| 1 | %% This page has been alphabetized. Please add new examples in the correct order. |
| 2 | |
| 3 | %% Image removed per Image Pickin' thread: https://tvtropes.org/pmwiki/posts.php?discussion=1367363532029660100&page=1#3 |
| 4 | %% Please start a new thread if you'd like to suggest a new image. |
| 5 | %% |
| 6 | ->''"People don't really hate ComicBook/{{Aquaman}}.''\ |
| 7 | ''It's just that [[WesternAnimation/{{Superfriends}} the '70s version of him]] is such an easy and irresistible target."'' |
| 8 | -->-- [[https://forums.escapistmagazine.com/threads/why-so-much-hatred-for-aquaman.56792/ User Cheveyo, from the thread "Why So Much Hatred for Aquaman?"]] |
| 9 | |
| 10 | A form of AdaptationDisplacement in which an installment or adaptation in a [[LongRunners long-running franchise]] irrevocably colors the public's perception of the franchise as a whole. |
| 11 | |
| 12 | Done badly, and this can not only damage a franchise's reputation but may also [[FranchiseKiller forever kill any interest in continuing it]]. Or at least put it on hiatus for a decade or two, until someone with enough clout and interest in the series comes along to push another attempt. [[Administrivia/TropesAreTools Done well, however?]] It can attract more potential fans to the franchise and even introduce new elements that go forth to be used in all future installments. |
| 13 | |
| 14 | Sometimes, it is used for LostInImitation. |
| 15 | |
| 16 | See also AdaptationDisplacement, HardToAdaptWork, NeverLiveItDown, and FirstInstallmentWins, where the ''first'' iteration of a franchise is more remembered than its sequels, regardless of quality. |
| 17 | |
| 18 | ---- |
| 19 | |
| 20 | !!Examples |
| 21 | |
| 22 | [[foldercontrol]] |
| 23 | |
| 24 | [[folder:Anime and Manga]] |
| 25 | * ''Franchise/DragonBall:'' |
| 26 | ** The anime is this to [[Manga/DragonBall the manga]]. People familiar with the many (fairly accurate) jokes about how slow-paced the fights are might be surprised to find that the manga is, for the most part, fairly fast-paced and frantic. The anime also colours Goku as a more intentionally heroic character than in the manga, where he's more focused on a good fight and only steps in if someone has been cruel to those he cares about. |
| 27 | ** 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 other English dubs. The grittier rock score by Bruce Falcouner and [[NarmCharm cheesy 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 lighter, more orchestral 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. |
| 28 | ** In a more meta sense, the popularity of ''Dragon Ball Z'' in the West has meant that the previous series, ''Manga/DragonBall'', [[SequelDisplacement may as well not exist for many American fans]] (due to ''Z'' being the first portion of the franchise to take off in the US). The lesser focus on big battles with energy attacks, Goku as a child, the absence of many fan-favourite characters, and a very different tone make this portion unfavourable in comparison to ''Z''. Almost all ''Dragon Ball'' games that get published in the West have been fighting games in the ''Z'' style, with few games based on the early ''Dragon Ball'' style (although it helps that ''Z'' is also extremely popular in Japan). |
| 29 | ** 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 always being the one to defeat the villain with [[NewPowersAsThePlotDemands an out-of-nowhere new powerup]] ([[VillainKiller usually lethally]]). 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 be its modern status quo. |
| 30 | * ''Franchise/{{Gundam}}'': |
| 31 | ** 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 two 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. |
| 32 | ** In general, [[VocalMinority some fringe UC fans]] will accuse any alternate universe Gundam series not made by Creator/YoshiyukiTomino for negatively affecting the image of Gundam, regardless of actual quality. Not even beloved OVA series set in the UC timeline like ''Anime/MobileSuitGundamThe08thMSTeam'' are exempt from this accusation. As these [=OVAs=] are the first UC installments exposed to Western audiences (as they were aired on Toonami alongside the aforementioned ''Gundam Wing'') and generally focus more on gritty realism, many newcomers initially exposed to these movies were surprised at more fantastical elements in the UC lore like Newtypes. |
| 33 | ** ''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 (between the HotBlooded ''[[Anime/MobileFighterGGundam G Gundam]]'' and the more traditionally melodramatic ''[[Anime/MobileSuitGundamSEED SEED]]'') 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, 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 "regular" ''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). |
| 34 | * ''Anime/KazeNoShojoEmily'': Regional example. In the Middle East, Western Literature isn't as well known as it is in it's home area, so this anime was the first introduction they had to the ''Literature/EmilyOfNewMoon''. It's to the point that even the original book is referred to as "فتاة الرياح إيميلي " (Wind Girl Emily), the anime's Arabic title over there. |
| 35 | * ''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 {{Friendly Rival|ry}} who [[BecomingTheMask takes his title seriously]] rather than the bratty, half-witted AuthorityInNameOnly that most audiences see him as. |
| 36 | * ''Manga/TheLegendOfZeldaFourSwords2004'' is invariably the basis for any kind of fan work related to ''VideoGame/TheLegendOfZeldaFourSwordsAdventures'', which was one of the lowest-selling games in ''[[Franchise/TheLegendOfZelda 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. |
| 37 | * ''Manga/{{Naruto}}'': The anime's designs and CharacterExaggeration are the mainstream interpretation of the characters. For example, in the manga, Ino doesn't have blue eyes, Naruto's chakra (and as a result, his Rasengan) isn't blue, and most of Sakura's angrier and [[AdaptationalJerkass jerkier]] moments are anime-exclusive. |
| 38 | * ''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 that a dead end into the ocean stumps 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 will elicit an unintentional reaction in western fans. The gratuitous {{fanservice}} of female characters like Nami in the series that often gets derided, is really more a fault of the anime than the manga for adding HotterAndSexier moments and scenes as well exaggerating the physiques of Nami, Robin and every other attractive female character. |
| 39 | * ''Anime/PokemonTheSeries'': |
| 40 | ** The "[[Anime/PokemonTheOriginalSeries original series]]" of the anime will always be how the ''Franchise/{{Pokemon}}'' franchise is most known outside of Japan, for better or worse. In many people's eyes, Ash will always be present, evil teams are generally bumbling, and Pokémon will always speak PokemonSpeak. Certain game characters can't quite break the rep of their anime counterparts, and some folks even believe that the anime (and its associated characters like Ash and Misty) are what the games are based on, rather than being the other way around. |
| 41 | ** Notably, the first season of the anime had such a marked impact on public perception of the franchise that ''Pokémon Yellow'' was made to specifically [[RecursiveAdaptation adapt it back to the game series]]. Making Pikachu the only available starter, redesigning Blue to resemble Gary Oak, introducing Jessie & James as recurring villains, and redesigning all the Pokémon to match their anime appearances was done specifically due to how drastically and immediately the anime came to define the IP. |
| 42 | ** ''Anime/PokemonTheFirstMovie'' completely defined Mewtwo's personality and backstory for most fans, to the point where they're often assumed to be canon to the games. Team Rocket and Giovanni have no connection to Mewtwo's creation in ''VideoGame/PokemonRedAndBlue'', and Mewtwo had no defined personality, though ''VideoGame/PokemonUltraSunAndUltraMoon'' had Giovanni with a Mewtwo as a nod to the anime, while ''VideoGame/PokemonLetsGoPikachuAndLetsGoEevee'' (itself a loose remake of ''Yellow'') made Giovanni interested in finding and capturing Mewtwo as part of his plan. |
| 43 | * ''Anime/SailorMoon'': |
| 44 | ** The characterization and plot of the anime version has eclipsed [[Manga/SailorMoon the manga]] to the point that fans discovering ''Anime/SailorMoonCrystal'' (a much TruerToTheText adaptation of the manga) were surprised to find a vast number of discrepancies. For example, Mamoru -- while he had DeadpanSnarker tendencies in the manga, he was never the JerkWithAHeartOfGold the first anime made him out to be and had magical attacks/powers of his own to boot. The "break-up arc" of ''Sailor Moon R'' was completely original to the anime, and out of character for manga Mamoru/Endymion. Rei was much more of an elegant, AloofDarkHairedGirl who DoesNotLikeMen. Her HotBlooded tendencies were played up by the anime, and she was never interested in Mamoru. |
| 45 | ** The original '90s English dub by Creator/DiCEntertainment 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. |
| 46 | * ''VisualNovel/SchoolDays'' is mostly remembered for its anime adaptation, which [[AdaptationalJerkass heavily ramped up the characters' worst traits]] and ended on a rather violent note. Most will be surprised to see in the original visual novel that the core three of Makoto, Sekai and Kotonoha are relatively more stable, and that the endings in which one or more meet a grisly end are the exception, not the norm. |
| 47 | * ''Anime/SonicX'' is the most influential ''Franchise/SonicTheHedgehog'' derivative outside of the Archie comics thanks to it airing during a NewbieBoom and it being TruerToTheText than other adaptations. Elements of it were [[RetCanon even used in the games]], sometimes simply because fans expected them to be there. The fandom's portrayals of Amy, Tails, Shadow, and Maria owe as much to the anime[[note]]and in particular its heavily-edited English dub, which further exaggerated their personalities[[/note]] as to the games, as does Knuckles and Rouge's relationship. |
