies' situation and subverted the [[AngstWhatAngst lack of angst]] on the kids' part. The Pevensies' characters were also much more fleshed out. Case in point, in the movie, upon hearing the prophecy, they initially try to leave, having just gotten away from a warzone; in the book, their reaction is basically, [[JumpedAtTheCall "Great, where do we sign up?"]]. The Battle of Beruna, which occurs off-page in the novel and is only described to Lucy and Susan after the fact, is made a major focal point of the last third of the movie.
** ''Literature/PrinceCaspian'' was much more deviant than its predecessor. AngstWhatAngst is again invoked in the book, as the Pevensies seem to have had no trouble returning to their lives as children in England after growing up in Narnia and then no issues returning to Narnia to discover everyone they knew died thousands of years before and the lands and people they ruled have been conquered and almost wiped out. The majority of the book is Trumpkin retelling what has happened to the kids, and at the end of the book, not a word is mentioned when they hand Caspian the crown of Narnia and leave for London. Compare to the movie.
*** The kids (Peter being the worst) have ''not'' completely adjusted back to life in London and don't fit in with anymore thanks to having years of memories in a different world that no one knows about.
*** When the four of them return to Narnia and realise they've come back centuries later because their old home (Cair Paravel) is in ruins they're grief-stricken and actually acknowledge that all their old friends (the Beavers, Tumnus)are dead.
*** They also spend the rest of the film dealing with the fact that Narnia has changed, and their reign and all their achievements are remembered only as legend now. The director even mentions that the heart of the film was about that feeling of returning to a place that no longer exists anymore.
*** Portions of the book are put in out of order to give the story better flow. For example, in the book, Caspian did not blow Susan's horn until he and the old Narnians are being seiged in Aslan's How, while in the movie, he blew it when he was first found by the Telmarines, causing the Pevensies to arrive much earlier.
*** When the Pevensies arrive at Aslan's How, Peter tries to take command and immediately clashes with Caspian. The entire castle invasion scene was added to highlight why they had to work together. Compare to the novel, in which Peter assures Caspian almost immediately upon his arrival that he's there not to take Caspian's throne but to help put Caspian in it.
*** Edmund and Susan both TookALevelInBadass. Edmund, to show how much he's matured, and Susan, because, as the directors put it, if she was going to stay in the kitchen (as her book persona tended to do) she should have been given a slab of bread and some butter, not a bow and arrow.
*** In the book, Miraz is just a generic tyrant; in the film, Miraz is styled as a Borgia, Medici type tyrant.
*** Susan and Caspian were PromotedToLoveInterest, though secondary to the main plot.
*** In the book, the good Narnians specifically avoid recruiting the AlwaysChaoticEvil old Narnians who had previously sided with the White Witch, using the argument, "We don't want ''their'' kind of help." In the movie, you can see that minotaurs and other such creatures among the Narnians. While the former makes sense in the book's context of religious metaphor (the old Narnians being inherently evil and unable to change), this wouldn't go as well with the tone and main motives of the adaptation.
** ''Literature/TheVoyageOfTheDawnTreader'' adds a plotline about the green mist, the "Dark Island," and the swords of the lost Narnian lords in order to turn the novel's string of individual adventures into a more unified storyline. It also seems to be setting up and {{Foreshadowing}} the villain of ''Literature/TheSilverChair'', presumably to better tie an overarching plot together. At this point, however, it seems that a ''Silver Chair'' film is unlikely.
* While Old English purists loathed the 2007 ''WesternAnimation/{{Beowulf|2007}}'' adaptation's plot changes, from a modern standpoint, the [[Literature/{{Beowulf}} original story]] would be a tough sell, simply because of its one-dimensional character development and basic plot (though understandable, given its epic poem status). Even with the major alterations, the core story didn't change entirely. The plot liberties were only created to suit the new theme (i.e., making the title protagonist a more ambiguous hero), while respecting existing ones (like warriors seeking to create legacies through their heroic actions). The liberties are taken mostly in the parts where the storytellers would have nothing to go on except Beowulf's word. Further consider that the written piece is mostly Christian propaganda meant to convert "barbarians" and you're in a situation where you really can't take anything as the honest truth anyway. Ripping the Christian values out would likely be rendering the story more accurate to the original versions. Note that Beowulf being humbled at all for his "slaughter everything in my way and achieve glory!" is a Christian theme, in most ancient myths he'd be treated as a hero so long as he showed proper deference to the gods.
* TheFilmOfTheBook for ''Literature/{{Twilight}}'' cuts out most of the filler and streamlines the story.
** Perhaps most notable is that the first book is nothing but Bella and Edward's developing relationship, until a more typical vampire story is shoved into the last few chapters. The film makes Victoria, James, and Laurent present in the story from the beginning as they occasionally show up to kill a minor character. Though the attempt to do the same thing in the second film with the wolves tribe chasing Victoria off as she tries to kill Bella, never to be seen again until the next film, comes off more as a BigLippedAlligatorMoment.
** ''Eclipse'' shows the vampire attacks going on in Seattle, thus giving the audiences more of an idea of the danger that will be showing up. It also adds hints that Jane is secretly going against Aro's orders and letting the vampire army go to kill the Cullens, which makes the Cullens look a bit less stupid for being shocked that Aro was actually willing to abuse power in a corrupt manner. ([[spoiler:Jane's allowing of the vampire army to attack the Cullens]] is confirmed in ''The Short Second Life of Bree Tanner''.)
** ''Breaking Dawn Pt. 2'' treats viewers to a long fight scene near the end in which several major characters are killed before the Cullen clan emerges victorious, whereas the book just resolved the situation with the Cullens talking the Volturi into leaving. [[spoiler: While the fight ended up being nothing more than one of Alice's psychic visions]], it is still considered one of the best scenes that any of the ''Twilight'' films had to offer.
* The ''Film/SilentHill'' movie drastically simplifies both Alessa Gillespie and the cult, explaining both in a single InfoDump. This is understandable, as explaining [[VideoGame/SilentHill1 the game]] would have taken most of the movie.
* The adaptation of ''Film/ASeriesOfUnfortunateEvents'' changes the order of some of the books' chronology. In the books, Count Olaf is exposed as a villain at the end of ''The Bad Beginning'', after which the children go on to stay with their Uncle Monty and later Aunt Josephine. In the film, the children are taken out of Olaf's care after an apparent display of irresponsible parenting and go on to their respectful guardians before winding up back in Olaf's care where they finally expose him. In the DVDCommentary, Brad Silberling says this change was made for the sake of narrative, it wouldn't make sense for Olaf to be unmasked as early as the first act.
* The MadeForTVMovie of ''Literature/AvalonHigh'' does this with Ellie (Allie in the film) rather than Will is [[spoiler:King Arthur]]. Rather than Marco, Mr. Morton (Mr. Moore in the film) [[spoiler:is Mordred]], whereas Miles [[spoiler:is Merlin]] as opposed to Mr. Morton. Presumably, this is to make the film more unpredictable. Also the students are the [[{{Reincarnation}} reincarnations]] of the actual characters as oppose to merely corresponding to them. Many scenes were cut out and scene settings were changed to make the movie more appropriate for younger children because the book has violent and some threatening scenes.
* Purists often grumble about ''Film/OneFlewOverTheCuckoosNest'' changing the viewpoint character from "Chief" Bromden to R.P. [=McMurphy=]. The main conflict in both novel & film is driven by by [=McMurphy=] butting heads with BattleaxeNurse Ratched, but Bromden is relieved of his SupportingProtagonist duties in the film because he's [deliberately] ''mute'', and his internal narration isn't necessary in a visual medium.
* Irving Berlin's UsefulNotes/WorldWarII revue ''This Is The Army'' gained a storyline when adapted into a movie, because Berlin knew that plotless SketchComedy didn't work so well on film.
* In ''Film/MortalKombat'', Raiden became a mentor to the others instead of a fellow combatant. This was seen as an acceptable change by the fans, and ended up carrying over to the game series' canon.
* Both ''Film/TheThing1982'' and ''Film/TheThingFromAnotherWorld''. The original novella ''Literature/WhoGoesThere'' had 37 men accidentally recovering a shape-shifting alien monstrosity that proceeds to start eating the crew and creating perfect copies. Due to technical limitations, ''Film/TheThingFromAnotherWorld'' replaced the shape-shifting alien with a [[ItMakesSenseInContext literal vegetable alien]], although its cast is still a similar size to that of the original story, and some elements of it are present in the narrative. ''Film/TheThing1982'' is said to be more faithful as it actually uses the shape-shifting alien, but it updates the setting to the year it was released and simplifies the cast to only twelve men (although most of them were in the original book).
