History Main / AudienceColoringAdaptation

* ''WesternAnimation/SpiderManTheAnimatedSeries (1994)'' on Creator/FoxKids, much like its sister show ''X-Men'', greatly impacted Spidey’s lore, and became one of the most celebrated and long-running adaptations of the superhero. Notably, the idea of [[ComicBook/{{Venom}} Venom Symbiote]] affecting the host’s personality, i.e. making Peter douchey and aggressive, originated from the animated version of the saga, as in the comic version the Symbiote (being in love with Peter) was actually fine just being a cool costume and it didn’t change his personality whatsoever. [[NotGoodWithRejection It only went nuts and villainous when Peter rejected it]] upon learning from Mr. Fantastic that it was alive. Now, thanks to the '90s show, every subsequent retelling of the Symbiote Saga (e.g ''Film/SpiderMan3'', ''WesternAnimation/TheSpectacularSpiderMan'' and ''ComicBook/UltimateSpiderMan'') has the Symbiote suit adversely affect Spidey when he wears it, to the point of it being a SuperPoweredEvilSide in some adaptations.

** And then there's [[VideoGame/FZero Captain Falcon]], who's treated as a flamboyant superhero with highly-damaging attacks, when in his native series he's a stoic racer who never gets into a single fistfight (the superhero archetype is actually Super Arrow, along with his wife, Mrs. Arrow). Plus, several of his movements and animations, like his Victory Pose where he does an overhead kick, are more fitting for the hunter character Beastman. Notably, fan portrayals of Captain Falcon based on his ''Smash'' appearances got big enough to directly inform the campier direction of ''F-Zero GX'' and the stylistic middle ground of both ''Anime/FZeroGPLegend'' and later promotional material (both in and out of ''Smash'').

** For the West, in particular the United States, Creator/{{Funimation}}'s 1998 in-house dub of ''Anime/DragonBallZ'' is effectively more canon than the Japanese original and even other English dubs. [[DarkerAndEdgier The replacement score by Bruce Falcouner]] and [[NarmCharm scripting changes]] resulted in a show with a very different tone despite telling the same overall story, and many character and attack names were changed [[note]]Kikoho became Tri-Beam, Kienzan is Destructo Disc, the Tenkaichi Budokai is the World Martial Arts Tournament, Kame-Sen'nin is Master Roshi, and most infamously, Mr. Satan is Hercule[[/note]]. Goku's character in particular [[AdaptationalHeroism is more outwardly heroic]] and has parallels to a traditional hero like Franchise/{{Superman}}, possibly aided by their similar origin stories. As a result, most U.S. fans have a reverse TheyChangedItNowItSucks to the Japanese show, decrying aspects like the [[LighterAndSofter Kikuchi score]] and that [[CrossDressingVoices almost all of the Son family]] is voiced by "[[Creator/MasakoNozawa some old lady]]." ''Anime/DragonBallZKai'' was met with some backlash by US fans for being more faithful to the original show when it was dubbed, as have later productions like ''Anime/DragonBallSuper'' for the same reasons.

** In general, a lot of elements people stereotypically associate with the franchise were far more significant in the various [[NonSerialMovie Non-Serial Movies]] than the series proper. This was due in large part to the films [[RecycledScript reusing elements from the series and each other]], leading to CharacterExaggeration of traits like Piccolo's [[PapaWolf protectiveness of Gohan]], Krillin's [[TheLoad ineffectiveness in a fight]] and Goku's willingness to [[VillainKiller kill villains]]. In particular, there's the films' treatment of Goku and Vegeta as rival BashBrothers working together to fight the foe of the day -- this only happened once in the entire run of the manga and anime but has become so significant to the franchise as to essentially be its modern status quo.

* ''ComicBook/TheDarkKnightReturns'' absolutely is this, not only to the mainstream audience but the Batman mythos in general as Creator/FrankMiller’s comic helped pioneer many of the modern conventions of Batman and DC that many people don’t realise are NewerThanTheyThink. In the 80s comics at the time Batman while darker than he was in Silver Age, still had plenty of lighthearted {{camp}} about him. In ''TKDR'' however featured a far DarkerAndEdgier Batman that had been seen before with his superhero antics being akin to an addiction he’s fallen back into after losing pretty much everything else in his life. Bruce treating the Robins as “soldiers”, his devil may care stubbornness in the face of authority, being extra CrazyPrepared when dealing with Superman, extreme brutality to opponents and even the black and grey costume returning (in the '80s at the time it was still blue and grey) all come from ''The Dark Knight Returns'' and were folded forward into the mainline comics (and films and cartoons) one way or another. Thanks to this comic Superman and Batman’s relationship changed no longer being perfect friends, The World's Finest, but rather somewhat distant and distrusting (if respectful) of each other. Even the strange sexual overtones Joker has towards Batman, something that’s considered normal nowadays was a strange addition at the time where Joker in the other comics was a traditional ArchEnemy with no overt FoeRomanceSubtext.

* Creator/{{Disney}} has played an enormous role in coloring public knowledge of numerous fairy tales, and even some novels and short stories, with ''WesternAnimation/{{Dumbo}}''[[note]]Yes really, although it was always the most obscure of these, being based on a short story that was only ever published as a "Roll-a-Book" scrolling toy[[/note]], ''WesternAnimation/LadyAndTheTramp'', ''WesternAnimation/OneHundredAndOneDalmatians'', ''WesternAnimation/TheAristocats'', ''WesternAnimation/TheRescuers'', ''WesternAnimation/TheFoxAndTheHound'', ''WesternAnimation/TheBlackCauldron'' and ''WesternAnimation/TheGreatMouseDetective'' being but a few titles now almost entirely unknown outside their Disney version.

* Creator/DreamWorksAnimation's ''Franchise/HowToTrainYourDragon'' series, which was adapted from a long-running, but somewhat obscure British [[Literature/HowToTrainYourDragon children's book series of the same name]], have pretty much defined the series in the general public. The average person might be surprised at the wide amount of differences between the books and the movies if you hand them one of the books. The most obvious difference is that part of the books' premise is that semi-domesticated dragons have already been a common aspect of viking life for generations, rather than Hiccup being the one to spearhead the concept. What made Hiccup notable in the books was that he was one of ''very'' few people who could speak their language, which by proxy meant that all the dragons spoke in the books, with Toothless being quite talkative and sarcastic. Aside from the basic premise of "fantasy vikings with dragons", the books and the films might as well be two different intellectual properties with a handful of recycled character names.

* Creator/JeanShepherd's tales involving the Parker family cover almost every aspect of Ralphie's childhood and adolescence, but due to ''Film/AChristmasStory'''s famous reputation, many people are under the impression that his entire body of work is centered around Christmastime nostalgia. In truth, the "Red Ryder" bit is pretty much the ''only'' one of Sheperd's stories to revolve around the holiday (even the other plot threads in the movie are taken from other stories that don't feature Christmas in any way).

** Being the Batman’s films of the TurnOfTheMillennium, Creator/ChristopherNolan’s version of the mythos is often what mainstream (especially younger) audiences first think of when it comes to the character and his foes with the tone being extremely grounded and more traditional esoteric elements like Robin being averted altogether. The popular perception of Batman being a black-armour-plated violent vigilante who uses his cape as a glider, growls and snarls his threats like “SWEAR TO ME” comes from these films, with the armoured plated look for the Batsuit getting rolled forward into media like ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/BatmanArkhamKnight'' and ''VideoGame/BatmanTheTelltaleSeries''. Not to mention a character like Lucius Fox getting the AscendedExtra treatment, being a minor character in the comics but thanks to the trilogy, he's now integral to Batman’s life.
** While still generally rivaled by Nicholson above, Creator/HeathLedger’s late and great performance as The Joker has left a massive mark upon the character. The idea of Joker being a beggared and dirty PsychoKnifeNut mobster with a GlasgowGrin comes from his portrayal of the character and Joker media (and actors) afterwards often take cues from his incarnation of the character.

** ComicBook/{{Hawkeye}} as a character suffers the most thanks to this, as the films made him an overtly serious guy without the showy and captivating personality of the comics character, not to mention the physical prowess (movie Hawkeye is an apt fighter and archer, but the comics one is a BadassNormal who was physically on-par with Captain America!), and thus his character became something of a MemeticLoser, a reputation that has affected the comics character significantly. Only ''Film/AvengersEndgame'' started to fix this, even if it meant Clint Barton going from Hawkeye to Ronin. The comic-book version's "loser" status previously had to do with Hawkeye being a perpetually unlucky hero. An orphan boy who was raised in a circus, he had two evil mentors who turned on him, and a brother who became a career criminal. He was manipulated into a brief career as a villain by the woman he loved (Black Widow), had his share of unrequited loves and failed romances, and a troubled marriage to Mockingbird. Due to never inheriting any wealth from his parents (unlike other Avengers) and not having a lucrative job, Hawkeye was often broke and at times worked as a glorified security guard.