| 48 | * ''Anime/StreetFighterIITheAnimatedMovie'' is a tremendous case of this. It brought in many elements that weren't in [[Franchise/StreetFighter 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. |
| 49 | * ''Franchise/YuGiOh'': |
| 50 | ** People generally associate ''Yu-Gi-Oh!'' 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. |
| 51 | ** Toei's ''Anime/YuGiOhFirstAnimeSeries'' is regarded as DarkerAndEdgier and close to the manga, when it was much LighterAndSofter than the manga and had tons of original content, making it a loose adaptation as well. Its "Season 0" fan nickname has also led people to think it ''is'' a lost season and canon to the second-series anime. |
| 52 | * When it comes to ''Manga/UruseiYatsura'', much of the CommonKnowledge about the series stems from the anime adaptation: |
| 53 | ** The use of catchphrases by the various characters is largely an anime-exclusive thing. |
| 54 | ** Ryunosuke's father is known for riding random waves to enter the scene and for shouting "I love the sea!" He does the former and uses the latter catchphrase ''once apiece'' in the entire manga, although he does wear "I (heart) the sea" on his shirt and calls his cafe the "I (heart) the sea Cafe". The anime invented both his inexplicable ability to summon waves and gave him the catchphrase. |
| 55 | ** 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". |
| 56 | [[/folder]] |
| 57 | |
| 58 | [[folder:Comic Books]] |
| 59 | * ''ComicBook/BatmanTheDarkKnightReturns'' 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. ''TKDR'', however, featured a far DarkerAndEdgier Batman than had been seen before with his superhero antics being akin to an addiction he’s fallen back into after losing almost 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 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 also 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. |
| 60 | * ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' is widely considered to be the single most iconic and influential depiction of Captain Nemo in any medium, since it was the first interpretation to really emphasize the character's Indian heritage and make it a core part of his characterization. For context: in Nemo's original appearance in Creator/JulesVerne's ''Literature/TwentyThousandLeaguesUnderTheSea'' (where he's a central character), his ethnicity is left intentionally ambiguous, and the only clue about his background is that he has a vendetta against an unnamed imperialistic country that conquered his homeland and forced him into exile (Verne wanted to make the character Polish, but was talked out of it by his editor); ''Literature/TheMysteriousIsland'' (in which Nemo is only a supporting character, and doesn’t appear until late in the novel) reveals that he's an Indian nobleman with a vendetta against the British Empire, but this revelation doesn't come out until shortly before his death and most adaptations such as [[Film/TwentyThousandLeaguesUnderTheSea Disney film]] had him played by Caucasian actors. ''The League of Extraordinary Gentlemen'' makes it clear from the outset, with Kevin O'Neill's illustrations making it all the more explicit: Nemo is a dark-skinned South Asian who dresses in a turban and a ''sadri'', and the interior of the ''Nautilus'' is festooned with Hindu religious art (details that are nowhere to be found in the original books). Thanks to the comic's influence, it's now practically unthinkable to do an adaptation of ''20,000 Leagues Under the Sea'' without a South Asian actor in the lead role. |
| 61 | * The Franchise/MarvelUniverse's ''ComicBook/TheMightyThor'' has certainly had this effect on Myth/NorseMythology as a whole, overlapping with SadlyMythtaken. In Prose Edda, Thor instead of being blonde is red haired and flies around on a chariot driven by two goats, Loki and Sif are fair haired instead of dark-haired whilst Fandral, Hogun and Volstagg are no where to be seen, being original creations of Marvel. Look up artwork of Thor and Loki online however and the vast majority of it will be of their Marvel versions or clearly inspired by them. For ''VideoGame/GodOfWarRagnarok'', there was many complaints that Thor looked different when his image was first revealed even though he is actually TruerToTheText to a lot of the myths — really fans were more upset that he didn’t look more like the Marvel version. It’s noticeable compared to Myth/ClassicalMythology which has been interpreted in all manner of ways, whilst Norse Mythology by contrast has been glued to the Marvel version in the public’s consciousness. |
| 62 | * DC's ''ComicBook/New52'' 2011 reboot, especially as shortly after, DC stepped up their adaptation efforts in animation and Live Action, and based many of them directly off of the New 52's universe. As a result, elements like Barry Allen as The Flash, Damian Wayne as Robin, Barbara Gordon being Batgirl again, and more became mainstream among wider audiences, and elements from the previous two decades (such as Wally West and the extended Flash Family, the importance of the prior Robins like Tim Drake, and the later Batgirls Cassandra Cain and Stephanie Brown) were downplayed. This also came with the universe becoming DarkerAndEdgier on top, which combined with the adaptations following suit, lead to DC gaining a reputation for being dark, grim, and depressing next to Marvel's LighterAndSofter approach -- historically, this had always been the other way around. |
| 63 | * ''ComicBook/ThePunisher'': Creator/GarthEnnis's Punisher from the [[ComicBook/ThePunisherMAX MAX imprint]] has left a significant mark on the character's identity to this day, infusing it with touches of realism, grit, and glimpses of complexity and humanity that, in many ways, have made it the definitive version of the character. He's a character that simply doesn't fit within a more caricatured superhero environment (as it did before) due to his inherently brutal and mundane nature, and that's something Ennis made very clear. It's also influenced some of the Punisher's non-comic incarnations, most notably ''Film/PunisherWarZone'' and the Franchise/MarvelCinematicUniverse version of the character. |
| 64 | * ''ComicBook/{{Runaways}}'' has an interesting example of this trope -- because Jo Chen's covers for the series have become so iconic, artists who employ the characters in other series have a bad tendency to draw the characters based on how they look on the covers, despite Chen being notorious for taking liberties with her art that don't reflect what the characters look like in the interior art. In ''ComicBook/AForce'', for example, Gert's cameo appearance was based on her first portrait cover with Old Lace, despite Chen having portrayed her as much skinnier and more conventionally attractive than she is in the interior art, and Nico was given a {{Stripperiffic}} costume based on her clothes from the first Volume 2 cover, despite Nico being a devout Christian girl who usually dresses more modestly. Perhaps the most drastic example of this was Klara's sudden transformation from GirlyGirlWithATomboyStreak into a straight GirlyGirl after Sara Pichelli took over drawing for the series; Pichelli had evidently taken her inspiration from Klara's only portrait cover, in which she wears a white dress, rather than any of the interior art, in which she wore boys' clothing. |
| 65 | * ''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 [[Franchise/MarvelCinematicUniverse MCU's]] ''Series/SheHulkAttorneyAtLaw'' series takes great influence from Byrne's She-Hulk, with her skinnier design, campy rom-com behaviour, and BreakingTheFourthWall humour. |
| 66 | * ''ComicBook/SpiderMan'': The '90s era of ''ComicBook/TheAmazingSpiderMan1963'' 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. |
| 67 | * ''ComicBook/SonicTheHedgehogArchieComics'' is this to the ''Franchise/SonicTheHedgehog'' fandom due to being a long-running adaptation that began when the series had minimal plot. Even two decades after ''VideoGame/SonicAdventure'', many Western fans believe Sonic lives on Mobius instead of Earth. Some even treat CanonForeigner comic characters like they're either game-canon or canon to ''WesternAnimation/SonicTheHedgehogSatAM'' due to the shared origin. |
| 68 | * ''ComicBook/{{Supergirl}}'': When Kara Zor-El first appeared in ''ComicBook/TheSupergirlFromKrypton1959'', she was about fifteen years younger than Superman, and her parents sent her to Earth expecting that her adult cousin would take of her. When Kara was introduced to the Post-Crisis continuity in ''ComicBook/TheSupergirlFromKrypton2004'', she was about fifteen years "older" than Superman, born long before Krypton's destruction, and was sent to Earth to save her life AND take care of her baby cousin, but suspended animation shenanigans caused her to arrive thirty years late. The latter story arc became so influential in shaping the character's popular view that everybody assume that Kara being older than Superman has always been the case, and nobody can imagine a Supergirl origin where she was born after Superman. |
| 69 | * ''ComicBook/UltimateMarvel'' 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, particularly in terms of wardrobe and setting, while also providing updated origins that took advantage of GeneticEngineeringIsTheNewNuke or "realistic" deconstructions. Though the harsher 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/UltimateSpiderMan'' being the biggest example of this: every adaptation of the character 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 ''ComicBook/{{Civil War|2006}}'', [[ComicBook/TheInfinityGauntlet the Infinity Saga]], and [[Characters/MarvelComicsTheIlluminati The Illuminati]]. |