* ''Literature/BattlefieldEarth'''s [[Film/BattlefieldEarth movie adaptation]] wisely covered only the liberation of Earth that made up the [[{{Doorstopper}} first few hundred pages of the novel]], excised a pointless subplot about an escaped criminal, jettisoned the book's PuppyLove romance and constituent characters, cut lengthy sections about gold mining, and generally streamlined the story. Critics and audiences ended up panning the film anyway since some of these changes [[VillainBall made the bad guys even dumber]] and added plot holes like [[RagnarokProofing 1000-year-old, functional Harrier jets]], but at least the director tried.
* ''Film/RichieRich'' nicely works around one of the wilder bits of the original comic book source, which is that the Rich family have gold, jewels and money literally built into their furniture and showing off constantly. In the movie version, Laurence Van Dough assumes this to be the case and that the Rich family vault is packed with mountains of treasure. When he gets inside, however, all he finds is family heirlooms, which the Riches consider truly worth keeping. When he demands to know where the money is, Mr. Rich honestly replies it's all in banks, real estate and stocks. After all, how wealthy would they be if they just hoarded all their money in a vault rather than actually invest and let their fortune grow?
* The live-action ''Film/RurouniKenshin'':
** It condenses the plots of three episodic arcs from the first half of the manga into the film's main story. Said arcs being [[spoiler:the Fake Battousai (which is Kenshin's introduction), the appearance of Jin-Eh (who becomes the film's main antagonist), and the Kanryu/Megumi arc (which comprises much of the film's plot) ]]. The downside though of this is that some characters featured in those arcs we're excised completely. Such as the [[spoiler:Hiruma brothers, Aoshi and the Oniwanbanshuu (who acted as Kanryuu's bodyguards)]]. Another omission were the backstories of some supporting characters, such as [[spoiler: Yahiko, Sanosuke and Saito (who appears much later in the manga)]].
** There's also the element of Sano's [[{{BFS}} Zanbatou]]. It's significantly toned down from its manga counterpart, and even then it's so huge, Sano barely uses it. This means his fist-fighting skills get much more attention. As another point related to Sano, while in the manga he had a habit of [[TrademarkFavouriteFood eating fish and holding them in his mouth like a cat]], the director thought this would look silly in live-action, so now Sano eats raw eggs.
* ''Film/TheOmegaMan'' with Charlton Heston was based on the Matheson book ''Literature/IAmLegend''. A Vincent Price film ''Film/TheLastManOnEarth'' had been based on the same book some years earlier and is still the most accurate adaption, however due to several minor changes Matheson didn't like the film. ''The Omega Man'' was such a different story to the book that it only contained the basic elements of the story; the book featured a man who roamed the city hunting vampire/zombies in the day while hiding in his house at night, while ''The Omega Man'' was about Charlton Heston trying to enjoy himself in the day while dressed in safari gear, while defending his penthouse fortress at night from an army of pale-skinned, sunglasses-wearing Luddites, who are led by a plague-infected TV news reader. However Matheson enjoyed the film as it was so far from the book that all the changes didn't bother him.
* The LiveActionAdaptation of ''Film/AceAttorney'' makes several changes to take the four-case game and make it movie-length. The most notable example is that most of Case 1-3 (which contributed virtually nothing to the DL-6 case) is cut out. What remains is put at the beginning of the movie with Edgeworth prosecuting against an unnamed defense attorney, intercut with Phoenix and Mia working at the canon Case 1-1. This allows the movie to establish Edgeworth's character earlier, as well as show his skill versus Phoenix's inexperience. The movie also ties [[spoiler:Mia's murder]] closer to the DL-6 case, by having [[spoiler:her be killed by Redd White (here a henchman for von Karma)]] for discovering vital evidence that will allow her to reopen the case. Finally, the events of the DL-6 incident are changed from three people slowly suffocating in an elevator (which would be hard to dramatically show on film) to the same characters fighting in the Evidence Room.
* ''Film/GIJoeTheRiseOfCobra'':
** Cobra Commander was given a new look because of the fact that Sommers thought that giving him a hood (or even a ski mask) would make viewers think [[TheKlan KKK]] member when they saw him. Nor would they justify a form-fitting, [[TheBlank featureless steel face-mask]], since they wanted [[spoiler: Creator/JosephGordonLevitt's face to be at least partly visible]].
** Similarly, G.I. Joe becoming an international task force was done due to Creator/{{Paramount}}/Sommer wanting a high overseas box office pull for the film and thinking an all-US team of soldiers would not sell tickets outside North America.
** In the comics, Cobra Commander's face and identity remained unknown. All that was known is that he was once a used car salesman. For the sake of drama, Cobra Commander had to have a visible backstory and connection to our main characters, thus giving a reason to cast Joseph Gordon-Levitt instead of just any actor who would wear the costume and be voiced by another actor (à la SelfDemonstrating/DarthVader).
** Destro a.k.a. James [=MaCullen=] XIV is actually manipulated by the Doctor [[spoiler:who will eventually reveal his true identity and declare himself Cobra Commander]] into being the catalyst for forming Cobra. In the comics and animation, his association with Cobra began some time after the Cobra organization was formed (using Cobra Commander's own resources). But since this film depicted the origin of Cobra, in order to fit Destro into the movie, they had to increase his role in the formation of the organization.
** Zartan is not a thuggish Dreadnok and the rest of the Dreaknoks don't even appear. He's not even much of a fighter and makes a point to stay out of combat situations, quite unlike the comic book and cartoon version. This film makes Zartan more of an actor-spy; much more suitable for his intended role to [[spoiler:impersonate the American President]].
* ''Film/ThePrincessBride'' is notable in that the screenwriter adapting it, William Goldman, was also the author of the source novel. Goldman's biggest change is probably pruning down the frame story, which in the original had included a detailed rundown of the AuthorAvatar's sports obsessed childhood and an explanation that the Princess Bride story itself was distilled from a lengthy history of Florin. The film uses the simpler framing device of a kindly old man reading to his sick grandson.
* ''Film/EndersGame'''s AgeLift of the main characters from 6-year-olds to 13-year-olds. It would be exceedingly hard to find one, let alone an entire cast full of competent 6-year-old actors who could pull off an entire movie by themselves. And even if the characters were adults played by adults, it would be hard to pull off a large quantity of nudity in a mainstream US film. Even if it was portrayed in a non-pornographic manner, it would be strongly frowned upon and would not be feasible to get the parents' permission even if the movie was made in a country that is more open to that sort of thing.
* For ''Film/{{Paddington}}'', the filmmakers took the first few chapters of the first ''Literature/PaddingtonBear'' book ''A Bear Called Paddington'' and then crafted an original story, while staying true to the spirit of the books. Director Paul King said he was inspired by the line "Paddington soon settled down and became one of the family" and wanted to see how that would happen.
* ''Film/TheGiver'' skips almost all of the set-up chapters of [[Literature/TheGiver the book]] to focus more on Jonas' relationship with the Giver. Several jobs, details, and titles are also shuffled around (Fiona was a Caretaker of the Old in the book, but a Nurturer in the film, for instance). Hearing beyond is also introduced ''much'' earlier, and Jonas is able to listen to music before leaving.
* For ''Theatre/TheSoundOfMusic'', screenwriter Ernest Lehman knew that the musical's expressions of the strength of familial love and togetherness gave it the potential to become a very successful movie, but also that it first had to shed some qualities moviegoers might find saccharine. Among various alterations he made: Maria takes several months to bond with the Von Trapp children and teach them how to sing, instead of one afternoon. Some of the songs became relocated to spots that seemed to fit them better thematically, with "My Favorite Things" in particular changing from a duet between Maria and the Mother Abbess, to a song Maria sings to calm the children during a thunderstorm. Finally, the escape of the Von Trapps from Nazi Austria became more tense when the Captain actually failed to talk Rolf into letting him and the others go, requiring the family to make a quick getaway to the border.
* The film of ''Film/TinkerTailorSoldierSpy'' takes a much more linear approach to its story than Creator/JohnLeCarre's original novel, which revolved around the fallout from a botched espionage mission, but only showed the actual mission through a gradual series of flashbacks. For the sake of the audience's attention span, the movie [[ActionPrologue opens with Operation Testify]], Smiley leaving the Circus, and the death of [[TheSpymaster Control]] (all in chronological order); the book opened with a broken Jim Prideaux returning to Britain after Operation Testify, and only referred to the circumstances behind Smiley's ouster and Control's death. There are still a few necessary flashbacks, but not nearly as many as in the book.
* ''Film/TheHungerGames'': For the most part, the movie stays very true to the book, leading to a run time of of two hours and twenty-two minutes, but to keep it from being longer some things had to be cut, most notably the character of Madge and the [[spoiler:girl Katniss didn't save reappearing as an Avox.]] Katniss' search for water, the District 3 boy's [[spoiler:digging up and reactivating the mines for the Careers]] and [[spoiler:Cato's death scene]] were also significantly shortened and [[spoiler:Peeta gets to keep his leg.]] On the other hand, though, [[AdaptationExpansion we get to see other things during the games, such as parts of the TV broadcast, the Gamemakers in their control room, and the riot that Katniss sparks in District 11, things that we only read Katniss speculate about in the books.]]