* ''Film/MortalKombatTheMovie'' is a franchise-wide case of this as the film actually fashioned many of the conventions and character traits that are now taken for granted in the series. Most notably Kano was supposed to be a Japanese-American in the original game, yet thanks to Trevor Goddard deciding to play the character as an Australian in the film, he’s been a AwesomeAussie in the games and other media ever since. Raiden is another prominent example, in first MK he wasn’t a BigGood MentorArchetype but rather an [[JerkassGods asshole Thunder God]] who entered the tournament out of sheer boredom and while he TookALevelInKindness in the sequel, he still wasn’t meant be a Gandalf or Zordon figure to the heroes. Thanks to Creator/ChristopherLambert’s wise and cool mentor portrayal of Raiden however, he’s been firmly placed within that role in the games. The concept of Sonya and Johnny having BelligerentSexualTension also comes from this movie. Not to mention [[https://m.youtube.com/watch?v=Sr1bLLvsbh0 the iconic song]] “Techno Syndrome” by ''The Immortals'' people heavily associated with the film, so much so they don’t know that it debuted two years before the film nor that it’s actually a remix of another song altogether.
* The ''Film/ResidentEvilFilmSeries'' being the most financially successful film franchise based on a [[Franchise/ResidentEvil video game series]] is unavoidably this for a lot of mainstream audiences who often haven’t touched the games. While the games themselves are of course extremely popular, odds are most modern viewers’ first exposure to the IP will instead be the Anderson films which are InNameOnly to the source material. For instance, Creator/MillaJovovich’s Alice is popular enough in the public zeitgeist that a lot of people don’t even know she’s a CanonForeigner made up for the movies, whilst the actual cast from the games a lot of filmgoers are less familiar with. The Anderson films also gave rise to the perception that RE is a [[AfterTheEnd post-apocalypse]] story like most zombie fiction rather than largely isolated outbreaks like in the games. ''Series/ResidentEvil2022'' was even catered towards fans of the films with a similar setting (with scrapped plans to have Alice cameo), Constantin Film company who own the films rights to RE even felt ''Film/ResidentEvilWelcomeToRaccoonCity'' which is more accurate to the games, would be too alienating for the Anderson films fandom. Which just goes to show the impact it has had on the franchise.

** The Christopher Reeves films also helped drastically change the look of Krypton. In the comics at the time, it was still very much in the RaygunGothic style of the Golden Age, the film however went with the CrystalSpiresAndTogas look. After that, pretty much all comics went with the crystal look for Krypton and even other media like the [[Series/{{Krypton}} prequel TV show]] borrow greatly from the aesthetics of the Reeve films.

** One good example is how the characters' nationalities are presented. Willy Wonka is British in the book, but American in the movie. Conversely: Veruca Salt and her family are ''American'' in the book, but ''British'' in the movie. Augustus Gloop and his family are likely British (or East Coast American) in the book, but ''German'' in the movie. And Charlie and his family are implied to be British in the book, but definitively American in the movie. Notably, even the 2005 film (which otherwise sold itself as being [[TruerToTheText more faithful to the book]] than the 1971 film) kept most of these changes, only making Charlie and his family British again. And even ''Literature/CharlieAndTheGreatGlassElevator'' (the sequel to the original book) followed the movie's lead by {{retcon}}ning Charlie and his family as Americans.
** A number of fans and critics decried Burton's film for the unforgivable "alteration" of making the other children's fates known to the viewer. There is a widespread perception that the classic film left their ultimate endings ambiguous, even implying that they all died. Not only is this not an alteration from the original text (there's an entire chapter called "The Other Children Go Home"), it's not even an alteration from the first film, where Wonka tells Charlie the other children will be fine, but hopefully a little wiser.

** Just to illustrate how thoroughly the 1939 film eclipses the entire franchise when an adaptation was attempted of the sequels with ''Film/ReturnToOz'', people wondered why Dorothy was a young girl and not in her late teens like Creator/JudyGarland was in the famous 1939 film. Creator/{{Disney}} paid a hefty sum to use the ruby slippers as well, rather than confuse audiences who never read the books by having them be silver (not to mention the shoes never appear again in the sequels anyway, and were replaced by the Magic Belt). Basically, the main reason it bombed was that it was too much like the books, and not enough like the film most people are familiar with; not helping its case was that it opened with Dorothy being assumed delusional and given electroshock therapy, which was ''not'' in the books and clashed with the tone of both the books and 1939 film.

* The ''Series/{{Arrowverse}}'' has had this effect for the mythos of ComicBook/GreenArrow, ComicBook/TheFlash, and ComicBook/{{Supergirl}}, which have been the biggest out-of-comics takes on those franchises. As a result, several Flash villains like Zoom, Captain Cold, and Savitar are more likely to bring up their show versions than the originals, and elements of ''Series/Supergirl2015'' like the name Kara Danvers and National City have made their way to the comics, and the general audience would be surprised to learn they didn't exist before 2015. Unfortunately for many fans of the comics, though, as the shows receive a ''great'' deal of TheyChangedItNowItSucks treatment and there's something of a FandomRivalry between fans of the comic versions and fans of the shows, having the shows become the popular representation of the franchises in pop culture can be something of a sour point[[note]]''especially'' for fans of the Wally West era, as the show has popularized Barry Allen as the Flash, with Wally's tenure being seen as only a temporary venture by many in spite of having over two decades of story to himself. This is a case of MisBlamed, though, as DC (former co-publisher Creator/DanDiDio, mostly) has been sweeping Wally, and to a lesser degree all other non-Barry Flashes, under the rug for quite some time. Some fans of Wally were ''astonished'' that the show ever used him in the first place![[/note]]. This especially goes for the Green Arrow, whose comic version is very different.[[note]]The show version begins as a very dark JudgeJuryAndExecutioner, and after that is always struggling with his own dark side. He is TheCowl to TheCape of Barry and even a Russian Mafia captain nicknamed "The K. G. Beast" is shocked by his brutality. Very compelling, yes, but it leaves him with [[InNameOnly little in common]] with the comic version, or ''[[WesternAnimation/JusticeLeague any]]'' [[WesternAnimation/TheBatman other]] [[{{Series/Smallville}} adaptation]], beyond "shoots arrows."[[/note]]

** Notably, UsefulNotes/TheDarkAgeOfComicBooks may have revitalized interest in the show as a backlash against all the grimdarkness. ''WesternAnimation/BatmanTheBraveAndTheBold'' was something of a love letter to both the show and the Silver Age DC comics, and even included episodes written by Creator/PaulDini, who had done plenty of serious work for the comparatively serious ''WesternAnimation/BatmanTheAnimatedSeries''. Also, in 2013 Creator/DCComics debuted ''ComicBook/Batman66'', which treats the TV show as an alternate universe, even adding characters that either weren't in the show (such as Two-Face and Poison Ivy) or didn't even exist in 1966 (such as Bane from ''ComicBook/{{Knightfall}}'' and Harley Quinn from the '90s animated series), to modest success.
** The Adam West TV show is ''still'' the metric in which anything Batman-related is compared to in Japan since that show was the first serious attempt to localize Batman for Japanese audiences. As a result, Batman gained a reputation for being a campy weirdo in a bat costume who punches and kicks equally campy weird villains, and the Japanese loved him for being exactly that. The result was later attempts to show more serious Batman stories [[AmericansHateTingle falling totally flat in Japan]] because [[FirstInstallmentWins Japanese consumers were expecting something like Adam West's Batman and were disappointed]]. This persisted for at least a few decades, such as how the Christopher Nolan Batman trilogy was a BoxOfficeBomb in Japan for not being campy, and may ''still'' be like that today, considering nothing Batman-related has ever succeeded in Japan without being at least a little bit silly, such as ''Anime/BatmanNinja''.

** Additionally, the success of Mozart's version has basically doomed any attempt to adapt the third play in the trilogy, ''The Guilty Mother'', because of its darker tone. Beaumarchais wrote the trilogy as a progression from comedy to tragedy, but Mozart toned down or removed many of the darker themes from the second play that made that progression more gradual; his version only hinted at Cherubino's lust for the Countess and cut any mention of her reciprocation, and it [[PlayedForLaughs Plays for Laughs]] the Count's plan to force Cherubino [[UriahGambit into military service]]. As such, ''Guilty Mother'''s revelation that the Countess had an affair with Cherubino (who is now dead, having been killed in battle) and [[SomeoneToRememberHimBy gave birth to his child]] is a GenreShift that is too abrupt for audiences to accept, given the light comedic tone of Mozart's opera.