| 70 | * ''ComicBook/XMen'': The 90s 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 {{fanservice}}y 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. |
| 71 | [[/folder]] |
| 72 | |
| 73 | [[folder:Films -- Animation]] |
| 74 | * The four DirectToVideo ''WesternAnimation/{{Bionicle}}'' films are far easier to digest than the dozens of books, comics, short stories, online games, and animations that tell the meat of the lore. People with a casual interest tend to judge the series by the films alone, but they rewrite and neglect crucial details and only tell minute fractions of the story that make little sense by themselves, which even Franchise/{{LEGO}} admits. None of them explain what "Bionicle" even means, character traits are changed, and 70-minute kids' films by their nature couldn't do justice to the multi-year-long connected stories and expansive worldbuilding that fans liked about the franchise. |
| 75 | * Creator/{{Disney}} has played an enormous role in coloring public knowledge of numerous fairy tales and 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. |
| 76 | ** When people think of ''Literature/{{Aladdin}}'', odds are they'll think of [[WesternAnimation/{{Aladdin}} the Disney version]] with its [[FantasyCounterpartCulture storybook version of Persia/Arabia]], rather than the Chinese setting that the original story employed. |
| 77 | ** There are many, ''many'' complaints about the 2014 French film ''Film/{{Beauty and the Beast|2014}}'' having a blonde Belle (Creator/LeaSeydoux) and not a brunette, despite the original fairy tale never even specifying Belle's hair color. That's because Disney made her a brunette in 1991's ''WesternAnimation/BeautyAndTheBeast'', and that didn't change with Creator/EmmaWatson in the [[Film/BeautyAndTheBeast2017 2017 live-action film]]. And Léa Seydoux is not even the first blonde Belle, as Josette Day already was in the [[Film/BeautyAndTheBeast1946 1946 version]]. |
| 78 | ** Can you name all seven dwarfs? Most people will immediately think of the versions from Disney's ''WesternAnimation/SnowWhiteAndTheSevenDwarfs''. The original [[Creator/TheBrothersGrimm Brothers Grimm]] story never named them. |
| 79 | * 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 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. |
| 80 | * ''Anime/FinalFantasyVIIAdventChildren'': |
| 81 | ** ''Advent Children'' is a huge example, as it had this effect upon not only [[VideoGame/FinalFantasyVII the original game]] and [[Franchise/CompilationOfFinalFantasyVII 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 side under a cool guy persona (as seen with his attempt at a RousingSpeech before the final battle being the immediately lambasted "Let's mosey"), 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. |
| 82 | ** 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 Creator/TetsuyaNomura decided he wanted to bring Cloud back closer to his original characterisation in ''Remake'' that this changed. |
| 83 | ** ''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. |
| 84 | [[/folder]] |
| 85 | |
| 86 | [[folder:Films -- Live-Action]] |
| 87 | * ''Film/TheAddamsFamily'': |
| 88 | ** In the original ''[[Franchise/TheAddamsFamily Addams Family]]'' [[ComicStrip/TheAddamsFamily comic strip]] and [[Series/TheAddamsFamily TV series]], Wednesday Addams was generally portrayed as a fairly happy young girl, albeit one with very morbid interests (she has a pet spider and a headless Marie Antoinette doll). Creator/ChristinaRicci's portrayal in the film adaptations, meanwhile, took out most of the {{perk|yGoth}}iness and made her into a [[TheSnarkKnight snarky]], [[EmotionlessGirl stoic]] {{goth}} girl and something of a proto-WesternAnimation/{{Daria}}. Ricci's version seems to have left a mark, with the '90s revival ''The New Addams Family'', despite using many {{Recycled Script}}s from the original series, keeping the films' characterization of Wednesday, and the Netflix TV series ''Series/{{Wednesday}}'' amped it up even further by having her try to outright kill people. |
| 89 | ** Casting conventionally attractive actors like Creator/JohnAstin and Creator/CarolynJones (and later Creator/RaulJulia and Creator/AnjelicaHuston) as the Addamses has also colored what fans believe they should look like, as the original comics depicted them as rather grotesque. The [[WesternAnimation/TheAddamsFamily2019 2019 movie]] used character designs [[TruerToTheText directly inspired by Charles Addams' original art]], but it was criticized for looking "ugly". |
| 90 | ** While Charles Addams and Creator/JohnAstin came up with the Spanish name "Gomez" for the Addams family's patriarch in the TV series, they otherwise portrayed him as white. (The other name they could've gone with was the more Italian-sounding "Repelli".) But thanks to his iconic depiction as a LatinLover in the 1991 film (where he was played by the Puerto Rican Creator/RaulJulia), it's become pretty standard to portray him as explicitly Hispanic, dropping the occasional flourish of GratuitousSpanish in his dialogue. He was voiced by the Guatemalan-born Creator/OscarIsaac in the 2019 animated film and played by the Puerto Rican Creator/LuisGuzman in ''Wednesday'', with his children in that series similarly played by Creator/JennaOrtega and Isaac Ordonez. ''Wednesday'' also explicitly established his heritage in {{canon}}, with Morticia mentioning that he has Mexican ancestors. |
| 91 | * In Jules Verne's 1873 novel ''Literature/AroundTheWorldInEightyDays'', Phileas Fogg never once uses a hot air balloon. He considers it at one point but dismisses the idea as too risky and impractical. But then along came the wildly successful [[Film/AroundTheWorldInEightyDays1956 1956 film adaptation]], which prominently featured one. Now the image of Fogg and company traveling in a gas balloon is indelible to the public image of the story. |
| 92 | * ''Film/Batman1989'': |
| 93 | ** 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, the suit being body armor instead of tights, and Gotham City being a gothic, decaying metropolis. |
| 94 | ** Creator/JackNicholson was so iconic as [[Characters/BatmanTheJoker The Joker]] that several aspects of his take on the character have been repeated by casual fans, including that [[AdaptationOriginConnection he was the man who murdered Batman's parents]][[note]]That was actually a perfectly ordinary street criminal named Joe Chill[[/note]], that he was a middle-aged man[[note]]In a majority of the comics his age is ambiguous, but generally he's portrayed as being around the same age as Batman, or even possibly younger[[/note]] or that his real name is Jack Napier[[note]]His real name has never been revealed, though he has used several aliases, Napier among them. Any time the Joker seems to be telling you his backstory it is likely a lie[[/note]]. |
| 95 | * ''Film/BatmanReturns'': |
| 96 | ** The Creator/MichellePfeiffer version of Characters/{{Catwoman|SelinaKyle}} has left a long impression on general audiences since it was released in 1992. While Catwoman can't really be considered a full-on villain anymore as she's settled into being a stable romantic partner for Characters/{{Batman|TheCharacter}}, she had always been more of an AntiVillain. She was never crazy and was always one of the least bad of his villains. In this film, she's straight-up crazy and the idea of her being this way still sticks in people's heads. Creator/HalleBerry's [[Film/Catwoman2004 take on the character]] was widely mocked (but more due to poor filmmaking). Creator/AnneHathaway's version from ''Film/TheDarkKnightRises'', while getting a bit closer to Catwoman's personality from the comics, didn't really stick, possibly due to Nolan removing much of the cat-theming. The movie is also a bit divisive in and of itself which probably explains some of it as well. |
| 97 | ** Creator/TimBurton and Creator/DannyDeVito's interpretation of [[Characters/BatmanThePenguin The Penguin]] has colored subsequent portrayals of the character. Before the film, the Penguin was a rather pudgy, normal-ish criminal with high-society inclinations. But [=DeVito=]'s performance as the Penguin obviously follows Tim Burton's recurring [[AuthorAppeal interest in carnie and circus freaks]]. After [=DeVito=], about a third to a half of the Penguin's versions portray him as a rather malformed, mildly monstrous slob. |
| 98 | * Fans of ''Literature/TheBlueLagoon'' may be aware that the [[Film/TheBlueLagoon1980 1980 movie]] received poor reviews from critics. In the novel, it is mentioned that the characters of Dick and Emmeline were around the age of sixteen or seventeen when they first became intimate and Emmeline gave birth to their child, Hannah, approximately a year later. However, during filming, Creator/BrookeShields, who played Emmeline, was only fourteen years old while Christopher Atkins, who played Dick, was eighteen. Additionally, the movie changed Emmeline’s age at the time of giving birth to around fourteen or fifteen, which may have been due to ExecutiveMeddling. |
| 99 | * A rare example of a film coloring perception of non-fictional persons is ''Film/BonnieAndClyde''. Despite the [[VeryLooselyBasedOnATrueStory various liberties]] it takes with history, virtually all mainstream knowledge of the historical OutlawCouple comes from the film and anything that references them will be in reference to the film -- something that has caused quite a bit of consternation with historians, to say nothing of how the families of the Barrow gang's victims reacted to it (they ''loathed'' how the titular OutlawCouple were portrayed as {{Villain Protagonist}}s). There have been some attempts to make a more historically true film about the pair, but they are stuck in DevelopmentHell at ''best'' (though [[Film/TheHighwaymen one eventually did get made]]). |