** These are added because the films lack Katniss' narrative voice to explain them.
* ''Film/BridgeOfSpies'' is seen as a fairly accurate representation of RealLife events, all things considered, with a few minor liberties taken for dramatic effect.
* The first adaptation of ''Theatre/TheChildrensHour'' was censored considerably due to UsefulNotes/TheHaysCode. One of the changes was probably due to said code but worked in this sense as well. In the play [[spoiler:Martha is overly stressed and depressed over the recent events in her life and her [[{{gayngst}} feelings for Karen]]. She [[DrivenToSuicide kills herself]] in the climax.]] As the 1930s film has Martha and Karen fighting over the same guy the angst was toned down, as liking your best friend's fiance isn't quite the same as [[spoiler:being in love with her in a homophobic era.]] Thus [[spoiler:the suicide aspect was [[SparedByTheAdaptation scrapped]]]] in ''These Three''. The TruerToTheText 1960 play keeps it but [[spoiler:kills off Martha after Karen talks with Mary's grandmother instead of beforehand.]]
* ''Film/TheMartian'' changes the FramingDevice from Mark Watney writing a [[CaptainsLog mission log]] mostly with a keyboard to the Mars outpost having a large number of cameras and Mark (and presumably the rest of the Hermes 4 team) keeping video diaries. It makes filming much easier even if it has the unfortunate side-effect of making the place feel like the Series/BigBrother House almost literally RecycledInSpace.
* Almost every film adaptation of ''Literature/TheStrangeCaseOfDrJekyllAndMrHyde'' focuses on depicting Jekyll's dramatic struggle between his two selves and his eventual downfall, since everybody knew the twist ending and said twist was told about in letters after the fact, not shown.
* ''{{Film/She|1965}}'': The 1965 film dumps all of the first part of the novel--Leo's dying father turns five-year-old Leo over to Holly, Holly raises Leo to adulthood, Leo and Holly later examine the ring and potsherd left behind by Leo's father, Leo and Holly set off for Africa. In this version Leo and Holly are war buddies who find themselves in Cairo in 1918 after the Armistice. Billali and Ustane kidnap Leo on behalf of She, who pops up fifteen minutes in, much earlier than her first appearance in the book. And then it's She who gives Leo the ring and the map and sends Leo off on his quest.
* In ''Film/TheWizardOfOz'', Dorothy's silver slippers are changed to ruby-colored, likely because silver slippers didn't look good on film.
* The movie adaptation of ''Videogame/NekoAtsume'' shifts the focus from the cats to the perspective of the yard's owner. In the adaptation, the yard's owner is a young writer struggling with writer's block and as a way to cope, he starts putting out food and toys in his yard for the local strays that hang around his house. He starts taking photographs of them and moving the toys and food around, thus replicating the gameplay in a believable fashion.
* ''Film/CloudAtlas'': The movie, while retaining the six-story structure and basic premise, has many differences from the novel, with several characters and plot threads, such as Ayrs's daughter or Sonmi's brief stay at a Buddhist monastery, being cut wholesale. The film also intercuts between the six narratives like a traditional film rather than show the first half of all six in sequence, then the second half of all six in reverse order.
* The original ''Film/SevenDaysInMay'' imagines that in protest of a President signing a nuclear disarmament treaty, the Joint Chiefs of Staff and some government heads are plotting a full-on military coup of the United States with the Chairman of the Joint Chiefs becoming leader. The 1994 HBO movie remake ''The Enemy Within'' has a character lampshading that in modern times, there's no way the American people would stand for a military takeover and fight back. Thus, the conspirators work with the corrupt Vice-President to make it appear the President is incompetent and invoke the TwentyFifthAmendment so he takes over as a puppet to the military.
* ''Film/ReadyPlayerOne'' takes many liberties with the plot of the original book, but the biggest pragmatic adaptation is allowing the High Five to get together in real life early in the story so that they can interact more on a personal level and add more scenes outside the Oasis.

* The ''VideoGame/{{Warcraft}}'' novel ''Literature/TidesOfDarkness'' is an adaptation of a RealTimeStrategy with two opposing campaigns with conflicting storylines, consisting mostly of generic "destroy the enemy base/capture an object" missions and scarce on memorable characters at the Alliance side. So the novel took the most memorable and significant parts of the campaigns, forming them into a cohesive narrative, interleaved them with [[EarlyBirdCameo heavy references to later canon]], and "enlisted" the FiveManBand from ''Beyond the Dark Portal'' for the protagonists. While the orcs are still the villains in the novel they aren't all the same AlwaysChaoticEvil, and we do see that some orcs (namely Gul'dan) are ''more'' evil than others. If not for Doomhammer's honor, he would've ''won'' the war and destroyed Lordaeron (Gul'dan betrayed him during the siege of Lordaeron, and Orgrim decided to sacrifice victory in order to punish the traitors by sending a large chunk of his army after them). The final fate of Anduin Lothar was also changed in order to have him go out as a hero instead of simply being killed in an ambush. Here, he dies in a CombatByChampion with Doomhammer (this also shows that Doomhammer is more honorable than originally), only for [[NumberTwo Turalyon]] to pick up his broken sword and curb stomp Doomhammer.
* ''Literature/RevengeOfTheSith'', the {{novelization}} of ''Franchise/StarWars: Film/RevengeOfTheSith'' written by Creator/MattStover. Obviously a book of the film loses the visuals, the music, and any appeal from various actors, so Stover takes advantage of the medium by delving far deeper into the thoughts and mindset of the characters than a film can, expanding on the motivations for Anakin's FaceHeelTurn,[[note]]For example, the film presents Anakin's desire to be a Jedi Master (and his anger at the Council for denying the title to him) as just him being power hungry. The novel presents that being a Master would give Anakin access to all the secret Jedi holocrons, which he believes contain information that can save Padmé, which goes a long way to explain his anger at he Jedi and his willingness to believe Sidious.[[/note]] explaining the machinations the Jedi and [[MagnificentBastard Sidious]] have going, and giving more focus to characters that lacked much screen time in the film, like Grievous and Padmé. The result is a combination of an adaptation and a supplement, glossing over things the film covers and focusing on things the films gloss over, as well as filling in some plot holes and returning cut sub-plots, such as the "Birth of the Rebellion."
* The novelizations of the ''WesternAnimation/StarTrekTheAnimatedSeries'' by Creator/AlanDeanFoster flesh out the half-hour episodes with considerable additional detail, while reducing a few of the more ridiculous outings to AllJustADream.
* S.D. Perry wrote a series of novels based on the ''Franchise/ResidentEvil'' games. The four that were straight adaptations (of 1, 2, 3 and ''Code Veronica'', two of the novels were original stories) streamlined the events considerably by adding in an original character named Trent, who provided the protagonists with intelligence on the sites in question, thus allowing the signature (if somewhat nonsensical) item puzzles and fetch quests to remain in place while not bogging things down and also making a bit more sense. These were also streamlined a bit as well. For example, the crest door from the first game became an emergency lockdown system, and Wesker forced Barry to collect some of them instead of Chris/Jill finding them all.
* Some of the old Target Literature/DoctorWhoNovelisations broaden the stories and provide insights into the characters' thoughts and evoke wonderful moods not necessarily shown in the televised stories. The novelisations for "[[Recap/DoctorWhoS2E6TheCrusade The Crusade]]", "[[Recap/DoctorWhoS7E2DoctorWhoAndTheSilurians The Silurians]]" and "[[Recap/DoctorWhoS8E5TheDaemons The Daemons]]" are particularly good examples.
** The nature of the novelisations in general required some level of PragmaticAdaptation; they were, almost uniformly, about 100 pages long -- which, considering the length of the stories they were adapting ranged from two-to-six (or in some cases ten or twelve) episodes long, meant that they would often either have to compress or add things in order to meet the page requirements.