* Creator/WilliamShakespeare did this with just about every story he adapted for the stage.
** When we talk about historical figures like UsefulNotes/RichardIII of England or Macbeth, King of Scotland, we're usually talking about -- or at least acknowledging -- their [[AdaptationalVillainy decidedly villainous]] portrayals in Shakespeare. These [[Theatre/RichardIII two]] [[Theatre/{{Macbeth}} plays]] in particular are often given a SettingUpdate, such as the [[Film/RichardIII 1995 version]] of ''Richard III'' with Creator/IanMcKellen, which transplants the character into the 1930s and the rise of fascism, or the 2007 Creator/PatrickStewart ''Macbeth'', which was set in something resembling the Soviet Union in the late '40s and early '50s, literally taking the characters out of their historical contexts. If audiences weren't already trained to see Richard III and Macbeth as literary characters first and historical figures second, this would seem ridiculous and anachronistic.

* Similarly to [[Series/Batman1966 the 1966 show]], ''WesternAnimation/BatmanTheAnimatedSeries'' had a profound and long-lasting impact on how audiences came to view the ''Batman'' IP, with later entries in the franchise more often than not using the show's gothic neo-noir tone and "Dark Deco" aesthetic as the building blocks for their own interpretations. Among other specific examples, the show's TragicVillain version of Mr. Freeze got so popular that it was incorporated into most later versions of the character, series-original villain Harley Quinn is generally regarded as being as crucial to the franchise as the Joker himself, and both Creator/KevinConroy's Batman and Creator/MarkHamill's Joker are still the yardsticks by which later actors in the roles are compared.

* Rankin/Bass's adaptation of ''WesternAnimation/FrostyTheSnowman'' has received similar treatment as Rudolph the Red-Nosed Reindeer. While Frosty has been a staple of the holiday season since 1950 and gained [[https://www.youtube.com/watch?v=S_lch3V-CjI an animated adaptation]] by [[Creator/ColumbiaCartoons UPA]] in 1953, the Rankin/Bass version of Frosty the Snowman has become the default version of the character and song. Most parodies and shoutouts are entirely based on the "Rankin/Bass Frosty". Even the 1992 semi-sequel ''WesternAnimation/FrostyReturns'' by Creator/BillMelendez takes cues from the 1969 special, with Frosty's design being similar to the Rankin/Bass version. Even the official music video of the song (performed by Jimmy Durante before performing it again in the special) [[https://www.youtube.com/watch?v=GQGKoOoi1_o is designed after this version of him, including the hat and nose.]]

* ''WesternAnimation/SpiderManTheAnimatedSeries (1994)'' on Creator/FoxKids, much like its sister show the below-mentioned X-Men greatly impacted Spidey’s lore being one of the most celebrated and long-running adaptations of the superhero. Notably, the idea of [[ComicBook/{{Venom}} Venom Symbiote]] affecting the host’s personality i.e making Peter douchey and aggressive all originated from the animated version of the saga, as in the comic version the Symbiote (being in love with Peter) was actually fine just being a cool costume and it didn’t change his personality whatsoever, [[NotGoodWithRejection only going nuts and villainous when Peter rejected it]] upon learning from Mr. Fantastic that it was alive. Now thanks to the '90s show, every subsequent retelling of the Symbiote Saga (e.g ''Film/SpiderMan3'', ''WesternAnimation/TheSpectacularSpiderMan'' and ''ComicBook/UltimateSpiderMan'') has the Symbiote suit adversely affect Spidey when he wears it, to the point of it being a SuperPoweredEvilSide in some adaptations.

** Cyborg in the comics got a "[[AscendedExtra promotion]]" of sorts to become a ComicBook/JusticeLeagueOfAmerica founding member in the ComicBook/New52 DC Comics era, which followed through in both the WesternAnimation/DCAnimatedMovieUniverse and ''Film/JusticeLeague2017'' film. But when ''WesternAnimation/JusticeLeagueVsTeenTitans'' came out there was a notable effort to keep a very similar roster (Robin was Damian Wayne rather than Dick Grayson, and Jaime Reyes ComicBook/BlueBeetle is a tech-centered character like Cyborg) and even ensure that Cyborg became more friendly with the group because of the ''Teen Titans'' show legacy.

* The 1995 film ''Film/{{Casper}}'' served as most Millennials' and Zoomers' introduction to the ''WesternAnimation/CasperTheFriendlyGhost'' franchise, and remains one of the most iconic pieces of media featuring the character. But since many people who've seen the film have never seen the original cartoons or read the Creator/HarveyComics books, they might not realize that the film take several liberties with the source material. Thanks to the film, many people tend to believe that Casper's "official" backstory is that he's the deceased son of eccentric inventor J.M. [=McFadden=], that he lives in a HauntedHouse called Whipstaff Manor, and that he's best friends with a lovably snarky girl named Kat Harvey. In the source material, Casper doesn't ''have'' a backstory (the original comics and cartoons [[NeverSayDie avoided acknowledging his pre-death life]] to maintain a lighthearted tone), he lives in an enchanted forest (not a haunted house), and his primary friendships are with other Harvey Comics characters--most notably ComicBook/RichieRich, Wendy the Good Little Witch, and ComicBook/HotStuffTheLittleDevil. While many children of the '90s were eventually introduced to Wendy via the direct-to-video sequel ''Film/CasperMeetsWendy'' (where she was played by a then-unknown Creator/HilaryDuff), Casper's friendship with Kat remains his most iconic relationship.[[note]] Ironically, Kat was [[WhatCouldHaveBeen originally]] going to be named "Wendy" as a MythologyGag (which is why she also wears a red hooded jacket in one scene), but Creator/UniversalPictures renamed her to avoid potential legal issues, since they didn't own the movie rights to the character at the time.[[/note]]

** Everyone remembers [[WesternAnimation/TeenageMutantNinjaTurtles1987 the 1987 cartoon]], while the much darker [[ComicBook/TeenageMutantNinjaTurtlesMirage original comics]] and subsequent cartoons and movies seem to be living in its shadow... Much like [[Series/Batman1966 the '60s Batman]] example earlier in the page. Most notable is the show's depiction of April [=O'Neil=] and her famous yellow jumpsuit, to the point that most other TMNT adaptions will find a small way to homage it, if not have her outright wear something similar.

* The best-known entry of the Canadian teen drama franchise ''Franchise/{{Degrassi}}'' is ''Series/DegrassiTheNextGeneration'', the fourth incarnation, which ran from 2001 to 2015, and [[RetroactiveRecognition the one which starred future musician Drake]]. To this day, this entry has colored general public perception of the franchise, to the point where many people speak of it as if it were the original or "default" version, despite it being a reboot of a [[Series/DegrassiJuniorHigh beloved]] [[Series/DegrassiHigh 80s Canadian cult classic]], and the numerous allusions to this fact. This has created some issues, such as how ''Degrassi'' as a "whole" is criticised for adhering to similar annoying or problematic tropes to other TeenDrama shows; only ''Degrassi: The Next Generation'' and ''Degrassi: Next Class'' are really guilty of that, while ''Degrassi Junior High'' and ''Degrassi High'' largely avoid it, or at least made an effort to.

* The best-known entry of the Canadian teen drama franchise ''Franchise/{{Degrassi}}'' is ''Series/DegrassiTheNextGeneration'', the fourth incarnation, which ran from 2001 to 2015, and [[RetroactiveRecognition the one which starred future musician Drake]]. To this day, this entry has colored general public perception of the franchise, to the point where many people speak of it as if it were the original or "default" version, despite it being a reboot of a [[Series/DegrassiJuniorHigh beloved]] [[Series/DegrassiHigh 80s Canadian cult classic]], and the numerous allusions to this fact. This has created some issues, such as how ''Degrassi'' as a "whole" is criticised for adhering to similar annoying or problematic tropes to other TeenDrama shows, of which the original 1980s series actually made an effort to avoid.

* UsefulNotes/TheNineties ''ComicBook/XMen'' era will always be the major audience-influencing incarnation of the team (unsurprisingly given ''X-Men'' (Vol. 2) #1 by Creator/ChrisClaremont and Creator/JimLee was the highest-selling comic of all time). The perception of Cyclops being in his blue kevlar suit with yellow cross belts and a wraparound visor, Jean in her yellow and blue bodysuit, Storm in her silver bodysuit, Rogue with her green and yellow bodysuit as well as bomber jacket and massive mane of hair, and Gambit and Jubilee being highly prominent, despite being quite new members at the time is all thanks to this period. Thanks to this era, fans will likely easily recognise Psylocke in her fanservicey ninja form but will not recognise her purple-haired and pink outfit which was her look for decades prior to getting a body swap. A similar case occurs with Angel, as he's more remembered in the rad-looking metallic Archangel form than his normal Angel persona he had for years before becoming a Horseman of Apocalypse. This comic period would go onto to inspire both the Creator/FoxKids [[WesternAnimation/XMenTheAnimatedSeries animated series]]) and ''VideoGame/XMenChildrenOfTheAtom'' and the subsequent ''VideoGame/MarvelVsCapcom'' franchise. There's also [[ComicBook/XMen92 a spin-off comic]] based on the animated series, which was based on this era.