| 100 | * Although ''Film/BramStokersDracula'' is [[TruerToTheText more faithful to the original novel]], it also introduced a few original ideas that have shaped general perceptions of ''Literature/{{Dracula}}''. Among other things: it helped popularize the idea of Dracula being [[PromotedToLoveInterest in love with Mina Harker]] (instead of her just being one of his victims), the idea of Lucy Westenra being Mina's more naughty and amorous friend (instead of being sweet and spoiled), and the idea of Dracula and UsefulNotes/VladTheImpaler being the same person (instead of one just being vaguely inspired by the other). Most adaptations or retellings since Creator/FrancisFordCoppola's have given Dracula some kind of personal connection to Mina, and many have used the "reincarnated wife" element (which was originally [[Film/TheMummy1932 the Mummy]]'s schtick). |
| 101 | * ''Film/Carrie1976'' made several changes that other adaptations have followed: |
| 102 | ** Carrie's prom dress becomes pink when it is red in the book -- which is why Margaret says "I might have known it would be red." |
| 103 | ** Carrie leaves the gym before causing her destruction, whereas all adaptations have her do it from inside as soon as the blood is poured on her. |
| 104 | ** Chris Hargensen gets her BetaBitch to rig the ballots so that Tommy and Carrie win. It's a tie in the book and they win in a run-off ballot. Whichever girl is chosen (Tina in the [[Film/Carrie2002 2002]] and [[Film/Carrie2013 2013]] versions, Norma in the 1976 version) is given AdaptationalVillainy. |
| 105 | ** Carrie's showdown with Margaret becomes the climax of all the films, whereas Carrie tracks down Chris and Billy afterwards in the book. |
| 106 | * 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 takes 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]] |
| 107 | * The 1998 film version of ''Theatre/{{Cats}}'' is the de facto version of the show to most fans. It's because it's an officially released version of the stage musical, making it easily accessible. It features many differences from the original 1982 production and other productions of the play at that, but fans view it as the main version of the show. For example, "Mungojerrie and Rumpelteazer" is often associated with an energetic, upbeat duet by the titular duo, but it's actually the third version of the song: the original London version was slower, while the Broadway version had the tempo of the 1998 film but was sung by Mr. Mistoffelees. The film ''Film/{{Cats}}'' went with a middle ground: this version is a duet sung by the titular duo but is in the key and tempo of the slower, original version. The name Mungojerry is also a case of this, as even though it originates in the original T.S. Eliot poems that inspired the musical, most people associated it with [[https://en.wikipedia.org/wiki/Mungo_Jerry that band who sang "In The Summertime"]] than with a musical theatre cat. |
| 108 | * 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 one of Shepherd's only 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). |
| 109 | * The ''Franchise/ConanTheBarbarian'' franchise has been a series of adaptations building on each other, for better or worse, until the original Howard stories were LostInImitation. Some aspects of the ExpandedUniverse Conan, such as [[Film/ConanTheBarbarian1982 the classic Arnold Schwarzenegger film]] and Creator/FrankFrazetta's artwork depictions, are more successful than others, such as the sequel ''Film/ConanTheDestroyer'' which with ''Film/RedSonja'' nearly killed the [[GenreKiller entire genre]] as well as [[FranchiseKiller franchise]]. And [[Film/ConanTheBarbarian2011 the Conan remake]] seems to have done it all over again, as it did poorly at the box office and was savaged by critics. |
| 110 | * ''Film/TheDarkKnightTrilogy'': |
| 111 | ** 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''. Lucius Fox also got the AscendedExtra treatment; he was a minor character in the comics, but thanks to the trilogy, he's now integral to Batman’s life. |
| 112 | ** While still generally rivaled by Nicholson, the late Creator/HeathLedger’s iconic performance as The Joker 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 most Joker media (and actors) afterwards take cues from his incarnation of the character. |
| 113 | ** 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 borrows greatly from the film right down to the Tibetan setting. |
| 114 | * These days, if people remember ''ComicStrip/DickTracy'' at all, they'll almost certainly think of [[Film/DickTracy the hugely hyped 1990 Disney film]], which was very colorful and shot through with Platform/{{Broadway}}-style [[Creator/StephenSondheim Sondheim]] musical numbers -- two elements that were ''not'' present in [[ComicStrip/DickTracy the original comic strip]]. Other changes include the true identity of The Blank and the facial features of Big Boy Caprice (which, except for the mustache, looked nothing like Creator/AlPacino's makeup in the film). |
| 115 | * Even though it was a BoxOfficeBomb and a dud with critics, Creator/DavidLynch's ''Film/{{Dune|1984}}'' has had a lasting influence on the pop culture perception of the [[Literature/{{Dune}} novel]], perhaps most notably its reputation as being nearly incomprehensible (though the book is complex, it is ''much'' easier to follow than the film, which [[CompressedAdaptation crams 800 pages of plot into a 2-hour container]]). Several of the most well-known quotes related to the ''Franchise/{{Dune}}'' franchise [[BeamMeUpScotty originate in the film]], such as "The spice must flow!" and "Walk without a rhythm and we won't attract the worm". Also, while the design of the {{sand worm}}s' distinctive three-pronged FlowerMouth was created by John Schoenherr in his illustrations for the first novel, the movie really cemented it as ''the'' iconic look for the creatures, even though Herbert's books never mentioned this feature. The Creator/DenisVilleneuve [[Film/Dune2021 2021]]-[[Film/DunePartTwo 2024]] adaptation reprises many of these elements, although notably ''not'' the three-pronged jaws for the sandworms. |
| 116 | * ''Franchise/{{Godzilla}}'': |
| 117 | ** Though ''Film/Godzilla1954'' [[UnbuiltTrope was a serious and scary movie]], Godzilla is usually remembered in the United States as a [[SoBadItsGood camp icon from the '60s and '70s]], or by the [[Film/{{Godzilla 1998}} 1998]] [[InNameOnly very loose]] adaptation. This sentiment has only been alleviated somewhat by [[Film/Godzilla2014 the 2014 reboot]] and the [[Franchise/MonsterVerse franchise]] it spawned, and to a lesser extent, the original Japanese version of the first film being made widely available. Due to the notoriety of the sillier films, American distributors at one point even contemplated re-editing the fairly dark and somber ''Film/TheReturnOfGodzilla'' into a more comedic outing to tailor it to U.S. expectations. |
| 118 | ** This trope plays differently in Japan though. While the campy films of the original Showa era series were heavily promoted in the United States and were often aired on television or sold on home video extremely cheap (particularly ''Film/GodzillaVsMegalon'', which for a time fell into public domain in the U.S.), these sold significantly fewer tickets in Japan and are much less well-remembered. Instead, the series' more serious and darker entries are more popular in Japan, such as some of the Heisei series film of the '80s and '90s, and 2016's ''Film/ShinGodzilla''. While Japan produces comedic Godzilla media as well, bigger releases like [[Anime/GodzillaPlanetOfTheMonsters the anime films]] and the series ''Anime/GodzillaSingularPoint'' tend to return to the franchise roots and portray Godzilla as a serious force of destruction rather than a protector or antihero. The Heisei and following Millennium series were released sporadically in the west, but as of the 2020s, they still have no easily available, comprehensive western home media release, while the original Showa series does. |
| 119 | ** ''Film/{{Godzilla 1998}}'' is still the franchise flag-bearer in global markets where the Japanese films have made little to no impact. [[https://twitter.com/RussellMaddie19/status/1482429895385001992 As fan reports suggest]], this even lead to a backlash against the post-2014 Franchise/MonsterVerse films, which were celebrated by American and Japanese fans for taking more inspiration from the source material but were [[AmericansHateTingle derided by international audiences]] for the same reason. |
| 120 | * Public perception of ''Franchise/HarryPotter'' is generally more tied to [[Film/HarryPotter the film series]] than to [[Literature/HarryPotter the books themselves]]: |
| 121 | ** This is even true within the fandom, to an extent -- at least part of the RonTheDeathEater trope is often chalked up to Ron being an AdaptationalWimp in the films. This has even led to one instance of it happening within the books themselves; Harry alludes to the time in ''Prisoner of Azkaban'' when Hermione punched Draco Malfoy in a later book. But that was an invention of the film -- Hermione only slapped Malfoy in the book.[[note]]The original script called for Hermione to slap Draco as she does in the book. During rehearsal, Emma Watson actually slapped Creator/TomFelton with full force. She later said she had no idea why she did it and felt horrible about it afterwards. She decided to punch him instead in the final version, as a punch is easier to fake than a slap.[[/note]] |
| 122 | ** One of the most noticeable examples are Hogwarts' uniforms. Their iconic school uniforms are actually not in the books. Students wear robes at Hogwarts and only robes. For fashion appearances and convenience, the film changed the uniform so that students only wear their robes on special occasions. |
| 123 | ** There's a misconception that Durmstrang is an all-boys school and Beauxbatons an all-girls one because they are in the movies. Both are co-ed in the books. |