** The novelisation of DevelopmentHell episode "[[Recap/DoctorWhoS17E6Shada Shada]]" is something of an extreme example, incorporating information from what footage was completed, the known script, some WordOfGod, Creator/TomBaker's copy of the script into which he had [[LargeHam handwritten a bunch of extra jokes and stage directions for himself]], two pages of notepaper with an entirely unknown scene handwritten by Creator/DouglasAdams, the Big Finish audio adaptation (which starred the Eighth Doctor) and even some borrowings from ''Literature/DirkGentlysHolisticDetectiveAgency'', in which a lot of ideas for "Shada" were reused - and that's before the [[HotterAndSexier copious]] [[DenserAndWackier changes]] Gareth Roberts made to update the story to feel more like a modern ''Doctor Who'' story, expand on the characters, add {{Call Forward}}s and fanservice, and fix plotholes. Gareth Roberts wrote in the afterword about how he thought the weaknesses of "Shada" were not down to any weakness of Douglas Adams himself, but a result of the tight deadline the story was written in originally, evidenced by how well-done the groundwork was even where he had to fix things. For instance, the original has a part where Chris figures out TheReveal that Professor Chronotis is secretly the dangerous Time Lord criminal Salvayin, placed just as the Doctor has worked out that the villain needs Salvayin's unique ExpositionBeam {{Psychic Power}} for the plot to work, ''and'' just as the villain thinks Salvayin is lost forever. It seems obvious that Chris is going to announce this to the Doctor and the villain, with the best intentions, at the worst possible time - but Chronotis instead just [[IdiotBall announces his secret identity to everyone for no reason]]. Roberts changes this so that Chris blows it (bursting in on an added funny scene where the villain is in the throes of a VillainousBreakdown over his plan's failure and the Doctor is [[AllLovingHero giving his enemy a cuddle and reassurance]]), saying that this is certainly what Adams wanted to happen anyway, but probably was forced to keep an earlier draft of the scene due to time pressures. Roberts also gives Skagra a proper backstory, which was omitted from the show for time reasons, and deals more with the fallout of EccentricMentor Chronotis actually being a legendary {{Outlaw}} in disguise.
* ''VideoGame/{{Crysis}}: Legion'' played around with the plot of ''Crysis 2'' a bit, such as having Alcatraz encounter a Ceph very soon after getting the Nanosuit whereas the first combat encounter ingame is later. There's a short note in front that points out the need to rework some things for the prose experience.
* The first three ''Toys/{{BIONICLE}} Chronicles'' books by C. A. Hapka, based on the story told through the comics and the ''Mata Nui On-Line Game'', are generally this, with some examples of AdaptationExpansion and CompressedAdaptation thrown in here and there. A lot of the lines are recited word-for-word, and some classic scenes survived intact, but several other scenes received a unique spin, and the thoughts of the characters are explored better. Sadly, they are also ripe with ContinuitySnarl, especially the first book (which, despite being the longest by far, had to leave out too many details), and a lot of the material is considered CanonDiscontinuity.
* ''ComicBook/TheDeathOfSuperman'' was given a novel treatment ''while the story was still going'', just to be released when the finale was. Doing this compressed a lot of the story and excised a lot of things, including everyone in the DC Universe outside of the then-established Franchise/{{Justice League|of America}}, Franchise/WonderWoman and Franchise/{{Batman}}, removed anything involving the monstrous Underworlders and the orphan Keith by replacing them with the Newsboy Legion and condensed a lot of the adventures of the four replacement Supermen before getting into the meat of the story. Oddly, despite [[spoiler:Coast City being obliterated still, ComicBook/GreenLantern]] does not show up.
* ''ComicBook/BatmanNoMansLand'' had a few moments removed to streamline the story, including Superman's involvement, anything to do with ComicBook/{{Azrael}} and Tim Drake Robin's rescue from NML.
* The ''Literature/RainbowSix'' novel deviates from the game in a number of ways by having different missions, plot points, snipers that were not available in the game, and a different ending. This is because the book and game were made separately and the game came out first, after which the book's ending was changed.
* The novel to ''ComicBook/CivilWar'' condenses some of the backstory, implying that the New Avengers are still just the Avengers and that Spider-Man is their newest member.
* In the original ''VideoGame/KingdomHeartsII'', the Struggle in Twilight Town had a mechanic involving knocking your opponent about, then collecting colored orbs that seem to come out of the Strugglers' bodies, with the winner being the one with the most orbs. In the [[Manga/KingdomHeartsII manga adaptation]], this was depicted as the Strugglers wearing suits of these orbs. For [[Literature/KingdomHeartsII the novel]], the rule is "fight with the provided weapons and whoever gets knocked over first loses."

[[folder:Live-Action TV]]
* When Richard Hooker wrote his original novel, ''[[Literature/{{MASH}} MASH: A Novel About Three Army Doctors]]'', the story he wrote was highly conservative in its political leanings, with an array of characters who were fundamentally unlikeable {{Jerkass}}es and a truly appalling level of sexism that includes, among other things, one "hero" who has a nickname from an implied attempt at a DateRape, a character who earns the nickname "Me Lay" by way of his successful usage at that appalling pick-up line to get one night stands, the MASH unit having a good reputation in part because of the unit's dentist being well-endowed, and the ''heroes'', who are ''doctors'', only bothering to note the epileptic employed as a whore at the local brothel because it's "such great fun" to be having sex with her whilst she's in the middle of a seizure. To say nothing of the lone black character being nicknamed "Spearchucker". When a live-action [[Film/{{MASH}} movie]] eventually led to the production of a [[Series/{{MASH}} weekly series]], the result was a genuinely funny sitcom that eventually successfully adopted a much more dramatic tone, running for eleven years of non-stop production and becoming a world-wide phenomenon, whilst the original novels have mostly faded into obscurity. Amusingly, Richard Hooker [[CreatorBacklash expressed a vehement distaste for the show]] because of [[IssueDrift how different it was to his novel]], despite the show's far greater success. The series also had much more of an EconomyCast than either the novel or film.
* The phenomenon of many people preferring the ''Series/TheIncredibleHulk'' TV show to [[Film/{{Hulk}} the 2003 big budget CG-fest movie]]. While the former removed and simplified elements from the comics original, the latter added whole layers of story that were never there - the "more is less" principle at work. ([[http://www.agonybooth.com/recaps/Hulk_2003.aspx Agony Booth recap]])
* The BBC show ''Series/{{Being Human|UK}}'' had to do this with vampire lore. Vampires are not supposed to have reflections, but it would take huge amounts of effort to CG away the actor's reflection in every window he passed by. So, they changed it to being unable to see their reflection in anything silver-backed (both camera film and mirrors.) This led them to being able to have the traditional "no reflection" scenes while saving the effort and sanity of the editing team. (Although it leaves something of a PlotHole when a vampire can't be seen on a ''digital'' camera.)
* Ditto for ''Series/{{Moonlight}}'', although they do make it clear that digital cameras work just fine, to the vampires' chagrin (the older cameras only made blurry photos, proving only the photographer's incompetence). No silver-backed mirrors are shown in the show, probably to avoid extra CG costs. The vampires are also able to walk in the light, as long as they stick to the shadows and cover as much skin as they can. Bursting into flame or dusting is also CG-costly, so they instead went with extreme dehydration in sunlight, although vampires still dust when exposed to flame.
* ''Series/BuffyTheVampireSlayer'' does something similar, having vampires only burst into flame from ''direct'' sunlight, moving around in daylight just fine as long as they stick to shadows. It also adds that vampires disintegrate when staked through the heart, removing the issue of how a bunch of teenagers manage to hide all those bodies (which results in a funny scene where they have to bury the corpse of a demon that ''doesn't'' disappear). However this created its own problem as the effect was very expensive in the beginning, so most early dustings took place just off screen.
* ''Literature/TheDresdenFiles'' [[Series/TheDresdenFiles TV series]] replaced the talking skull Bob from the books with a ghost inhabiting said skull (at least after the pilot) so they could have an actor providing a visual component and emotions to the character. [[WordOfGod Jim Butcher]] says that the TV series is essentially an alternate universe.
** Harry Dresden in the TV series drives a jeep instead of the blue beetle. This was to make it easier to film scenes inside the car, and as it turns out, [[WordOfGod a jeep is the kind of car Harry would drive]].
* ''Series/{{Merlin|2008}}'', the BBC series, has Merlin as the same age as Arthur, early 20's at the latest and his servant, living with the Court Physician and former sorcerer Gaius, Uther is still alive and banning magic on pain of death, Gwen and Lancelot being commoners, Gwaine (Gawaine) pretending he's a commoner and Percival only being introduced as a minor character in the 3rd season finale. Gwen also has a brother.
* The ''Series/{{Dexter}}'' novels eventually get a ''lot'' darker and weirder than the first book, with Dexter's "Dark Passenger" turning out to be [[spoiler: a fragment of an ancient god of murder]]. The series maintains the balance of dark humor and creepiness evident in the first book, and keeps things realistic by comparison.
* In the transition from ''Literature/TheSookieStackhouseMysteries'' book series to {{Creator/HBO}}'s ''Series/TrueBlood'', Sookie's (often {{Wangst}}y) first-person narration is cuts and adds in occasional snatches of thoughts Sookie catches.