* The 1992 ''WesternAnimation/XMenTheAnimatedSeries'' cartoon from Creator/FoxKids is pretty true to the ''story'' of [[ComicBook/XMen the original comics]], but its distinctive visual style and futuristic art direction have had a pretty big impact on how general audiences picture the X-Men. Notably, it used the character designs of Creator/JimLee, who only drew the comics for a very brief window of time in the early 1990s. Thanks to the show, many people tend to picture [[Characters/MarvelComicsCyclops Cyclops]] wearing a blue kevlar suit with yellow cross belts and a wraparound visor (he wore a tight spandex suit with a full-face mask for most of his history), they tend to picture Professor Xavier using a fancy yellow hover-chair, and they tend to picture [[Characters/MarvelComicsRogue Rogue]] with a bomber jacket and [[EightiesHair a huge mane of dark hair]]. The show is also likely why [[Characters/MarvelComicsGambit Gambit]] and [[Characters/MarvelComicsJubilee Jubilee]] are widely considered "classic" X-Men, despite being [[NewerThanTheyThink relatively recent additions to the franchise]] (at the time the show started, Jubilee had only been introduced three years prior, and Gambit two years). To give you an idea of this: while most of the Marvel character icons on the Creator/DisneyPlus app are from the movies, the X-Men icons are all slightly modernized versions of the '90s cartoon designs. Special mention to the [[SugarWiki/AwesomeMusic iconic theme song]], which has been [[Film/DoctorStrangeInTheMultiverseOfMadness used in the MCU]] as a leitmotif!

** In general, a lot of elements people stereotypically associate with the franchise were far more significant in the various {{Non Serial Movie}}s than the series proper. This was due in large part to the films [[RecycledScript reusing elements from the series and each other]], leading to CharacterExaggeration of traits like Piccolo's [[PapaWolf protectiveness of Gohan]], Krillin's [[TheLoad ineffectiveness in a fight]] and Goku’s willingness to [[VillainKiller kill villains]]. In particular, there's the films' treatment of Goku and Vegeta as rival BashBrothers working together to fight the foe of the day--this only happened once in the entire run of the manga and anime but has become so significant to the franchise as to essentially be its modern status quo.

** While still well-liked by the general fandom, ''Anime/MobileSuitGundamWing'' has garnered derision from some old-timer fans of the Universal Century setting (the verse where most ''Gundam'' series happen, but notably not ''Wing'', which is an AlternateContinuity), who have accused the series of coloring the general perception of ''Gundam'' and Mecha series in the Western world. When ''Wing'' aired on the Toonami, [[GermansLoveDavidHasselhoff it garnered higher ratings in the US than in its native Japan]] and acted as a GatewaySeries to ''Gundam''. However, its popularity eclipsed those of the UC entries as the original ''Anime/MobileSuitGundam'' aired after ''Wing'''s run only to suffer abysmal ratings. Furthermore, as ''Wing'' had [[EstrogenBrigade many female fans]], it was also blamed for intensifying the ShipToShipCombat and DieForOurShip sentiments in ''Gundam'' that started in ''Anime/MobileSuitZetaGundam''. Much of the rift stems from the differences in narrative and aesthetic styles of ''Wing'' and UC entries. ''Wing'' is about a HoYay-filled independent paramilitary organization trying to end wars between different factions without directly aligning themselves with a specific one. In contrast, the UC entries focus on a single protagonist acting melodramatically in a conflict between 2 major superpowers. Subsequently, many people in Western anime communities are more likely to associate ''Gundam'' with the aesthetics of ''Wing'', as it was the most popular series outside of Japan.

** ''Franchise/SDGundam'' gets constantly derided by fans for being "kiddy" and "silly" compared to the more serious mainline works, and as such is looked down upon for "trying to dumb down" the franchise as a whole. The main culprit for this perception? ''Anime/SDGundamForce'', which received immediate backlash due to Toonami deciding to air it around the same time they aired more typical ''Gundam'' shows (''[[Anime/MobileSuitGundamWing Gundam Wing]]'', ''[[Anime/MobileFighterGGundam G Gundam]]'', [[Anime/MobileSuitGundam the original series]], ''[[Anime/MobileSuitGundamSEED SEED]]'', etc) which had [[MoodWhiplash stark contrasting tones]] and Gundams that [[NotBadassEnoughForFans "look too cutesy"]]. This later leaked onto perception towards the sub-franchise as a whole, with fans declaring it a blemish. The two works that got hit the hardest with this are the two Anime series that came after ''Force'' (''[[Toys/BBSenshiSangokuden Brave Battle Warriors]]'' and ''[[Anime/SDGundamWorldSangokuSoketsuden Sangoku Soketsuden]]''), with people once again judging the Gundam designs again, and writing both off as childish drivel. The thing is, while the claims about some ''SD Gundam'' works being more silly and childish [[Anime/MobileSuitSDGundam aren't EXACTLY inaccurate]], a good number of them still contain a good number of serious moments to them that you would expect from a ''Gundam'' work, they just don't go ''as hard'' as the main ''Gundam'' works do on the darker and more depressing aspects of their stories, and also contain more lighthearted and comedic moments to balance things out. And the claims that ''Force'' is just "a silly kids show'' aren't even entirely accurate, as [[CerebusSyndrome it only acts like that for the first couple of episodes before it gets more serious about its world and characters]] (Though granted, there are still some silly moments here and there).
* ''Anime/KirbyRightBackAtYa'' 's dub defined, in the eyes of many, how the main ''Franchise/{{Kirby}}'' cast speaks: Dedede has a Southern accent, Meta Knight has a Spanish accent, and (although to a lesser extent than the former two) Kirby speaks in "[[PokemonSpeak Poyo!]]" The widespread popularity of King Dedede's [[AdaptationPersonalityChange anime personality]] is a point of contention with fans of the modern ''Kirby'' games, in which he has undergone extensive CharacterDevelopment and has become a [[MrViceGuy (generally)]] heroic FriendlyRival who [[BecomingTheMask takes his title seriously]] rather than the bratty, half-witted AuthorityInNameOnly that most audiences see him as.
* ''Manga/TheLegendOfZeldaFourSwords2004'' is invariably the basis for any kind of fanwork related to ''VideoGame/TheLegendOfZeldaFourSwordsAdventures'', which was one of the lowest-selling games in ''Zelda'' history. The manga has the benefit of giving each of the four Links his own personality instead of making them TheDividual, and gives Shadow Link a lot of AdaptationalSympathy.

** The original '90s English dub by [=DIC=] Entertainment possesses a lot of discrepancies from the Japanese version of the anime, had lots of censorship, awkward voice acting, script and [[DubNameChange name changes]][[note]]Usagi becomes "Serena", Mamoru becomes "Darien", Makoto becomes "Lita", Minako is shortened to "Mina", Rei and Ami just have their spelling Anglicized to "Raye" and "Amy", Chibiusa becomes "Rini", and Naru becomes "Molly"[[/note]] changed the music and story, and a few episodes were cut completely. But the show still proved to be entertaining and a hit with children in North America, its theme song became a '90s icon, and it was one of the catalyst shows that kicked off the anime boom in the 1990s. To many fans, the '90s dub and all of its flavor and lingo was their ''definitive'' experience with ''Sailor Moon'', and it's really hard to see the show as anything else. To them Usagi is always [[{{Woolseyism}} Serena]], her nickname is always "Meatball Head", Luna will always have a British accent, and to a lesser extent Naru/Molly always sounds like a Brooklynite. Which is why when the series received an uncut re-dub by ''Creator/VizMedia'' in 2014, which was more faithful, dubbed with professional voice actors, kept the original music, and didn't make any cuts or edits, a BrokenBase formed over the quality of the Viz Dub. While it is praised for its improvements and being much more faithful to the original version, it lacks the [[NarmCharm campy fun and energy]] and distinctiveness of the 90s dub that made it so [[SoBadItWasBetter memorable]], and [=DIC=]'s replacement soundtrack was missed by many, even by its most staunch critics.