| 124 | ** Creator/AlanRickman's portrayal of [[Characters/HarryPotterSeverusSnape Severus Snape]] is so iconic it is the main image the public (and even parts of the book fandom) think of when the character is mentioned, despite Rickman being [[AdaptationalAttractiveness more conventionally attractive]] and [[AgeLift significant older]] than the character is described in the books. Also, his SadistTeacher tendencies are [[AdaptationalNiceGuy heavily downplayed]] and [[AdaptationalComicRelief more of a source of comic relief]] in the movies, helping to give Snape a "DracoInLeatherPants" treatment within the fandom. |
| 125 | * Many common parodies of Creator/JackNicholson seem more inspired by Creator/ChristianSlater's imitation of him than by the vocal nuances of Nicholson himself. |
| 126 | * ''ComicBook/HowardTheDuck'' fans will always have to deal with the negative reputation the series had from [[Film/HowardTheDuck the film adaptation]]. This got so bad that TheStinger to ''Film/{{Guardians of the Galaxy|2014}}'' featuring Howard was divisive, up until ''Film/FantasticFour2015'' retroactively helped the movie's reputation by being regarded as worse. |
| 127 | * Creator/AngLee's ''Film/{{Hulk}}'' movie is often blamed for the failure of the [[Franchise/MarvelCinematicUniverse MCU]] reboot, ''Film/{{The Incredible Hulk|2008}}'', which despite being better received by fans, sold even ''fewer'' tickets than the original. The character's cinematic reputation has been somewhat restored by ''Film/{{The Avengers|2012}}'', but Marvel is still wary of giving the property another chance, which is why there's no ''Hulk'' sequel in the works as of 2020, despite ''The Incredible Hulk'''s SequelHook (it's likely that ''Film/ThorRagnarok'' is as close as we'll get). It doesn't help that Disney/Marvel would have to share profits with Universal (a condition of Marvel getting the film rights to the character back is that Universal gets distribution rights to any solo Hulk film). |
| 128 | * ''Film/IslandOfLostSouls'' wasn't the first major adaptation of Creator/HGWells's ''Literature/TheIslandOfDoctorMoreau'', but it is without doubt the most influential. In the original novel, the only major characters were Moreau, Edward, and Montgomery. Lota, the part-panther woman in this film, wasn't part of the original story. Since this film, each adaptation has a part-feline female character (e.g. Maria in [[Film/TheIslandOfDrMoreau1977 the 1977 adaptation]] and Aissa in [[Film/TheIslandOfDrMoreau1996 the 1996 adaptation]]). |
| 129 | * ''Franchise/JamesBond'' is well known for being a literary hero, but most general audiences will be much more familiar with the many film versions of the character than the specific book portrayal. |
| 130 | ** Literary Bond is described as having a consistent and distinctive appearance, with icy blue eyes, black hair, a large scar on his right cheek, and a comma of hair. None of the film actors to play the character have tried to perfectly match his book appearance, which has had an impact on what most people imagine the character to look like. |
| 131 | ** To the surprise of many who know Bond for being a chronic womanizer, Literary Bond is a lot more of a HeartbrokenBadass. His inability to commit to a long-term relationship is treated much more seriously as a character flaw, and he's generally more resistant to the idea of sex. This more sensitive portrayal has certainly been featured in some of the films, most notably ''Film/OnHerMajestysSecretService'' and ''[[Film/CasinoRoyale2006 Casino Royale]]'', but the standard GirlOfTheWeek formula is what most people think of when it comes to Bond's romances. |
| 132 | ** Even more shockingly to those so used to Bond being a MookHorrorShow with one of the biggest body counts in cinema history (being well into the thousands by the Craig era), ''Literary Bond genuinely hates taking lives!'' ''Literature/CasinoRoyale'' even details how taking a life for the first time on a previous mission left him realistically traumatised and every subsequent time he’s forced to kill Bond (barring a few villain deaths) is disgusted by it. In stark contrast to the cultural zeitgeist of 007 happily gunning down thousands of men always complete with a [[BondOneLiner glib remark]]. This goes in hand with the books being less action packed and Bond being more spy than assassin as for the majority of people Bond will always be waving around his Walther PPK or any other gun and shooting every baddie in sight, whereas Literary Bond shoots far less people and in some books such as ''Literature/{{Moonraker}}'' doesn’t even fire his gun once. |
| 133 | * In 1995, ''ComicBook/JudgeDredd'' had [[Film/JudgeDredd a film adaptation]] starring Creator/SylvesterStallone that had a very devastating impact in the US. While in Britain, ''Dredd'' is an old warhorse of a comic that isn't going anywhere, the movie was the first exposure most Americans had to the franchise. As a result of this, it took north of two decades and [[Film/{{Dredd}} another adaptation]] that went TruerToTheText (which still bombed in theaters, though was VindicatedByCable) for Dredd to pick up any kind of real following in the US; it's only been very recently that the US has gotten unaltered printings of the UK Dredd comics as a result of this. |
| 134 | * Creator/StevenSpielberg's [[Film/JurassicPark1993 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 (although he is described as the latter in the film). |
| 135 | * The success of ''Film/TheLordOfTheRings'' films has dramatically colored public perception of the work since the films put their own dramatically different spin on various themes. The number of people who read the books for the first time prior to seeing the films or knowing everything that happens therein is pretty small. The studio struggled for a while to get the prequel, ''Film/TheHobbit'', off the ground, due in part to the pressure of making it [[DarkerAndEdgier conform to the existing films]] and turning it into [[AdaptationExpansion a trilogy]]. |
| 136 | ** In particular, many people seem to have forgotten that ''The Hobbit'' was originally a children's story and not an action-adventure tale for grown-ups. Or, for that matter, that Tolkien came up with the Middle Earth mythology merely as a hobby and only gradually worked out the details of the entire saga. |
| 137 | ** Some specific aspects that have colored perception include Frodo's age. He was played by Creator/ElijahWood, then 18, which was appropriate seeing as Frodo, at 33, was the Hobbit equivalent to 18. The problem is the movies leave out the 17-year time gap between Gandalf's leaving the Shire and returning to tell Frodo he must leave. Frodo in the novel was 50 for most of the story, not a child; although he still ''looks'' young due to possessing the One Ring, he's considerably more mature and educated than the other hobbits. |
| 138 | * ''Literature/TheManWhoFellToEarth'': Almost everyone who is aware of the story is only familiar with the film adaptation (to the point where there's no page for the book even on [[Website/TVTropes This Very Wiki]]; it's instead a redirect to the film's page), which is ''wildly'' different from the book in ways that effectively make them two different stories. For starters, there are absolutely zero [[SexStartsStoryStops sex scenes that don't have any bearing on the plot]] in the book, Newton's leg jacknifes and breaks into a thousand pieces in the Hotel elevator which necessitates months of bed rest instead of him just getting a headache(?), and perhaps the biggest one of all is that [[spoiler:Newton goes ''blind'' from the X-ray machine due to his eyes seeing a different spectrum of light instead of having his human contact lenses grafted on permanently, which has ''completely different implications'' from the scene in the book]][[note]]The scene in the book is supposed to represent the final, most tragically unreversable transition Newton makes into being neither fully Human nor fully Anthean, but something completely unique and in-between which totally isolates him from everyone he knows, whereas the film scene simply implies it's tragic because he's effectively unwillingly [[BecomeARealBoy become fully human]][[/note]]. It's telling that [[Series/TheManWhoFellToEarth the Showtime series]] is explicitly a continuation of the film's adaptation of events and not the book. |
| 139 | * The ''Franchise/MarvelCinematicUniverse'' is the ''biggest'' film franchise of all time, but while people are generally aware the movies are based on Creator/MarvelComics, they're often unaware of how different the movies are from the comics, and in the cases where they are they're often unaware of the significance of this. |
| 140 | ** Neither Hawkeye nor Black Widow was part of the original Avengers line-up (neither was Captain America, but he at least joined in the third issue and is retroactively considered a founding member), but rather it was ComicBook/AntMan and Characters/TheWasp. The latter is actually a ''very'' important character due to her tenure as team leader and the character development she underwent during that time, and her closeness with Iron Man, Thor, and Captain America. The films largely gave this role to Black Widow, who while a somewhat prominent character wasn't a very strongly connected member of the team since her status as a Super Spy made her an ill-fit for a public superhero team who regularly fight cosmic or world-threatening dangers. |
| 141 | ** [[Characters/MarvelComicsClintBarton Hawkeye]] as a character suffers the most, as the films made him an overtly serious guy without the showy and captivating personality or physical prowess of the comics character ([[Characters/MCUClintBarton movie Hawkeye]] is a competent fighter and archer, but the comics one is a BadassNormal who is 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. |