* ''Franchise/PowerRangers'':
** In general, adaptations are considered to be better when it goes its own way rather than try to stick too faithfully to ''Franchise/SuperSentai''. This goes back to the original ''Series/MightyMorphinPowerRangers'', where ''Series/KyoryuSentaiZyuranger'''s "revived ancient warriors" plot was replaced with [[RecruitTeenagersWithAttitude high schoolers given powers by an alien]]. Sometimes the mishmash is odd, like when ''Series/PowerRangersLostGalaxy'' shoehorned the nature theme of ''Series/SeijuuSentaiGingaman'' onto a space station; but hey, it was better received than some of the ShotForShotRemake seasons.
** ''Series/EngineSentaiGoOnger'' was a light-hearted comedy series that parodied the usual anime and ''Super Sentai'' tropes, and its main theme revolved around cars and racetracks. Its ''Power Rangers'' counterpart, ''[[Series/PowerRangersRPM RPM]]'', while still hanging a healthy amount of lampshades, has a story that started out with the [[AfterTheEnd Earth presumably nuked]] and [[EverybodysDeadDave most of the human population killed off]] by homicidal robots.
** Many of the seasons count, especially ''Series/PowerRangersInSpace'' (the Sentai counterpart ''Series/DenjiSentaiMegaranger'' is about electronics and technology, not space). In an example of this trope ''not'' being good, ''Series/PowerRangersTurbo'' (whose counterpart ''Series/GekisouSentaiCarranger'' was ''also'' a light-hearted comedy series that parodied the usual anime and ''Super Sentai'' tropes, and whose main theme revolved around cars).
* Some of the characters from ''Series/HomicideLifeOnTheStreet'' are changed from their RealLife counterparts. Tom Pellegrini who inspired Bayliss was an older detective from Pennsylvania who came to police work later in life and was assigned to Homicide two years before the Latonya Wallace/Adena Watson case. Other changes include changing Irish-American Mclarney to Italian Crosetti and removing his legal training. Italian D'Addario became Black/Italian Giardello and Landsman became Munch with his family history in the department removed.
* The TV series of ''Series/LarkRiseToCandleford'' was very different to the original books, sharing only one or two complete stories, the names of Laura's family and Dorcas Lane, and some peripheral characters and situations (the Pratts, Cabbage Patterson, the Arlesses) with Flora Thompson's memoirs. Part of it seems to be the book has some perspectives on late Victorian society that modern audiences would find disquieting (Laura's age when she goes to work at the post office, for instance, or the lack of {{UST}} between many of the characters). The book provides a lot of plot hooks for many episodes, but the writers went out of their way to create a series that expanded on the books, provided modern audiences with a nostalgic "theme park" experience, and made more dramatic sense than the book allows for.
* ''Series/PrettyGuardianSailorMoon'':
** The talking cats are replaced with talking stuffed toys, a MerchandiseDriven decision to rationalize carrying a stuff animal is more likely than an actual cat. The Sailor Senshi themselves look like typical Japanese girls when they're not transformed. Many settings and accessories that were typical of an early 90s teenager are updated to what a modern teenager would be associated with. The plot also dealt more strongly and harshly with the implications of their past lives, not that it didn't indulge in some of the campy stuff.
** It was more faithful to [[Manga/SailorMoon the manga]] in regards to the baddies; since the individual villains feature more heavily, each basically had to be reverted back to their original personality in the comics rather than the memorable but slightly more one-note [[Anime/SailorMoon anime]] of TheNineties.
** More modern sensibilities means Jupiter is more openly a tomboy; her initial obsession with femininity became an initial ''aversion'' to it. Ironically, the Creator/DiC English dub had done this years ago...
** Sailor Venus is portrayed as somewhat of a distant loner, an enormous change in her canonical personality. Writers have admitted this was basically to have the conflict a SixthRanger provides as well a persistent attempt to make her different than her {{Expy}} Sailor Moon. Fans unpleased by the change just labeled her an {{Expy}} for the [[FanNickname Outer Senshi]].'
* ''[[Series/TheKidsOfDegrassiStreet Ida Makes A Movie]]'' was an illustrated children's book about anthropomorphized cats. When former schoolteacher-turned-documentary-filmmaker Linda Schuyler turned it into her first scripted piece she adapted it to live-action with actual human characters, having no other choice and sparing [[Franchise/{{Degrassi}} what became a]] TeenDrama from ''Webcomic/BittersweetCandyBowl''-style awkwardness...
* In the miniseries adaptation of ''Series/NorthAndSouthUS'', Orry Main goes from losing an arm to having a permanent limp, as the director worried that the audience would be distracted trying to spot how Patrick Swayze was hiding his arm.
* The [[Series/HowToRock TV adaptation]] of Meg Haston's ''How To Rock Braces and Glasses'' distilled the plot of the book (AlphaBitch has to get braces and glasses, loses her popularity, joins a band, and gradually becomes nicer) into a single episode, then shot the rest of the series like a typical teen sitcom, making it fit better with Nickelodeon's other popular shows of the time. It also changed Kacey's music style from rock-and-roll to pop to better fit Cymphonique Miller's vocals.
* ''Series/{{Shadowhunters}}'' follows the same basic story as ''Literature/TheMortalInstruments'' novels, but with several setting changes and plot developments revealed in a significantly different order.
** TheProtagonist Clary's mother tries to proactively tell her about her heritage and the associated dangers on her birthday (foiled by Clary rushing out the door) in contrast to the books, where she struggles to keep Clary in the dark until the villain strikes, [[IdiotBall even though she knows the ruse is crumbling and her daughter is in danger]].
** The Shadowhunters use significantly more modern technology than their book counterparts. Their base includes banks of high-tech equipment and computer displays to quickly convey the sense of a bustling, organized agency in a visual medium.
** The circumstances of [[MuggleBestFriend Simon’s]] vampire encounter and [[spoiler:kidnapping]] was changed to be deliberate on the part of the vampires, in contrast to the book’s tangent involving the main characters [[ItMakesSenseInContext crashing a party and running afoul of a magical party trick]].
* The ''Series/{{iZombie}}'' adaptation removes all non-zombie creatures and leaves the show grounded, with zombism explained as a virus caused by a strange interaction of a new energy drink and a designer drug.
* In the original ''Series/JessicaJones'' comic, Kilgrave has [[AmazingTechnicolorPopulation purple skin]], which earns him the nickname "the Purple Man". Because someone with purple skin would look ridiculous in a live-action setting (and because Creator/DavidTennant didn't feel like having to deal with bodypaint), Kilgrave was instead given a mostly purple wardrobe, and most scenes he's in tint him in a purple light. [[spoiler: Near the end of the last episode, his skin does become purple-streaked as his powers increase, and he turns purple from lack of oxygen as Jessica chokes him before killing him.]]

* Cover songs run the spectrum from awful to tolerable to better than the original. One example is "Jolene." A good song from the beginning, Dolly's version was a very light-sounding, upbeat song... about a woman begging Jolene to not steal her man. When it was [[http://www.youtube.com/watch?v=tcDBgXbGskc covered]] by Mindy Smith, she turned the song into a slow, sad, painful ballad, which makes more sense with the song's lyrics. Music/TheWhiteStripes' cover, rather than monkeying around with the lyrics, has Jack White simply sing it as is, and it became a song about a nebbishy gay man worried about losing a bisexual lover to a woman.
* Leonard Cohen's "Hallelujah" has been covered many times to to varying qualities a few that stand out are the Rufus Wainwright version and the Jeff Buckley version, while the original was more of a scathing, sarcastic love song, but both Buckley's and Wainwright's versions turned it into songs about searching for God in desperate times.
* {{Music/Megadeth}} covered Music/LedZeppelin's Out On The Tiles as a Japanese bonus track for their album United Abominations. Dave Mustaine could not sing anywhere near as high as Robert Plant, so he sang the song in a lower key and adjusted the music accordingly. Dave made this even more apparent in later years. To mark the 20th anniversary of each album, the band performed Rust In Peace and Countdown To Extinction live and released them as live albums. Both are significantly downtuned compared to the original album versions, in order to make up for Mustaine's inability to sing that high anymore. Sometimes the effect works, and other times, it sounds really bad.
* When {{Music/New Order}} plays [[Music/JoyDivision "Love Will Tear Us Apart"]], they raise the key since Bernard Sumner's voice doesn't go quite as low as Ian Curtis's did.

* Technically, the ''Pinball/PinkPanther'' pinball is a ''very'' loose adaptation of ''Film/TheReturnOfThePinkPanther''. Both revolve around a jewel heist by a mysterious female ClassyCatBurglar, but that's as far as it goes.

* ''Radio/LuxRadioTheatre'', a show that ran for twenty years from TheThirties to TheFifties, was a weekly program that adapted popular Hollywood films into radio plays. The show was only an hour long, and the actual performances were closer to 40 minutes long after allowing for studio chatter and ProductPlacement, so the radio plays had to be carefully condensed from 90-120 minute movies.