* ''Anime/StreetFighterIITheAnimatedMovie'' is a tremendous case of this. It brought in many elements that weren’t in the games or at least weren’t as overt but soon became the status quo from then on, like Ryu and Ken being BashBrothers, Vega having a violent VillainousCrush on Chun-Li, Dhalsim being a wise mentor to the other characters and Chun-Li being a certified MsFanservice. The anime was so influential it directly inspired the ''VideoGame/StreetFighterAlpha'' series, particularly in how young Ryu and Ken were portrayed in flashbacks training together.
* People generally associate ''Franchise/YuGiOh'' with the MerchandiseDriven ''Anime/YuGiOh Duel Monsters'' series, where card games are SeriousBusiness and DuelsDecideEverything. Spin-offs take this even further, as non-dueling games are almost nonexistent and many characters' decks revolve around whatever archetype is being promoted in the TCG.

** Lum nicknaming her wrathful zaps of Ataru "Divine Retribution" is an early anime thing, and she actually drops the CallingYourAttacks gimmick very quickly. Giving Ataru an electrified version of TheGlomp only happens in five chapters in the entire manga (the last two times being when Lum is drunk and under the effects of a LovePotion), and whilst it's slightly more prevalent in the early anime, it too fades out quickly -- the last episode it appears in is episode 42, with a reference in chapter 60. Nicknaming this move as "Expression of Love" was unique to the anime, though she does use the name in the final chapter where it appears, which was also adapted into the {{O|riginalVideoAnimation}}VA "Catch the Heart".

* ''ComicBook/TheSensationalSheHulk'' by Creator/JohnByrne, has had this effect on ComicBook/SheHulk to a massive extent. Originally Jen’s story was much closer to her cousin [[ComicBook/TheIncredibleHulk Bruce’s]], being regarded as a monster and acting like it being burly and ill-tempered. Shulkie’s adventures, like Hulk, were often MonsterOfTheWeek with her struggling to keep her gamma rage monster in check while also being a practicing attorney. By the time of ''Sensational She-Hulk'' however, she became a LighterAndSofter character and her appearance while still tall [[ProgressivelyPrettier had become supermodel petite]], with her {{fanservice}} and often [[BreakingTheFourthWall fourth wall breaking humour]] being at the forefront. This version quickly became the most popular iteration of She-Hulk and any attempts to make her more serious and “Hulk”-like again having often been met with considerable dislike from fans. The MCU’s ''Series/SheHulkAttorneyAtLaw'' series takes great influence from Byrne’s She-Hulk, with her skinnier design, campy rom-com behaviour, and BreakingTheFourthWall humour.

* ''ComicBook/UltimateMarvel'', Marvel's UltimateUniverse, had this effect for a while during the 2000s and ''very'' early 2010s, due to (at first) being a streamlined, modernised take on the Marvel Universe, [[MovieSuperheroesWearBlack particularly in terms of wardrobe]] and [[DarkerAndEdgier setting]], while also providing updated origins that took advantage of GeneticEngineeringIsTheNewNuke or "realistic" deconstructions. Though the [[TookALevelInJerkass characterisation]] is still highly controversial, for many it was looked at as an easier avenue to be introduced to Marvel and generally used as a basis for new adaptations, with ''ComicBook/SpiderMan'' being the biggest example of this: every adaptation since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The ''Franchise/MarvelCinematicUniverse'' would go on to become the primary inspiration once it took off, but it also makes heavy use of the Ultimate Universe's visual elements and backstory changes (e.g ComicBook/{{Hawkeye}} having a family and ComicBook/BlackWidow working for ComicBook/{{SHIELD}}) Although later phases in the MCU [[DownplayedTrope downplay]] the Ultimate Marvel influence, to borrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, Infinity Saga, and The Illuminati.
* UsefulNotes/TheNineties ''ComicBook/XMen'' era will always be the major audience-influencing incarnation of the team (unsurprisingly given X-Men (Vol. 2) #1 by Creator/ChrisClaremont and Creator/JimLee was highest selling comic of all time). The perception of Cyclops being in his blue kevlar suit with yellow cross belts and a wraparound visor, Jean in her yellow and blue bodysuit, Storm in her silver bodysuit, Rogue with her green and yellow bodysuit as well as bomber jacket and massive mane of hair and Gambit and Jubilee being highly prominent, despite being quite new members at the time is all thanks to this period. Thanks to this era fans will likely easily recognise Psylocke in her fanservicey ninja form but will not recognise her purple-haired and pink outfit which was her look for decades prior to getting a body swap. A similar case occurs with Angel as he’s more remembered in the rad-looking metallic Archangel form than his normal Angel persona he had for years before becoming a Horseman of Apocalypse. This comic period would go onto to inspire both the Creator/FoxKids [[WesternAnimation/XMenTheAnimatedSeries animated series]]) and ''VideoGame/XMenChildrenOfTheAtom'' and the subsequent ''VideoGame/MarvelVsCapcom'' franchise. There’s also a spin-off [[ComicBook/XMen92 comic]] based on the animated series, which was based on this era.

* ''Anime/FinalFantasyVIIAdventChildren'' has had this effect upon not only the [[VideoGame/FinalFantasyVII original game]] and its expanded material but how the {{Fanon}} views the FFVII characters in general. Cloud, instead of being a {{BFS}} spinning cocky showoff who hides his insecure dorkier (“Let’s mosey”) side under a cool guy persona, is an {{angst}} heavy StoicWoobie who almost never smiles [[note]] InUniverse Cloud is like this in the film because he was suffering from the Geostigma disease before being cured, but unfortunately this was forgotten across later titles which depict Cloud as a brooding loner without that excuse [[/note]]. Aerith rather than being a street smart {{tomboy}} who speaks in slang in the original Japanese script and famously threatens to rip a mafioso’s balls off, is a TooGoodForThisSinfulEarth PurityPersonified figure. Tifa rather than being quite the ShrinkingViolet compared to Aerith, keeping her feelings to herself, is HotBlooded and confident to go along with her MsFanservice appearance. Thanks to ''Advent Children'' along with other titles such as ''VideoGame/KingdomHeartsI'' and ''VideoGame/DissidiaFinalFantasy'' this [[CommonKnowledge is how a lot people view the characters as]] and many were shocked at ''VideoGame/FinalFantasyVIIRemake'' for seemingly altering their personalities (e.g having Aerith curse “Shit!”) even though it was actually just making them TruerToTheText.
** Notably EmotionlessGirl Lightning from ''VideoGame/FinalFantasyXIII'''s character was devised and frequently seen as a kind of DistaffCounterpart to Cloud when it’s more accurate to say she’s the female version of the ''Advent Children''-era Cloud since she actually has little in common with the lighthearted 1997 version of him. This shows Creator/SquareEnix themselves like the fans, took the “brooding emo” perception of Cloud as the norm, and wasn’t until Tetsuya Nomura decided he wanted to bring Cloud back closer to his original characterisation in ''Remake'' that this changed.
** ''Advent Children'' also introduced a lot of the realistic aesthetics and 2000s-era [[MovieSuperheroesWearBlack all black]] Hot Topic appearance to the FFVII world, rather than the zany and colourful action figure-esque look of the original game. This often affects gamers who are more familiar with the later FFVII titles and upon starting the original game can’t get over the cartoony '90s visuals.

* ''VideoGame/FinalFantasyVII'''s immense popularity has meant every other ''Franchise/FinalFantasy'' entry is compared to it, and tropes that only happen in ''VII'' are considered to be emblematic cliches of the series. On top of that, a lot of the tropes that people associate with ''VII'' are {{Dead Unicorn Trope}}s originating from successive portrayals of the characters in ''Franchise/KingdomHearts'' and {{Fanon}}.

* ''VideoGame/TheWitcher'' game series by Creator/CDProjektRed is undoubtedly this across the franchise as despite deviating from the [[Literature/TheWitcher source books]] it is many people’s first introduction to Geralt and co. The original author Creator/AndrzejSapkowski has even expressed some annoyance over the fact the video game series is people's go-to when it comes to his work (in fairness, the books weren’t even translated into English by the time the first game came out). Interestingly the [[Series/TheWitcher2019 Netflix series]] caused a BrokenBase as fans of the games disliked it for being different even though it’s more faithful to the books in a good deal of respects than the games. For instance, Triss Merigold is horribly burned below her neck in the books which the show goes with, whereas in the heavily RuleOfSexy games, her injuries are not seen even with a NavelDeepNeckline.