| 142 | ** [[Characters/MarvelComicsTonyStark Iron Man]], like Hawkeye has been affected but in a much more positive fashion. Thanks to the MCU the public perception of Tony Stark thanks to Creator/RobertDowneyJr’s [[Characters/MCUTonyStark portrayal]] is a loveable, charismatic, quip-happy hilarious JerkWithAHeartOfGold who when the chips are down will save the universe as the BigGood. This is a marked difference from the comic version of Iron Man, whom as many comic fans will know, was being written as a very unlikable [[StrawCharacter Strawman Political]] BrokenAce and even borderline fascist starting with ''[[ComicBook/CivilWar2006 Civil War]]''. Fans of Iron Man who started with the MCU, have actually been appalled upon reading the comics at how dickish Tony is written (especially in modern continuity) and how unlike the films he certainly isn’t bosom buddies with Hulk or an idol and mentor to Spider-Man (in the comics, Captain America is the one hero Peter worships). Thanks to the MCU impacting the comics, Tony is more lighthearted and jokey and the films have significantly bolstered his popularity, with him being right up there with Spidey or Wolverine nowadays. |
| 143 | ** This has also had a marked effect on the perceptions of character importance. Prior to the MCU, the Avengers themselves weren't ''that'' important to the Marvel Universe, as the Fantastic Four and X-Men also existed and were both ''significantly'' more popular with audiences. Even among them, Black Widow and Hulk were not particularly core characters, while others such as She-Hulk, Valkyrie, Black Knight, Monica Rambeau, Hercules, and more played a significantly bigger role among the team (Widow and Hulk were more independent characters). The Widow has been an official member of the Avengers since 1973 (after years as an unofficial ally) but only served as the team's leader for a few years in the 1990s. Since the MCU, it's now hard to picture Widow and Hulk ''not'' in the Avengers, and all those aforementioned characters have become seen as obscure, minor characters, by virtue of not being in the movies. Characters who ''are'' in the MCU, like Vision, Scarlet Witch, Carol Danvers, and Black Panther, are now viewed as 'A-listers', but none of them were ever any more popular or important than the aforementioned 'obscure' ones. |
| 144 | ** The influence of the MCU actually came back and affected the comics, as "synergy" with the movies became an enforced trope. Hawkeye dropped his colourful costume for a sleek black number, character relationships that weren't in the MCU were downplayed while ones invented by the films became suddenly canon, and elements the films were using like SHIELD were suddenly reintroduced (and ironically, discarded again shortly after the films dropped them), while franchises like ''ComicBook/GuardiansOfTheGalaxy'' were retooled to match the film versions. This slowed down around 2018/2019, in part due to a change in editorial, but the intense fan backlash (as many disliked these changes) lead to dialing back on it before things got ''too'' extreme. |
| 145 | * When most people picture Creator/MarilynMonroe, they tend to imagine her with big, poofy blonde hair, which is why most of today's Marilyn impersonators have to wear exaggerated wigs. But for the majority of her career, her hair hardly looked like that at all. While her hairdo in ''Film/GentlemenPreferBlondes'' did approach its contours, not until the late 1950s -- by which point, ironically, her career was winding down -- did her hair really start to gain the volume we associate with it. In part, this was because American women's hair was starting to get bigger at the time and Marilyn was simply following the trend. It was also around this time that many Marilyn imitators started to appear and to sport puffy hair for the same reason. |
| 146 | * ''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. [[https://m.youtube.com/watch?v=Sr1bLLvsbh0 The iconic song]] “Techno Syndrome” by ''The Immortals'' is also heavily associated with the film, so much so that most don’t know that it debuted two years before the film, nor that it’s actually a remix of another song altogether. |
| 147 | * 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 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 RE films have also affected the games themselves to some extent. The LaserHallway from the first Anderson film was put in ''[[VideoGame/ResidentEvil4 RE4]]'' and ''VideoGame/ResidentEvilTheUmbrellaChronicles'' with the Red Queen becoming a CanonImmigrant to the latter game. The extremely bombastic action tone of ''[[VideoGame/ResidentEvil5 RE5]]'' and especially ''[[VideoGame/ResidentEvil6 RE6]]'' can also be partially attributed to the Anderson films’ influence. |
| 148 | * Thanks to its classic Japanese adaptation and the reasonably popular American remake, ''Literature/TheRing'' today is best known for two things: (1) watching a [[UnintentionalPeriodPiece video tape]] that gives you a week to live unless you copy the tape and show it to someone else, and (2) the ghost coming out of a television set. In the Japanese novel series, not only does the ghost never come out of television, but the copy-the-tape solution is a false RedHerring that kinda serves as the whole point of the series.[[note]]In the books, the virus has the ability to mutate if its ability to reproduce is affected. Before the protagonist stumbles upon the tape, some stupid teenagers unwittingly did just that when they erased the part of the video which explained the solution, causing the virus to mutate when the protagonist [[UnwittingInstigatorOfDoom copies the tape]]. The protagonist also writes a journal which becomes a new host of the virus. The resulting mutation kills the tape's viewers whether they have copied it or not, and the journal accelerates the spread of the virus. It's not until someone manages to draft a vaccine that Sadako's curse can be lifted, though not before many people have been killed. We never do learn the original solution to stop the virus.[[/note]] On a lesser note, the adaptations all feature female protagonists with sons, while in the novel, it is a man with a wife and daughter. |
| 149 | * The first four ''Film/ScoobyDoo2002'' live-action films portraying Fred as a JerkJock-type character seems to have affected his public perception, particularly among audience members that had/did not have previous exposure to ''Franchise/ScoobyDoo'' material (his defining trait in the original series was just being TheLeader and a NiceGuy; since he was such a [[TheGenericGuy bland character]] to start with, it's natural that most people remember the more defined characterization that Creator/FreddiePrinzeJr brought, even if they didn't like it). His portrayal in the movies seem to feed into why he has such a strong anti-fanbase and why fans prefer to ship [[OfficialCouple Daphne]] with [[LesYay Velma]]. |
| 150 | * Ask a layperson about ''Literature/TheShining'', and more often than not they'll default to [[Film/TheShining the 1980 adaptation]] by Creator/StanleyKubrick. Like ''Dune'', most of what the public considers the most iconic and essential moments from the story (e.g. the axe, "[[Series/TheTonightShowStarringJohnnyCarson HERE'S JOHNNY]]!!!," the hedge maze) were original to the film as a result of it being a hugely PragmaticAdaptation (the book had a roque mallet instead of an axe, the hedge maze was a group of living topiaries, Jack never references Creator/JohnnyCarson). The film came to define the story to such an extent that one of the biggest complaints about the 1997 miniseries was that it was too far removed from the Kubrick film (which was admittedly the point, as [[DisownedAdaptation King hated Kubrick's film]]), and [[Film/DoctorSleep the film version]] of [[Literature/DoctorSleep the book's sequel]] instead based itself on the 1980 version. |
| 151 | * ''Film/SilentHill'' by Christophe Gans is inevitably this for most mainstream audiences. The [[Franchise/SilentHill games series]] while often the SacredCow among video game fans, is still pretty niche for even for most horror fans, meaning many people’s first exposure to ''Silent Hill'' will be the two films that take an infamously BroadStrokes approach to games. A lot of people will bring up the bit where Pyramid Head rips a woman’s skin off, but far fewer people are likely to bring up/know about Pyramid Head being the manifestation of guilt and desire for the punishment of one particular character. Most people thanks to the film will also assume it’s a mother looking for her daughter's story, rather than a father looking for his daughter's story like it was in the original game. Not helping matters is the fact ''VideoGame/SilentHillHomecoming'' the most readily available title borrows heavily from the movie making the shirtless triangular-headed look for Pyramid Head even more standardised. |
| 152 | * Creator/SamRaimi's ''Film/SpiderManTrilogy'' was the first high-profile film adaptation of the ''ComicBook/SpiderMan'' comics, and served as many people's first real introduction to them. In particular: Creator/TobeyMaguire, Creator/JamesFranco and Creator/KirstenDunst's iconic performances as Peter Parker, Harry Osborn, and [[Characters/MarvelComicsMaryJaneWatson Mary Jane Watson]] shaped many people's general image of all three characters. Because of the films, many casual fans tend to picture Peter as a shy, dorky DoggedNiceGuy (despite the comics' version being more of a snarky JerkWithAHeartOfGold), they tend to picture Harry as Peter's affable [[HeterosexualLifePartners lifelong best friend]] (in the comics, he was originally a [[SpoiledBrat snobby rich kid]], and he and Peter didn't meet until college), and they tend to MJ as his first and only love (she was one of several love interests in the comics). The films are also the reason why people tend to believe that "web-shooting" is one of Peter's superpowers (he used wrist-mounted "web-shooter" devices in the comics). When ''Film/TheAmazingSpiderMan'' and ''Film/TheAmazingSpiderMan2'' incorporated many ideas from the comics that the Sam Raimi movies omitted (e.g. [[Characters/MarvelComicsGwenStacy Gwen Stacy]], the web-shooters, Peter's snarky personality, Harry's antiheroic characterization, etc.), they were widely criticized for straying from the version that many moviegoers knew, despite actually being [[TruerToTheText more faithful to the source material]] in many respects. |