[[folder:Tabletop Games]]
* Victory Games's ''Franchise/JamesBond'' ''007'' TabletopRPG used this constantly, since it was assumed the players saw the movies many of the modules are based on. For example, in their version of ''Film/{{Goldfinger}}'', instead of [[spoiler: blowing up Fort Knox with one atomic bomb]] to increase the value of his gold holdings, Auric Goldfinger plans to [[spoiler: detonate hundreds of atomic bombs hidden in South Africa and other gold-producing regions to contaminate the groundwater near the ore]].
* Amarillo Design Bureau's ''Star Fleet Battles'' games are based on the ''Franchise/StarTrek'' universe. However, unlike the traditional Trek universe, where the conflict between the Federation, Romulans, Klingons, and other races is more of a UsefulNotes/ColdWar relationship, open war and direct conflict are a regular part of the game universe. It also includes ship designs that have not been seen in the Trek universe such as Federation Dreadnoughts, Battleships, and Carriers. These designs arguably conflict with Gene Roddenberry's philosophy that such ships would not be built by Starfleet. But there wouldn't be much of a game if they could solve everything through diplomacy and communication.

* ''Literature/{{Wicked}}'' the novel was about anarchy, cruel dictatorship, persecution, and watching a woman's descent into insanity. [[Theatre/{{Wicked}} The Broadway musical]] changed around the story into being about [[LighterAndSofter friendship, shoes, and drama over stolen boyfriends]]. The [[WordOfGay Les]] [[HoYay Yay]] between Elphaba and Glinda is also toned down, at least slightly: in the book, it's less noticeable on Elphaba's side, but arguably more noticeable on Glinda's side. Another change, albeit a minor one, is that Elphaba's sister Nessa doesn't have arms in the book. Obviously difficult to portray onstage, so they just stick her in a wheelchair instead. The biggest change is that [[spoiler: Elphaba and Fiyero live]]. The compressed timeline is part of this too: the book spans nearly 40 years, but it would stretch suspension of disbelief to have the same actress playing a character at 18 and 38.
* ''Theatre/TheMostHappyFella'' abandoned most of the social commentary of the straight play it was based on, ''Theatre/TheyKnewWhatTheyWanted'', so it could focus more on the love plot, which provided better opportunities for singing.
* The Takarazuka musical adaptation of ''Franchise/AceAttorney'' only dealt with a single case (written for the play), unlike the multiple case formats of each game. They also ditched the spirit channeling plot device, having Phoenix mock Maya for believing she was a spirit medium, and made Edgeworth a simple ruthless prosecutor rather than Phoenix's childhood friend in need of redemption.
* The musical adaptation of ''Theatre/BeautyAndTheBeast'' does this in regard to the Enchantress's curse. Instead of instantly transforming the servants into [[AnimateInanimateObject talking objects]], the spell slowly changes them into fully inanimate bric-a-brac, gradually replacing their human features and clothing with parts of their item. While largely a pragmatic choice--it's a lot easier to costume a woman to ''resemble'' a teapot than it is to build a believable special effect--it also makes the curse more painful, as the castle's inhabitants are [[AndIMustScream aware of what's happening to them, but completely powerless to stop it]].
* ''Theatre/SaintJoan'' by Creator/GeorgeBernardShaw is described in subtitle as "A Chronicle Play in Six Scenes and an Epilogue". Each scene depicts a key moment in the life of UsefulNotes/JoanOfArc. Some of these 'moments' actually took place over days, weeks, or months, but as Shaw points out in the preface to the published playscript, that's not something you can faithfully reproduce on a theatre stage.

[[folder:Video Games]]
* ''VideoGame/DawnOfWar'' removes a lot of the mechanics from ''TabletopGame/{{Warhammer 40000}}'' (cover is near-nonexistent, though it was reintegrated for ''Dawn of War II'', and there's no RandomNumberGod) but keeps fundamentals like squads, weapon upgrades, and different armour types in order to better work as a video game instead of a tabletop one. By necessity the factions are vastly simplified, only having access to a relatively small amount of their units, as well as lacking the individual customisations of the sub-factions. In turn it creates a new Space Marine chapter the Literature/BloodRavens, as well as a bunch of new characters from existing groups, to tell its own story instead of trying to adapt anything from the expansive ''[=WH40K=]'' lore. The result is a game that is generally well-received by the fans and gamers in general, but isn't so much an adaptation as it is just a small piece of the ExpandedUniverse.
* ''VideoGame/CastlevaniaDraculaX'' for the SNES. Cutting the levels and playable characters back to fit the SNES hardware is acceptable, though [[ExecutiveMeddling legal issues]] meant Shaft was cut. And ''Vampire Killer'' for the {{UsefulNotes/MSX}}
* ''StreetFighter 4'' on the Ipod Touch. While it's highly simplified from the console/PC version. (only 10 characters, reduced movelists, simplified controls, and lots and lots of contents removed), it manages to be a fun experience on its own right, despite the system not being fit for such a type of game.
* ''VideoGame/{{Astyanax}}'' for the NES has a completely different story than the arcade game it's loosely adapted from.
* Most RPG games made under the infinity engine (''VideoGame/BaldursGate'', ''VideoGame/IcewindDale'', ''VideoGame/PlanescapeTorment'') employed a PragmaticAdaptation of the original tabletop rules to fit better into a more action-oriented isometric computer game.
* ''VideoGame/VampireTheMasqueradeBloodlines''. The limits of a video game (and the action-heavy elements expected from them) meant that the game needed to drop a number of systems, simplify others, and gear things more towards combat as a baseline. One example is with the Tremere, and the Tremere PC's use of [[BloodMagic Thaumaturgy]]. The Path of Blood depicted in Bloodlines is much different than the one in the source material, being more directly [[BloodyMurder martial]] than the [[ThePowerOfBlood multi-purpose powers]] in the original. Then again, as a fledgling embraced outside the Pyramid, the Tremere PC receives no formal instruction on Thaumaturgy. So the ones he/she uses is [[FridgeBrilliance likely developed by the PC independently, according to their immediate needs.]]
* ''VideoGame/TheLordOfTheRingsOnline'' serves almost like a POVSequel to the books, where the player is experiencing the events of the books from the perspective of someone outside The Fellowship. Some changes are made to allow this; Angmar rising again gives us a villain for the first part of the game (Angmar at that time is supposed to be deserted), and a company of Dwarves trying to reclaim Moria days after the Fellowship passed through gives us an excuse to adventure there (Moria was not reclaimed until after the Ring was destroyed), for example. The player does interact with members of The Fellowship (and other famous characters) and even assists them in important plot points (The reforging of Narsil, walking with Frodo before his journey and later delivering Arwen's banner to the Grey Company and riding with them.
* The N64 version of ''VideoGame/QuakeII'' had its story changed from the original, and most of the levels replaced with all-new ones, which were generally shorter than the PC version's. The crouch function, hand grenades, and several enemy types were removed, the [[GatlingGood chaingun]] was {{nerf}}ed, and the submachine gun's recoil was reduced.
* The [=iPhone=] version of ''VideoGame/MetalGearSolid4'' was stated to be this by WordOfGod. The original game had a stealth element, but when Konami playtested it they found that it was really tedious and distracting for a casual game. So Kojima Productions took over development themselves, concentrating on shooting-range stuff.
* A number of changes were made to the [[VideoGame/GoldenEyeWii Wii remake]] of ''VideoGame/GoldenEye1997'' plot to fit with the change in timeline to 2010. Most notably, 006's motivations are changed from getting revenge for Britain's betrayal of his Lienz Cossack parents (which would make him 71 in 2010) to anger over the War on Terror and the Great Financial Meltdown, and how big banks made a killing while everyone else suffered. [[spoiler: Zukovsky is killed a couple dozen seconds after you meet him. After all, he does die in the films eventually, and it's not like they're planning on making a ''Film/TheWorldIsNotEnough'' game later.]]
** Even in the [[VideoGame/GoldenEye1997 original game]], a number of changes were done for the sake of making a more enjoyable game. At least a half of the game's content isn't in the movie, much more was altered.
* ''VideoGame/{{Ys}} IV: The Dawn of Ys'' for the PC-Engine, released a month after ''Ys IV: Mask of the Sun'' for the Super Famicom, was produced by a different developer (Creator/HudsonSoft), had a significantly different story and gameplay, and is not part of Falcom's canon, but is [[AdaptationDistillation generally regarded as the superior game]].
* Most ''SamAndMax'' media, while most of the media is a bit LighterAndSofter than the original comics (well, until ''The Devil's Playhouse'', of course), they've more or less had some pretty good games for quite a while now, demonstrating the dark comedy and wit that the series is known for.