* ''WesternAnimation/Invincible2021'' is certainly this for the Creator/RobertKirkman [[ComicBook/{{Invincible}} comic]] it’s adapted from. While the comic is beloved among comic book readers, it’s simply more obscure to mainstream audiences than DC and Marvel works, consequently making the animated Amazon series a lot of people’s first exposure to the ''Invincible'' franchise. This means that the changes the show makes to the comic book are treated as normal by people simply not familiar with the source material. For instance, Mark the protagonist is treated as something of a MemeticLoser by fans of the show for getting the shit kicked out of him and bent bloody in most battles. In the comic, it’s not until Mark fights his father Nolan as well as other powerful villains that he almost dies and is bloodily beaten up, as he’s actually much more durable the majority of the time, whilst the show makes Mark more fragile to empathise his IronicNickname. Omni-Man is also compared to [[Series/TheBoys2019 Homelander]] by new fans (both being on the same streaming service) with the frequently talked-about moment where he puts Mark in the path of a speeding train with the passengers getting torn apart all over him — being actually original to the show, and a case of AdaptationalVillainy compared to the comic, where Nolan never deliberately kills innocent civilians to traumatise Mark. Even the famous “Think Mark” pose which has been heavily [[MemeticMutation memed]] by everyone didn’t happen in the comic issue.

** The original '90s English dub by [=DIC=] Entertainment possesses a lot of discrepancies from the Japanese version of the anime, had lots of censorship, awkward voice acting, script and [[DubNameChange name changes]][[note]]Usagi becomes "Serena", Mamoru becomes "Darien", Makoto becomes "Lita", Minako is shortened to "Mina", Rei and Ami just have their [[SpellMyNameWithAnS spelling changed to "Raye" and "Amy"]], Chibiusa becomes "Rini", and Naru becomes "Molly"[[/note]] changed the music and story, and a few episodes were cut completely. But the show still proved to be entertaining and a hit with children in North America, its theme song was ''very'' iconic and was one of the catalyst shows that kicked off the anime boom in the 1990s. To many fans, the '90s dub and all of its flavor and lingo was their ''definitive'' experience with ''Sailor Moon'', and it's really hard to see the show as anything else. To them Usagi is always [[{{Woolseyism}} Serena]], her nickname is always "Meatball Head", Luna will always have a British accent, and to a lesser extent Naru/Molly always sounds like a Brooklynite. Which is why when the series received an uncut re-dub by ''Creator/VizMedia'' in 2014, which was more faithful, dubbed with professional voice actors, kept the original music, and didn't make any cuts or edits, a BrokenBase formed over the quality of the Viz Dub. While it is praised for its improvements and being much more faithful to the original version, it lacks the [[NarmCharm campy fun and energy]] and distinctiveness of the 90s dub that made it so [[SoBadItWasBetter memorable]], and [=DIC=]'s replacement soundtrack was missed by many, even by its most staunch critics.

* ''Manga/OnePiece'''s anime much like Naruto has this effect upon the manga which people tend to be less familiar with and CharacterExaggeration being treated as the norm, for example Luffy being such an idiot that he actually tries eating a treasure chest or Zoro’s sense direction being so bad a dead end into the ocean bewilders him. For even earlier anime watchers the infamous Creator/FourKidsEntertainment dub is this for the series, with the sight of Sanji having a lollipop in Totto Land arc eliciting an unintentional reaction in western fans. The gratuitous {{fanservice}} of female characters like Nami the series often gets derided for by some, is really more a fault of the anime than the manga for adding HotterAndSexier moments as well exaggerating the physiques of Nami, Robin, etc.

* ''Film/MortalKombatTheMovie'' is a franchise-wide case of this as the film actually fashioned many of the conventions and character traits that are now taken for granted in the series. Most notably Kano was supposed to be a Japanese-American in the original game, yet thanks to Trevor Goddard deciding to play the character as an Australian in the film, he’s been a LandDownUnder badass in the games ever since. Raiden is another prominent example, in first MK he wasn’t a BigGood MentorArchetype but rather an [[JerkassGods asshole Thunder God]] who entered the tournament out of sheer boredom and while he TookALevelInKindness in the sequel, he still wasn’t meant be a Gandalf or Zordon figure to the heroes. Thanks to Creator/ChristopherLambert’s wise and cool mentor portrayal of Raiden however, he’s been firmly placed within that role in the games. The concept of Sonya and Johnny having BelligerentSexualTension also comes from this movie. Not to mention [[https://m.youtube.com/watch?v=Sr1bLLvsbh0 the iconic song]] “Techno Syndrome” by ''The Immortals'' people heavily associated with the film, so much so they don’t know that it debuted two years before the film nor that it’s actually a remix of another song altogether.

* ''Series/{{The Boys|2019}}'' is definitely this for people in regards to [[ComicBook/TheBoys the comic]] it's based on. The comic is one of Creator/GarthEnnis' lesser-known works and was generally meant to be a way for him to vent his frustrations and distaste at the superhero industry being a [[{{deconstruction}} deconstructive]] TakeThat at DC and Marvel with shock for shock's sake violence, sex (often non-consensual), grotesque imagery, nihilism, and good old fashioned ToiletHumour. The much more well-known Amazon show, though still exceptionally dark and edgy, is really a LighterAndSofter {{Reconstruction}} that celebrates superhero tropes as much as it subverts them, leading to a far more nuanced and less hateful look at the genre. The show's portrayals of Homelander, Starlight, A-Train, The Deep, Mauve, and Soldier Boy in the show are all loved by fans, but in the comic itself, most said characters were very generic (even Starlight is just the SatelliteLoveInterest to Hughie). Comic Homelander in particular isn't anything like the LoveToHate charismatic super-bastard of the TV show that fans are fascinated by. Ironically, a good deal of fans of the show are simply turned off by the comic, either finding it too gross or just unsatisfied that it doesn't have the layers of the TV series.

* Similar to the X-Men below, the '90s era of ''Franchise/SpiderMan'' instigated by Creator/{{Todd McFarlane}} with further touches by artists like Mark Bagley helped shaped a lot of the modern perception of Spidey. The massive wide eye-lenses that take up most of the mask, the extremely stringy webbing, and very stylised and unfeasible poses all originate from this period as well as the idea of Mary Jane being the nigh-permanent love interest as they were married at this point, unlike the previous decades where Spidey had rotating love interests before marrying MJ in 1987. Additionally the popular perception of ComicBook/{{Venom}} being a hilarious wisecracking {{Cloudcuckoolander}} AntiHero similar to ComicBook/{{Deadpool}} comes from this era as he was previously a much more serious and nightmarishly threatening antagonist when he debuted in the late 80s.

* ''ComicBook/UltimateMarvel'', Marvel's UltimateUniverse, had this effect for a while during the 2000s and ''very'' early 2010s, due to (at first) being a streamlined, modernised take on the Marvel Universe, [[MovieSuperheroesWearBlack particularly in terms of wardrobe]] and [[DarkerAndEdgier setting]], while also providing updated origins that took advantage of GeneticEngineeringIsTheNewNuke or "realistic" deconstructions. Though the [[TookALevelInJerkass characterisation]] is still highly controversial, for many it was looked at as an easier avenue to be introduced to Marvel and generally used as a basis for new adaptations, with ''Franchise/SpiderMan'' being the biggest example of this: every adaptation since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The ''Franchise/MarvelCinematicUniverse'' would go on to become the primary inspiration once it took off, but it also makes heavy use of the Ultimate Universe's visual elements and backstory changes (e.g ComicBook/{{Hawkeye}} having a family and ComicBook/BlackWidow working for ComicBook/{{SHIELD}}) Although later phases in the MCU [[DownplayedTrope downplay]] the Ultimate Marvel influence, to borrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, Infinity Saga, and The Illuminati.

* ''Manga/OnePiece'''s anime much like Naruto has this effect upon the manga which people tend to be less familiar with and CharacterExaggeration being treated as the norm, for example Luffy being such an idiot that he actually tries eating a treasure chest or Zoro’s sense direction being so bad a dead end into the ocean bewilders him. For even earlier anime watchers the infamous Creator/FourKids dub is this for the series, with the sight of Sanji having a lollipop in Totto Land arc eliciting an unintentional reaction in western fans. The gratuitous {{fanservice}} of female characters like Nami the series often gets derided for by some, is really more a fault of the anime than the manga for adding HotterAndSexier moments as well exaggerating the physiques of Nami, Robin, etc.

** Lum nicknaming her wrathful zaps of Ataru "Divine Retribution" is an early anime thing, and she actually drops the CallingYourAttacks gimmick very quickly. Giving Ataru an electrified version of TheGlomp only happens in five chapters in the entire manga (the last two times being when Lum is drunk and under the effects of a LovePotion), and whilst it's slightly more prevalent in the early anime, it too fades out quickly -- the last episode it appears in is episode 42, with a reference in chapter 60. Nicknaming this move as "Expression of Love" was unique to the anime, though she does use the name in the final chapter where it appears, which was also adapted into the {{OVA}} "Catch the Heart".