| 153 | * 2009's ''Film/{{Star Trek|2009}}'' made much out of the general perception by the public, even some longtime fans, of Kirk as an anti-authoritarian SpaceCowboy who [[ScrewTheRulesImDoingWhatsRight breaks rules when he truly believes he's correct]], barely scrapes through the Academy and [[BoldlyComing shags every green alien babe he meets]]. A re-watch of the original series will show that this isn't true of Kirk at all. When he did break rules (primarily in the films) he did so with the full understanding that there would be consequences and he would accept them. It's mentioned multiple times that he was a serious, even humourless student. And Kirk's relationships are overwhelmingly very honest and heartfelt (and across eighty episodes, he slept with exactly ''four'' aliens). Notably, in order to make Kirk the rule-breaking rebel who tended to turn out being right all along, the filmmakers had to make this [[ContinuityReboot an alternate reality]] where Kirk's upbringing was decidedly different. It wasn't until [[Film/StarTrekBeyond the third film]] that his persona was more like the actual Kirk of the classic series. |
| 154 | * ''ComicBook/{{Superman}}'': |
| 155 | ** For most people, Superman is synonymous with the Creator/ChristopherReeve movies. To a lesser extent, there is [[Series/TheAdventuresOfSuperman the 1950s TV show]] with Creator/GeorgeReeves, which is the source of a lot of catchphrases associated with the franchise. Its details aren't known to many casual fans, but if you've ever talked about Superman you've quoted it at least once. |
| 156 | ** Christopher Reeve's take on Superman's alter-ego Clark Kent has stuck in the minds of everyone. Before Reeve, Kent was milquetoast and non-descript. Reeve however upped the ante on Kent's dorkyness making him a much more comical character. |
| 157 | ** Creator/GeneHackman's portrayal of [[Characters/SupermanLexLuthor Lex Luthor]] has definitely stuck in the minds of many. Quite a few people think that Lex is meant to be a middle-aged LargeHam who's always concocting various illegal schemes to get rich, when in fact he has had a huge number of different interpretations over the years. Hackman's portrayal was mostly based on his "evil mad scientist" persona from the '60s and '70s, but since the mid-'80s, Luthor is mainly portrayed as a CorruptCorporateExecutive, and far from being a hammy megalomaniac is usually a far more subtle, AffablyEvil bad guy. |
| 158 | ** General Zod’s entire modern characterisation is thanks to Creator/TerenceStamp’s iconic portrayal. When he first appeared in the Silver Age comics Zod was a minor third-string villain (not even the central antagonist) who continuously tried to escape the Phantom Zone and failed. It wasn’t until ''Film/SupermanII'' that Zod’s whole character got an overhaul being upgraded to Superman’s main [[EvilCounterpart evil Kryptonian]] {{foil}} who fully takes advantage of powers Earth’s yellow sun gave him. It’s thanks to Stamp’s portrayal the look of the character changed too going from stereotypical military officer to the black-garbed goateed tyrant like the film. Nowadays you’d be hard-pressed to find an incarnation of Zod that isn’t strongly influenced by Terence Stamp’s version from the Post-Crisis comics to Creator/MichaelShannon’s take in the Franchise/DCExtendedUniverse. |
| 159 | ** 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, almost all comics went with the crystal look for Krypton, and other media like the [[Series/{{Krypton}} prequel TV show]] tend to borrow greatly from the aesthetics of the Reeve films. |
| 160 | * Most post-1956 adaptations of the ''Literature/BookOfExodus'' bear the unmistakable fingerprints of ''Film/{{The Ten Commandments|1956}}''. It's down to this film that the Pharaoh of the Exodus is almost always identified as Rameses II in popular culture. Many adaptations since have portrayed Moses as being raised as a prince and potential heir to the Pharaoh, while also unaware of his heritage until shortly before or after his murder of the overseer. Neither of these plot elements are present in the original Exodus. In fact, it is strongly suggested there that Moses was aware of his true heritage all his life. |
| 161 | * While the ''Film/TransformersFilmSeries'' was a ''huge'' success, it had the unfortunate effect of giving the franchise as a whole a reputation of being all about big dumb action and giant robots fighting, much to the irritation of its fans in other media, where it has plenty of good stories, mature writing and memorable characters ([[JustForFun/ComeForTheXStayForTheY as well as giant robots fighting]]). ''Film/{{Bumblebee}}'' was made to specifically fix this. |
| 162 | * To this day, Franchise/UniversalHorror has had this impact on many of the "classic" horror monsters, especially those that they adapted from older material. The Film/{{Hammer|Horror}} remakes in the '50s and '60s hewing to Universal's characterization only solidified their impact. |
| 163 | ** [[Film/Frankenstein1931 The first sound version]] of ''Franchise/{{Frankenstein}}'' (made in 1931, starring Creator/BorisKarloff) simplified and compressed the story considerably and changed the character of FrankensteinsMonster. In particular, the monster in the original story was actually very intelligent and able to speak and move like a normal human, not the stiff, shambling, groaning monster of the movies. He also did not have bolts in his neck or a cylindrical flat-top head. This movie also shows the monster being animated by {{lightning|candoanything}}, while in the book, Victor intentionally kept the procedure as vague as possible so no one would be tempted to replicate his mistake. The movie's [[Film/BrideOfFrankenstein first sequel]] solidified [[IAmNotShazam the idea that the monster was called Frankenstein]], though this mix-up was already in effect in the preceding decades and [[Film/SonOfFrankenstein the following sequel]] has [[LampshadeHanging Wolf Frankenstein complaining about this.]] And the idea of the monster being brutish, unintelligent, and unable to speak was established by the book's first dramatic adaptation, Richard Brinsley Peake's stage play ''Presumption, or the Fate of Frankenstein'', as early as 1823. |
| 164 | ** The 1931 film also introduced [[TheIgor Igor]] -- ahem, ''Fritz'', but popularly called Igor for reasons similar to why the Monster is called Frankenstein (The character of Fritz as Frankenstein's assistant was conflated with the deformed Ygor from the sequels ''Film/SonOfFrankenstein'' and ''Film/TheGhostOfFrankenstein'') -- the iconic hunchback assistant who unlike even the Bride [[CanonForeigner didn't exist at all in the original book]]. Yet nowadays you will be hard put to find any story, adaptation, or crossover involving Frankenstein's monster that doesn't include Igor as well. For a character who was entirely made up for the film by Universal, he has gotten immense coverage (even getting his own [[WesternAnimation/{{Igor}} animated film]]) and is generally viewed by the mainstream as synonymous with the Frankenstein story itself. |
| 165 | ** 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 a 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. |
| 166 | ** ''Film/TheInvisibleMan1933'' incorporated elements not just from Creator/HGWells' [[Literature/TheInvisibleMan novel]], but also from screenwriter Philip Wylie's 1931 novel ''The Murderer Invisible''. In Wells' novel, Griffin was already evil before he became invisible, and did so out of a lust for power, while in the film, [[WithGreatPowerComesGreatInsanity he only turns evil after the experiment]] when he [[WhatYouAreInTheDark realizes what he can get away with]]. The pseudo-remake ''Film/HollowMan'' would take a similar track in its characterization of its villain. Griffin was also a loner in the original story, while in the film, he has a beautiful fiancee, which [[Film/TheInvisibleMan2020 the 2020 remake]] would run with. |
| 167 | ** Going in the other direction, Universal's ''Film/TheMummy1932'' saw a significantly less scary reinvention with Film/TheMummyTrilogy, to the point that the trailer for [[Film/TheMummy2017 the 2017 remake]] had many commenters weirded out by the horror tone returning instead of the Franchise/IndianaJones-esque adventure tone seen in the movies with Creator/BrendanFraser. The final film took elements from both the '30s and '90s ''Mummy'' movies, however, and this inconsistent tone -- is it a horror movie or a Marvel-esque adventure movie? -- is generally cited as one of the big reasons it flopped with audiences and critics alike. |
| 168 | * Creator/WalterHill's 1979 cinematic adaptation of ''Film/TheWarriors'' has completely eclipsed the Sol Yurick novel -- so much so that the [[VideoGame/TheWarriors 2005 video game adaptation]] not only kept Hill's campy approach but made it even ''campier''! |