* The console adaptations of ''VideoGame/RainbowSix 3'' have a completely different story and considerably different gameplay, although some of the locales from the PC version make an appearance.
* More of a technical limitation, but if anyone asks why ''VideoGame/ArmoredCore Formula Front'' has a very wildly different gameplay (simply designing and tuning a HumongousMecha's autopilot instead of ''directly piloting it''), it's because ACFF was released in PSP. See, the games before that were released in [=PS/PS2=], whose controllers had far more buttons than the PSP. Not knowing how to efficiently use the PSP's button layout, FROM decided to make it a game which require as little input as possible from the players. To seemingly prove their point, the [=PS2=] version of Formula Front does enable direct piloting of your mechs. It isn't until Armored Core 3 Portable that they finally figured out how to map the controls.
* {{Invoked|Trope}} in ''Film/TheMatrix: Path of Neo'', where the Wachowskis literally stop time and interrupt the game to explain that the sacrificial ending to the movie wouldn't have worked in a videogame, so instead the player gets to fight a FinalBoss made up of [[IAmLegion every Smith in the level]].
* All of the ''Videogame/MechWarrior'' first-person HumongousMecha [[MechaGame simulator series]], based on the turn-based ''Tabletopgame/BattleTech'' tabletop wargame are this to some extent
** ''[=MechWarrior=] 3'' was a nearly direct adaption in terms of weapon damage values, armor, and such, and such was a total balance train wreck full of {{Game Breaker}}s - such as the perfectly legal [[BeamSpam 12x Small Laser]] ''Shadowcat'' that could reliably lop legs off and [[CriticalExistenceFailure instantly kill the enemy]] in a few spammed hits.
** ''[=MW4=]'' greatly altered many of the mechanics from ''3'' and ditched the boardgame's stats entirely in the name of balance. DesignItYourselfEquipment remains but is heavily altered, as mechs can only put certain types of weapons in certain slots, preventing some of the more infamous examples from ''Mech 3'' like firing missiles [[InformedEquipment from the cockpit canopy]]. The freeware re-release of the ''Mercenaries'' ExpansionPack by the [=MekTek=] GameMod developers increased the divergence, and introduced new mechanics such as changing the EnemyDetectingRadar to require line-of-sight, in order to reel in some of the unforeseen consequences caused by ''Mech 4'''s game design.
** ''Living Legends'' diverges heavily from the previous games in balance, asset usage (such as having useful aircraft, PowerArmor, and {{tank|Goodness}}s), and basic game mechanics - all of which were changed for competitive multiplayer balance centered around objective-based gameplay. The end result is that while it still plays much like a [=MechWarrior=] game, the spirit is much more like the original wargame, ''[=BattleTech=]''. The DesignItYourselfEquipment was purposely delayed til the end of the public UsefulNotes/BetaTest ([[ScrewedByTheLawyers that never came]]) in order to allow the developers to balance out weapons and battlemechs on their own sake in order to avoid the [[FranchiseOriginalSin terminal min-maxing that has plagued the series]].
** ''Online'' started out being a nearly direct 1-to-1 stats translation from the boardgame, which suffice to say did not work very well, resulting in massive min-maxing and entire classes of weapons and battlemechs being rendered redundant courtesy of stats copy-pasted from a turn-based wargame not transferring well to a real-time first person shooter. Latter patches diverged from ''[=BattleTech=]'' for the sake of balance.
* An early 1980s game example: The UsefulNotes/ColecoVision version of ''VideoGame/LadyBug'' replaced the arcade original's free game credit from spelling S-P-E-C-I-A-L with a BonusStage, since the home version didn't require quarters to play it. This is better than what reward you got for finding the diamond in the home versions of the follow-up game ''VideoGame/MrDo'': just 8000 points and a free trip to the next screen.
* ''VideoGame/SplinterCellDoubleAgent'', originally on UsefulNotes/Xbox360 and PC, eventually received a Generation 6 version on Playstation 2, Xbox, and Nintendo Gamecube which is this due to console limitations. The game play and missions are entirely different, while the story is ''mostly'' the same except for two major character changes. Enrica's characterization completely lacks her [[AntiVillain sympathetic portrayal]] and the [[OfficeRomance romantic subplot]] between her and Fisher, creating somewhat of a plot hole when Fisher abruptly starts [[spoiler:desperately trying to keep Third Echelon from killing her in the final chapter]]. Jamie on the other hand is given a far more [[UndyingLoyalty loyal]] and [[PunchClockVillain sympathetic portrayal]] rather than the PoisonousFriend[=/=]SoftSpokenSadist he was in the original, [[spoiler:which made a lot of people feel seriously bad when you have no choice but to kill him.]]
* Various video game adaptations of the exploits of ComicBook/{{Superman}} have struggled with how to show off the character's iconic borderline invincibility, powers and strength while still presenting a game that possesses both a fair challenge and lose conditions. The ''Film/SupermanReturns'' game took a novel approach to this -- instead of giving Supes a health bar, Metropolis ''itself'' is the life bar, and you have to let it suffer as little collateral damage as possible in order to succeed in a given mission. In fact, the final boss isn't even a person or machine. It's a tornado, a force of nature, that you have to put out before it wrecks everything.
* The three games for ''Franchise/TheWitcher'' franchise take some liberties with the books largely for RuleOfFun.
** In the books, monsters are becoming less common in the world, which has made the Witchers who were mutated and trained to hunt them largely a relic of the past. As such, Geralt is stuck in PerpetualPoverty because he has a hard time finding work. Meanwhile, monsters are brimming all over in the games. While this runs contrary to the original setting, it makes the world feel less empty, allows the player to fight all kinds of interesting creatures, and provides context for a great number of side quests that inevitably involve hunting the beasties down.
** In the books, Geralt typically only carried a steel sword with him. His silver sword was usually stored away on his horse, and he would only ever pull it out when he knew he would be facing a monster. In all three games, he and pretty much all witchers carry both swords with them at all times, which makes for more convenient gameplay since the player can encounter humans or monsters at any time.
** In the books, Geralt often had his potions brewed by trained alchemists. In the games, he can brew them himself, and there's always an entire branch of skills that the player can develop to improve the quality of his potions.
* ''VideoGame/{{Cuphead}}'': While the game otherwise sticks to emulating classic cartoons to the T, the racist depictions of racial minorities is purposely avoided, [[ValuesDissonance and for good reason]]. The most that happens is giving Djimmi the Great clear Egyptian influences (when genies are Arabic), and that is terribly minor in comparison while still being a possible throwback.

[[folder: Web Video]]
* ''WebVideo/TheAutobiographyOfJaneEyre'' is a web series adaptation of ''Literature/JaneEyre'', a GothicNovel. In the book, Jane is a narrator and an adult mature woman who is looking back on her life from her unhappy childhood, harsh and later kinder school days, her employment, and above all her mysterious love story. The narrative voice of the web series, which is Jane's vlog presenting events as they happen, is naturally changed. It started with Jane deciding to change her life and seeking new opportunities in life, and accepting to work as a live-in tutor. Her back-story is revealed in some episodes when Jane mentions her uneasy relationship with her abusive step-family or when she reminisces about her school days or her friend Helen.
* Likewise there is ''WebVideo/TheLizzieBennetDiaries'', a modernized adaptation of ''Literature/PrideAndPrejudice''. Because society has changed so much in the centuries in between, especially the roles of women, ''Diaries'' had to update many aspects to keep them relevant for the audience yet equivalent to the book. For instance:
** There are only three Bennett sisters now, Jane, Lizzie and Lydia. Mary was later included as their cousin and Kitty becomes Lydia's cat.
** The theme of social stifling and small opportunities for women is now a more general one about the difficult economy and slim job and field opportunities.
** In the book, Wickham was a militia officer who claims Darcy swindled him out of his promised fortune. In the web series, he's a swim coach who claims Darcy refused to pay for his promised college tuition.
** Lydia and Georgiana are both made older, since [[spoiler:Wickham seducing teenage girls would have gotten him in jail today.]]
** Lady Catherine De Bough is the most prominent antagonist in the book, not wanting the Bennetts become connected to the Darcys or Bingleys. In the web series, De Bough role's is greatly reduced and it's instead [[spoiler:Caroline Bingley]] who becomes the instigator of strife between the families.
* ''8-bit Theatre Chaos'', a voiced adaptation of ''Webcomic/EightBitTheater'', have occasionally had to rejig a joke so that it translates better to the video format - or update the comic's imagery to fit better with present-day events. For example, one ''Series/DoctorWho'' joke from the comics (which originally used Creator/ChristopherEccleston's Ninth Doctor) [[http://www.youtube.com/watch?v=_J45E-bK1PI was updated]] for Creator/PeterCapaldi's Twelfth Doctor.