* ''ComicBook/UltimateMarvel'', Marvel's UltimateUniverse, had this effect for a while during the 2000s and ''very'' early 2010s, due to (at first) being a streamlined, modernised take on the Marvel Universe, [[MovieSuperheroesWearBlack particularly in terms of wardrobe]] and [[DarkerAndEdgier setting]], while also providing updated origins that took advantage of GeneticEngineeringIsTheNewNuke or "realistic" deconstructions. Though the [[TookALevelInJerkass characterisation]] is still highly controversial, for many it was looked at as an easier avenue to be introduced to Marvel and generally used as a basis for new adaptations, with ''Franchise/SpiderMan'' being the biggest example of this: every adaptation since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The ''Franchise/MarvelCinematicUniverse'' would go on to become the primary inspiration once it took off, but it also makes heavy use of the Ultimate Universe's visual elements and backstory changes (e.g ComicBook/{{Hawkeye}} having a family and ComicBook/BlackWidow working for SHIELD). Although later phases in the MCU [[DownplayedTrope downplay]] the Ultimate Marvel influence, to borrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, Infinity Saga, and The Illuminati.

** Can you name all seven dwarfs? Most people will immediately think of the versions from Disney's ''WesternAnimation/SnowWhiteAndTheSevenDwarfs''. The original Creator/BrothersGrimm story never named them.
* Creator/DreamWorksAnimation's ''Franchise/HowToTrainYourDragon'' series, which was adapted from a long-running, but somewhat obscure British children's book series of the same name, have pretty much defined the series in the general public. The average person might be surprised at the wide amount of differences between the books and the movies if you hand them one of the books. The most obvious difference is that part of the books' premise is that semi-domesticated dragons have already been a common aspect of viking life for generations, rather than Hiccup being the one to spearhead the concept. What made Hiccup notable in the books was that he was one of ''very'' few people who could speak their language, which by proxy meant that all the dragons spoke in the books, with Toothless being quite talkative and sarcastic. Aside from the basic premise of "fantasy vikings with dragons", the books and the films might as well be two different intellectual properties with a handful of recycled character names.

* Creator/StevenSpielberg's [[Film/JurassicPark film adaptation]] of ''Literature/JurassicPark'' has long since overshadowed Creator/MichaelCrichton's original novel in the public consciousness (understandable, since it was a historic box office hit), greatly shaping general perceptions of the story and characters. While the film certainly has its scary and suspenseful moments, it's remembered as a fairly upbeat {{spectacle}}-driven adventure film, largely portraying its dinosaurs as majestic wonders of nature. By contrast, the novel is primarily a {{horror}}/suspense tale that opts for a more sinister presentation, portraying the dinosaurs as horrific abominations brought to life by irresponsible science (for example: it's made clear that most of them are suffering from serious health issues, since they aren't equipped to live on present-day Earth), with Isla Nublar explicitly being an illegal offshore nature preserve created by a shady bioscience corporation. Thanks to the film, people are generally more likely to picture John Hammond as a loveable old Scottish grandpa than as the evil sociopathic industrialist of the book, and they're more likely to picture Ian Malcolm as a quirky wise-cracking geek than as the roguish "rock star" mathematician of the book.

* ''Film/MortalKombatTheMovie'' is a franchise-wide case of this as the film actually fashioned many of the conventions and character traits that are now taken for granted in the series. Most notably Kano was supposed to be a Japanese-American in the original game, yet thanks to Trevor Goddard deciding to play the character as an Australian in the film, he’s been a LandDownUnder badass in the games ever since. Raiden is another prominent example, in first MK he wasn’t a BigGood MentorArchetype but rather a [[JerkassGods asshole Thunder God]] who entered the tournament out of sheer boredom and while he TookALevelInKindness in the sequel, he still wasn’t meant be a Gandalf or Zordon figure to the heroes. Thanks to Creator/ChristopherLambert’s wise and cool mentor portrayal of Raiden however, he’s been firmly placed within that role in the games. The concept of Sonya and Johnny having BelligerentSexualTension also comes from this movie. Not to mention [[https://m.youtube.com/watch?v=Sr1bLLvsbh0 the iconic song]] “Techno Syndrome” by ''The Immortals'' people heavily associated with the film, so much so they don’t know that it debuted two years before the film nor that it’s actually a remix of another song altogether.

** Creator/BelaLugosi's portrayal of [[{{Dracula}} the Count]] in the [[Film/Dracula1931 1931 adaptation]] of ''Literature/{{Dracula}}'' not only thoroughly supplanted the original novel's depiction of the title character, it became the standard by which most vampires, cinematic or otherwise, were compared for decades, to the point that this very wiki calls the "traditional" portrayal of the undead monster the ClassicalMovieVampire and uses an uncaptioned picture of Lugosi's Dracula as that trope's page image. Nowadays, having Count Dracula [[Film/BramStokersDracula walk around freely in daylight]] is regarded as [[OurVampiresAreDifferent a subversion of the "traditional" rules]], and if a man with a mustache dressed up in a cape and fangs, he'd be jeered as a poor copy for not shaving. The Count's white mustache is the ''first thing'' Harker notices about his host's appearance in the original novel.

* The 1992 ''WesternAnimation/XMenTheAnimatedSeries'' cartoon from Creator/FoxKids is pretty true to the ''story'' of [[ComicBook/XMen the original comics]], but its distinctive visual style and futuristic art direction have had a pretty big impact on how general audiences picture the X-Men. Notably, it used the character designs of Creator/JimLee, who only drew the comics for a very brief window of time in the early 1990s. Thanks to the show, many people tend to picture [[Characters/MarvelComicsCyclops Cyclops]] wearing a blue kevlar suit with yellow cross belts and a wraparound visor (he wore a tight spandex suit with a full-face mask for most of his history), they tend to picture Professor Xavier using a fancy yellow hover-chair, and they tend to picture [[Characters/MarvelComicsRogue Rogue]] with a bomber jacket and [[EightiesHair a huge mane of dark hair]]. The show is also likely why [[Characters/MarvelComicsGambit Gambit]] and [[Characters/XMen90sMembers Jubilee]] are widely considered "classic" X-Men, despite being [[NewerThanTheyThink relatively recent additions to the franchise]] (at the time the show started, Jubilee had only been introduced three years prior, and Gambit two years). To give you an idea of this: while most of the Marvel character icons on the Creator/DisneyPlus app are from the movies, the X-Men icons are all slightly modernized versions of the '90s cartoon designs. Special mention to the [[SugarWiki/AwesomeMusic iconic theme song]], which has been [[Film/DoctorStrangeInTheMultiverseOfMadness used in the MCU]] as a leitmotif!

* Creator/{{Disney}} has played an enormous role in coloring public knowledge of numerous fairy tales, and even some novels and short stories, with ''WesternAnimation/{{Dumbo}}'', ''WesternAnimation/LadyAndTheTramp'', ''WesternAnimation/OneHundredAndOneDalmatians'', ''WesternAnimation/TheAristocats'', ''WesternAnimation/TheRescuers'', ''WesternAnimation/TheFoxAndTheHound'', ''WesternAnimation/TheBlackCauldron'' and ''WesternAnimation/TheGreatMouseDetective'' being but a few titles now almost entirely unknown outside their Disney version.

** Being the Batman’s films of the TurnOfTheMillennium, Creator/ChristopherNolan’s version of the mythos is often what mainstream (especially younger) audiences first think of when it comes to the character and his foes with the tone being extremely grounded and more traditional esoteric elements like Robin being averted altogether. The popular perception of Batman being a black-armour-plated violent vigilante who growls and snarls his threats like “SWEAR TO ME” comes from these films, with the armoured plated look for the Batsuit getting rolled forward into media like ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/BatmanArkhamKnight'' and ''VideoGame/BatmanTheTelltaleSeries''. Not to mention a character like Lucius Fox getting the AscendedExtra treatment, being a minor character in the comics but thanks to the trilogy, he's now integral to Batman’s life.

** The movie helped mainstream audiences forget the other live-action portrayal of Batman, [[Series/Batman1966 the campy 60s show]], and perceive the hero as a dark vigilante. Some of its elements also wound up crucial to the comics and other portrayals, such as the GrapplingHookPistol, Batman wearing mostly black, and Gotham City being a gothic, decaying metropolis.

* ''Manga/OnePiece'''s anime much like Naruto has this effect upon the manga which people tend to be less familiar with and CharacterExaggeration being treated as the norm, for example Luffy being such an idiot that he actually tries eating a treasure chest or Zoro’s sense direction being so bad a dead end into the ocean bewilders him. For even earlier anime watchers the infamous Creator/FourKids dub is this for the series, with the sight of Sanji having a lollipop in Totto Land arc eliciting an unintentional reaction in western fans. The gratuitous {{fanservice}} of female characters like Nami the series often gets derided for, is really more a fault of the anime than the manga for adding HotterAndSexier moments as well exaggerating the physiques of Nami, Robin, etc.

** For the other X-Men characters (Storm, Gambit, etc.), the movies didn't erase what other adaptations such as ''WesternAnimation/XMenTheAnimatedSeries'' and ''VideoGame/MarvelVsCapcom'' helped cement as iconic... except for [[Characters/MarvelComicsCyclops Cyclops]], who (thanks to the Fox films) a lot of people see as a bland, boring Geordi La Forge-looking nice guy who only exists [[LoveTriangle to be an obstacle in between Wolverine and Jean]] [[note]]not like the very efficient [[Characters/MarvelComicsSteveRogers Captain America]]-esque leader figure who is actually quite complex from the comics[[/note]], and [[Characters/MarvelComicsJeanGrey Jean Grey]] herself, seen as the bland red-haired damsel Wolverine loves and fights with Cyclops over and who went crazy and turned into the Dark Phoenix [[note]]unlike the comics where Jean was the PsychicPowers Scarlet Witch-level powerhouse long before Wanda entered the mainstream and generally is just as interesting and powerful even when she's not got Phoenix Force troubles[[/note]], particularly as some other [[WesternAnimation/WolverineAndTheXMen incarnations]] give them a fair amount of AdaptationalWimp like the films.

* ''ComicBook/UltimateMarvel'', Marvel's UltimateUniverse, had this effect for a while during the 2000s and ''very'' early 2010s, due to (at first) being a streamlined, modernised take on the Marvel Universe, [[MovieSuperheroesWearBlack particularly in terms of wardrobe]] and [[DarkerAndEdgier setting]], while also providing updated origins that took advantage of GeneticEngineeringIsTheNewNuke or "realistic" deconstructions. Though the [[TookALevelInJerkass characterisation]] is still highly controversial, for many it was looked at as an easier avenue to be introduced to Marvel and generally used as a basis for new adaptations, with ''Franchise/SpiderMan'' being the biggest example of this: every adaptation since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The ''Franchise/MarvelCinematicUniverse'' would go on to become the primary inspiration once it took off, but it also makes heavy use of the Ultimate Universe's visual elements and backstory changes (e.g ComicBook/{{Hawkeye}} having a family and ComicBook/BlackWidow working for SHIELD). Although later phases in the MCU [[DownplayedTrope downplay]] the Ultimate Marvel influence, to burrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, Infinity Saga, and The Illuminati.

** The films, in particular ''Film/BatmanBegins'' also helped give rise to the popular misconception that the League of Shadows helped transform Batman who is he with Ra’s al Ghul being an EvilMentor, in actuality in the comics Bruce was trained by multiple mentors with almost none of them related to the League of Shadows (the sole exception of ninjutsu master Kirigi who would be later be enlisted into the league as a teacher by Ra’s) and one of his canon trainers Henri Ducard was [[CompositeCharacter fused]] with Ra’s. ''VideoGame/BatmanArkhamOrigins''’s “Initiation” DLC burrows greatly from the film right down to the Tibetan setting.

** The Christopher Reeves films also helped drastically change the look of Krypton. In the comics at the time, it was still very much in the RaygunGothic style of the Golden Age, the film however went with the CrystalSpiresAndTogas look. After that, pretty much all comics went with the crystal look for Krypton and even other media like the [[Series/{{Krypton}} prequel TV show]] burrow greatly from the aesthetics of the Reeve films.

** Cyborg in the comics got a "[[AscendedExtra promotion]]" of sorts to become a ComicBook/JusticeLeagueOfAmerica founding member in the ComicBook/New52 DC Comics era, which followed through in both the WesternAnimation/DCAnimatedMovieUniverse and ''Film/JusticeLeague'' film. But when ''WesternAnimation/JusticeLeagueVsTeenTitans'' came out there was a notable effort to keep a very similar roster (Robin was Damian Wayne rather than Dick Grayson, and Jaime Reyes ComicBook/BlueBeetle is a tech-centered character like Cyborg) and even ensure that Cyborg became more friendly with the group because of the ''Teen Titans'' show legacy.

** The films took a very different approach to the portrayal of several major characters from the comics' sprawling ensemble cast and proved to be very influential in forming many people's general image of those characters. Fans who were introduced to the franchise via the films tend to believe that [[Characters/MarvelComicsRogue Rogue]] is a timid teenager who steals other people's superpowers, that [[Characters/MarvelComicsProfessorX Charles Xavier]] is a kindly British schoolmaster, that [[Characters/MarvelComicsMagneto Magneto]] is a frail-looking man named "Erik Lehnsherr", that Characters/{{Wolverine|JamesLoganHowlett}} is a TallDarkAndHandsome loner, and that Characters/{{Mystique}} is Magneto's loyal female minion. [[note]]In the comics, Rogue is a sexy and confident [[HeelFaceTurn former supervillain]] who could [[FlyingBrick fly and punch through walls]] for most of her history, Charles Xavier is an ''American'' political activist with a strong manipulative streak, Magneto is a [[HeroicBuild muscular]] [[WhiteHairBlackHeart white-haired man]] named "Max Eisenhardt" ("Erik Lehnsherr" is one of his many aliases; it was officially his real name in the comics when the movies were first released, but this was later {{retcon}}ned), Wolverine is a scruffy-looking loner who's often the butt of jokes for [[TheNapoleon his short stature]], and Mystique is a [[ChronicBackStabbingDisorder treacherous and slippery]] spy and assassin who led her own supervillain team for most of her history.[[/note]] Creator/PatrickStewart's portrayal of Charles Xavier was so iconic, in fact, that a few later adaptations set in different continuities -- like ''WesternAnimation/XMenEvolution'' and ''Series/Legion2017'' -- largely based their own portrayals of the character on his performance, and [[spoiler:Stewart even briefly reprised his role in a [[EarlyBirdCameo cameo]] in ''Film/DoctorStrangeInTheMultiverseOfMadness'']]. The films are also the reason so many people imagine Xavier and Magneto as [[WeUsedToBeFriends lifelong friends]] with a [[FriendlyEnemy playful and cordial dynamic]] who call each other [[FirstNameBasis "Charles" and "Erik"]][[note]] In the comics, they were only friends for (at most) a few ''weeks'' before they were driven apart by ideological differences, and their past friendship wasn't revealed until [[NewerThanTheyThink more than a decade after the series began]]; for the vast majority of the series, the two of them are legitimately bitter enemies[[/note]]; this idea was largely invented for the films (likely inspired by the RealLife friendship between Creator/PatrickStewart and Creator/IanMcKellen), but it proved to be one of the most well-received things about them.

* UsefulNotes/TheNineties ''ComicBook/XMen'' era will always be the major audience-influencing incarnation of the team (unsurprisingly given X-Men 1# by Creator/ChrisClaremont and Creator/JimLee was highest selling comic of all time). The perception of Cyclops being in his blue kevlar suit with yellow cross belts and a wraparound visor, Jean in her yellow and blue bodysuit, Storm in her silver bodysuit, Rogue with her green and yellow bodysuit as well as bomber jacket and massive mane of hair and Gambit and Jubilee being highly prominent, despite being quite new members at the time is all thanks to this period. Thanks to this era fans will likely easily recognise Psylocke in her fanservicey ninja form but will not recognise her purple-haired and pink outfit which was her look for decades prior to getting a body swap. A similar case occurs with Angel as he’s more remembered in the rad-looking metallic Archangel form than his normal Angel persona he had for years before becoming a Horseman of Apocalypse. This comic period would go onto to inspire both the Creator/FoxKids [[WesternAnimation/XMenTheAnimatedSeries animated series]] (itself highly influential see Western Animation) and ''VideoGame/XMenChildrenOfTheAtom'' and the subsequent ''VideoGame/MarvelVsCapcom'' franchise. There’s also a spin-off [[ComicBook/XMen92 comic]] based on the animated series, which was based on this era.

** Many also complain that the show paints UsefulNotes/TheComicsCode[=/=][[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]]-era Batman comics, which are now remembered as being as campy and silly as the show. Many forget that the West show was intended as a parody, and was restrained by the production values and budget of an ABC show in the 1960s. Fans of classic comics lament that so many view this period of comics as a DorkAge because despite not treating a guy who dresses up as a giant bat to fight crime as such serious business, the Batman of the '60s and '70s was still cool in his own right.

* People familiar with ''Literature/TheBlueLagoon'' had to contend with the negative critical reception the [[Film/TheBlueLagoon1980 1980 film]] had upon release. The novel indicates that Dick and Emmeline were both about sixteen or seventeen when they consummated their love and she had Hannah about a year later. Creator/BrookeShields was about fourteen when she played Em during filming; Christopher Atkins was eighteen. Also, Emmeline's age was downgraded from 16-17 when she gave birth to their baby to around 14-15, a change probably caused by ExecutiveMeddling.