* In ''Franchise/{{Noob}}'', Précieux started out without his TalkingWithSigns via the text chat gimmick. The gimmick started out as a one-off gag in the live-action version but ended up sticking. The comic version, which uses the text chat function much less frequently, has him talk like everyone else.

[[folder:Western Animation]]
* Nearly every adaptation of ComicBook/{{Wolverine}} in a [[Franchise/MarvelUniverse Marvel TV series]] tends to focus more on building his characterization (notably ''WesternAnimation/XMenEvolution'') than on his violent berserker rages, because of {{Media Watchdog}}s and their attitude towards violence in [[AnimationAgeGhetto children's TV.]]
* ''WesternAnimation/WolverineAndTheXMen'' takes elements of the vast, contradictory mythology surrounding the Phoenix Force that look like they might work well together, and constructs a new story out of them. Likewise, it combines a number of the various {{Bad Future}}s of the comics into one.
* ''Franchise/TeenageMutantNinjaTurtles'' started as a violent and gory (if satirical) black and white independent ComicBook with an ongoing storyline. ([[spoiler:Shredder dies messily in the very first issue; later his surviving minions feed what is left of him to a colony of worms that take his form and his intelligence. Worm-Shredder destroys the Turtles' and April's home, and nearly kills Leonardo. After a year of healing, Leo heads back to New York, chops off Worm-Shredder's head, and burns him.]]) In the early process of licensing and adaptation, the Turtles developed a litany of catch phrases, color coded costumes, a ComicStrip/{{Garfield}}-like food fetish, and an army of ineffective recurring villains; Raphael changed from a sociopathic {{Jerkass}} to "cool but rude", Baxter Stockman was changed from a homicidal black man to a feeble white guy, Splinter's whole backstory was rewritten to avoid the question of death; they abandoned character and plot development for syndication-friendly standalone episodes... and yet it all kind of worked. The 2003 series is a much closer adaptation of the comics (even bearing some traits of AdaptationDistillation); any carry-over from earlier adaptations (such as Michaelangelo's use of lingo from the earlier show) is generally [[LampshadeHanging Lampshade-hung]]. There's still much conflict over which cartoon was actually better -- ratings and profit wise, they did the same.
** In the comics, Splinter is the mutated pet rat of a ninja murdered by Shredder. In the (first) cartoon, Splinter is a human ninja (and rival to Shredder) mutated into a rat. This change feels less like a [[{{Bowdlerise}} bowdlerization]] (even though it is) and more like an AdaptationDistillation. It simplifies Splinter's back story, gives the turtles a more direct tie to ninjas (trained by an actual ninja as opposed to the pet rat of a ninja), and gives scenes between Splinter and Shredder a personal edge. The show even did a good, touching episode where Splinter briefly regained his human form.
* The second animated adaptation of Herge's ''Franchise/{{Tintin}}'' comic book series often streamlines the original narrative to make the story of each comic book fit into two half-hour episodes by cutting out subplots that don't affect the main plot overall, but otherwise faithfully follows Herge's original plotlines.
* ''WesternAnimation/WinxClub'':
** [[http://www.angelfire.com/la3/goldenroad15/episode36.html Frank Maggiore]] commented on a change made to an episode; in the dub, Sky went from being killed (it's never explicitly said, but Flora mentions his lack of pulse at one point) to being [[NeverSayDie put into a deep sleep]] (by having the Trix, who "killed" Sky, explicitly mention this a few times). It seemed to him that it made a lot more sense when Bloom revived Sky; this changed a never-before-seen magical BackFromTheDead ability to a ''Sleeping Beauty''-style awakening that seemed more [[MagicAIsMagicA 'probable']], especially since that these new powers were played as "healing powers" in either version. The kicker? The change was made by [[Creator/FourKidsEntertainment 4Kids Entertainment]]. Even a stopped clock is right twice a day.
** The girls (except Flora) cut school and go to Earth, where Aisha/Layla, Stella and Musa are stopped by a police officer and asked why they're not in school. In the original, Aisha gives the excuse that they have permission from their parents to be out of school and offers to give the cop the phone numbers, but the cop declines and lets them go. In 4Kids, Layla speaks a different language, making the cop think they're not from Gardenia and so he lets them go. The 4Kids version is more believable because, by law, the cop should've taken in all three girls and called their parents (not that he could call them, but you get it) since skipping school (aka truancy) is illegal.
* ''Literature/WatershipDown'''s AnimatedAdaptation left out a number of rabbits from the book, including Bluebell, the comedian, and Strawberry, from the [[spoiler:snare farm]]. Speedwell, Buckthorn, Hawkbit and Acorn aren't much missed, though.
* ''[[WesternAnimation/SamAndMaxFreelancePolice The Adventures Of Sam And Max Freelance Police]]'' was given a very LighterAndSofter treatment, but it kept a lot of the strange hijinks and ideas that the duo are known for.
* The series of the Franchise/{{DCAU}} have a lot of this. Most of the time when a characters and their origin were changed it helped to enhance the essence of the original comics. In several cases, changes in the DCAU were so well-received that they were actually integrated into the main DC universe. ([[CanonImmigrant Harley Quinn]] and Mr. Freeze's backstories are probably the two most well-known cases.) One episode of ''WesternAnimation/JusticeLeague'' they did was an adaptation of the Creator/AlanMoore story, ''ComicBook/ForTheManWhoHasEverything''. They took out some of the darker aspects which gave it its own unique effect while sticking to the overall idea. Notably, this is the only adaptation of his work that Moore actually likes.
* ''WesternAnimation/YoungJustice'' does this with many characters, usually with positive effects. Artemis Crock for instance went from being a Caucasian supervillain to a biracial superhero, with the big twist being that her older sister (she never had one in the comics) is the Vietnamese assassin Cheshire. The decision to reimagine ComicBook/{{Zatanna}} as a teenager also went over well with fans. As a neat way of explaining her size-changing abilities, Bumblebee was made into a student of ComicBook/TheAtom, despite the two having literally no connection in the comic books. ComicBook/{{Icon}} was also made into a member of the [[Franchise/JusticeLeagueOfAmerica JLA]] in order to justify his sidekick Rocket's ([[EleventhHourRanger temporary]]) inclusion in The Team.
* ''WesternAnimation/TheSpectacularSpiderMan'' made a number of slight visual changes to Spider-Man's supporting cast, notably [[RaceLift making several white characters into minorities for the sake of diversity]] and giving slightly modernized designs to some of Spidey's villains.
* ''WesternAnimation/TheAvengersEarthsMightiestHeroes'' often condenses or alters origins for various characters in order to cut down on the time required to introduce them. For example, ComicBook/{{Hawkeye}} and ComicBook/BlackWidow are S.H.I.E.L.D. agents rather than reformed Iron Man villains, and ComicBook/TheFalcon is a member of Code Red rather than ComicBook/CaptainAmerica's sidekick.
* ''WesternAnimation/TheBatman'' gave some of the villains drastically changed designs, backstories and/or personalities to give them more importance in the story, such as [[MagnificentBastard Hugo Strange]] and [[TragicVillain Clayface]].
* The ''WesternAnimation/MegaMan'' cartoon had the decision to change Proto Man from Mega Man's AloofBigBrother Mysterious Ally to his WorthyOpponent on Wily's side. Given that Dark Man, Proto's impersonator from the fifth game, shows up in the series, it's more likely this was a conscious decision in order to give Mega Man an appropriate rival (Bass from the seventh game didn't exist yet).
* The ''WesternAnimation/{{WITCH}}'' cartoon made some major changes to the characters with the first season, turning Yan Lin into TheMentor (and [[SparedByTheAdaptation alive]]) and making Caleb an AdaptationalBadass. When Creator/GregWeisman stepped in for season 2, he took the changes even further, giving more screentime to old one-note villains, expanding roles of other characters and even going so far as to make many of the more JerkAss characters of the comic a lot more relating to the viewer.
* ''WesternAnimation/ScoobyDooOnZombieIsland'' is often praised as one of the best efforts in the franchise, with legitimately frightening villains and scenes. And yet, its origins lie not in ''Scooby-Doo'', but, of all shows, ''WesternAnimation/SwatKats''; it was an [[RecycledScript unfinished script]] that involved a succubus. In-between the cancellation of ''SK'' and ''Zombie Island'', it was also partially recycled for an episode of ''WesternAnimation/JonnyQuestTheRealAdventures''.

* Creator/{{Greggo}}, who adapts and hosts various GameShows for fan conventions, oftentimes drops, streamlines or modifies elements of the shows, as he doesn't use much in the way of props (due to lack of budget) and mostly runs things on his computer; for example, his adaptation of ''Series/AllStarBlitz'' has the contestant using a buzz-in device to stop a randomizer in the [[BonusRound Blitz Bonanza]], as opposed to spinning a wheel in the actual show.