| 169 | * ''Film/WillyWonkaAndTheChocolateFactory'' is this for its source novel, Creator/RoaldDahl's ''Literature/CharlieAndTheChocolateFactory''. That film has become so iconic [[CharlieAndTheChocolateParody and parodied]] that outside of the UK -- and ''especially'' in the United States -- the novel has suffered AdaptationDisplacement. This is why Creator/TimBurton's [[Film/CharlieAndTheChocolateFactory 2005 adaptation]] has become more polarizing, as it is sometimes seen as a poorly-done remake of the film rather than a faithful retelling of the novel. There are actually [[AdaptationOverdosed many other adaptations of it out there]], but old-time fans tend to bristle at any telling that doesn't slavishly follow the lead of the 1971 Creator/GeneWilder film, never mind that said tellings are usually TruerToTheText ([[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical]] was heavily retooled for its 2017 Broadway run to work in more film-specific material for this reason). [[DisownedAdaptation Dahl himself disowned the film]][[note]]albeit on a rather short-sighted decision after the film version didn't do so well upon initial release[[/note]], so he likely wouldn't be happy about this at all. Some of the changes were "corrected" in the 2005 version -- the Oompa-Loompas changing back from orange-faced, green-haired clowns to dark-skinned jungle natives -- but others were not. |
| 170 | ** 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. ''Literature/CharlieAndTheGreatGlassElevator'' (the sequel to the original book) followed the movie's lead by {{retcon}}ning Charlie and his family as Americans. |
| 171 | ** 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 (one chapter is even titled "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. |
| 172 | * For many viewers, ''Film/TheWizardOfOz'' is the main influence in the way in which they perceive anything related to the ''Franchise/LandOfOz'' media, from details such as Dorothy having ruby slippers instead of the silver ones from the book, as well the portrayal of the Wicked-Witch of the West as a green woman instead of having only one eye as she was originally described (making it an almost literal example). The personalities of the characters in Oz-influenced media tend to reflect their movie personalities instead of the literary ones. The film is also the reason why characters like Glinda and the Wicked Witch are far more famous and iconic than, say, Ozma and the Nome King, who appeared in far more installments of the book series. 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 (the shoes never appear again in the sequels anyway, and were replaced by the Magic Belt). 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. |
| 173 | * The live-action ''Film/XMenFilmSeries'' from [[Creator/TwentiethCenturyStudios 20th Century Fox]] are notable for being one of the first major attempts at adapting a Creator/MarvelComics series to film for a general audience, and they served as ''many'' people's first introduction to the ComicBook/XMen (if they hadn't already been introduced by ''WesternAnimation/XMenTheAnimatedSeries'' from the prior decade). As such, people are often surprised to learn that the films are strikingly different from the original comic books in many respects. To name a few examples: |
| 174 | ** 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/MarvelComicsLogan Wolverine]] is a TallDarkAndHandsome loner, and that [[Characters/MarvelComicsMystique 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. |
| 175 | ** 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/WolverineAndTheXMen2009 incarnations]] give them a fair amount of AdaptationalWimp like the films. |
| 176 | ** The Fox films also pioneered the MovieSuperheroesWearBlack trope (due to Creator/BryanSinger and other directors' dislike of the colorful comic outfits), which generated the general perception (barring the '90s cartoon) of the X-Men as being darkly dressed, especially compared to the Avengers which was actually quite the opposite for a long time in the comics. Most people nowadays are just as likely instantly recognize Wolverine in all black (or just a tank top and jeans) as him wearing his iconic yellow outfit from the comics. Funnily enough, the comics themselves {{lampshade|Hanging}}d this. |
| 177 | --->'''Cyclops:''' Sorry, Logan. Superheroes wear costumes. And quite frankly, all the black leather is making people nervous. |
| 178 | * While in the original novel, Franchise/{{Zorro}} wore a poncho, a sombrero, and a full-face mask and used a cavalry sword and a pistol as his main weapons, ''Film/TheMarkOfZorro1920'' introduced the costume and weapons that have been used in all later adaptations, with even the original author Johnston [=McCulley=] [[RetCanon revising his newer stories to fit]]. Also, the 1920 movie implied his costume was red, it wasn't until ''Film/TheMarkOfZorro1940'' that it became definitively black. And finally, although Zorro's cloak billowing on horseback is the iconic image, the cape didn't arrive until [[Series/Zorro1957 1957]]. |
| 179 | [[/folder]] |
| 180 | |
| 181 | [[folder:Literature]] |
| 182 | * ''Literature/ThePrincessBride'': The latter runs include post-novel content in which Creator/WilliamGoldman tells us ({{kayfabe}}) that Creator/StephenKing felt this way about Goldman's abridged version of the story. Goldman also cites this as one of the reasons he can't secure the rights to publish the sequel to the book in English; the Morgenstern estate feels that his abridgment was a travesty and won't let him near the sequel. (The reality is Goldman had made a few abortive attempts to start the sequel, but each time he realized he couldn't recapture the magic of the original.) |
| 183 | [[/folder]] |
| 184 | |
| 185 | [[folder:Live-Action TV]] |
| 186 | * 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. This especially goes for the Green Arrow, whose comic version is very different (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 in common with the comic version, or ''[[WesternAnimation/JusticeLeague any]]'' [[WesternAnimation/TheBatman other]] [[{{Series/Smallville}} adaptation]], beyond "shoots arrows.") |
| 187 | * ''Series/Batman1966'''s high {{Camp}} depiction of Batman and company still lingers on as some (generally older) people's view of the character, despite several adaptations and major character changes since. This has continued to the extent that Creator/WarnerBros Consumer Products approached Creator/AdamWest and [[Creator/TwentiethCenturyStudios 20th Century Fox]] (producers of the TV show) in 2012 about producing merchandise based on the TV shows (also, greeting cards from Hallmark tend to follow the Adam West design, which most closely resembled the traditional comic book design). |
| 188 | ** Many also complain that the show paints MediaNotes/TheComicsCode[=/=][[MediaNotes/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 an AudienceAlienatingEra 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. |
| 189 | ** In some ways, ''Batman'' colored the perception for the ''entire genre'' of Western superheroes. Until 2000 or so, when superhero movies started being huge, any outside journalism on the genre would invariably feature "Bif! Pow!" in the headline, as if Adam West was the last word on the subject. |
| 190 | ** Notably, MediaNotes/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 included episodes written by Creator/PaulDini, who did 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. |
| 191 | ** 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 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 some echoes of it are still felt today, considering nothing Batman-related has ever succeeded in Japan without being at least a little bit silly, such as ''Anime/BatmanNinja''. |
| 192 | * ''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 massive 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, Maeve, 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. |
| 193 | * 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; one of the effects of this being that many people, even if they are aware that it isn't, still 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. Where this trope really affects the franchise can be seen in how a lot of people criticise ''Degrassi'' as a "whole" for falling prey to the same annoying and/or problematic tropes of most other TeenDrama series, when only ''Degrassi: The Next Generation'' and ''Degrassi: Next Class'' are really guilty of doing this, or at least are by far the most egregious; ''Degrassi Junior High'' and ''Degrassi High'', the 80s series of which ''Next Generation'' was a continuation, both largely avoid a lot of the trappings that ''Next Generation'' is criticised for. |
| 194 | * Any Doctor in ''Series/DoctorWho'' will be inevitably compared to Creator/TomBaker's take on the character, who is considered the default Doctor portrayal even though [[MyRealDaddy he was the fourth actor to play the role]][[note]]or fifth, if you count the non-canon Creator/PeterCushing films[[/note]] and was [[ContrastingSequelProtagonist in contrast to his predecessors at the time]]. The "Hinchcliffe era" of the show, which had over-the-top GothicHorror villains, a metafictional tone, WhatDoYouMeanItsForKids, NoHuggingNoKissing and lots of BBCQuarry sets, and corridor-running, is considered to be the way the show operates at its most StrictlyFormula. (Note that this is something of a DeadUnicornTrope.) After the New series took off, any new Doctor will also be compared to Creator/DavidTennant, who is considered the default [=NuWho=] Doctor (although some use Creator/MattSmith as a yardstick, given his more distinctive Doctor appearance). |
| 195 | * ''Series/TheIncredibleHulk1977'' immortalized the titular hero as a pop culture icon, and influenced most subsequent adaptations. A notable example was the show's decision to not have the Hulk speak outside of grunts and roars, which many people took as a default part of the character. It became so ingrained in the minds of audiences that the character didn't consistently use his trademark HulkSpeak in the movies until 2017's ''Film/ThorRagnarok'' (the Hulk's ''fourth'' major appearance in the [[Franchise/MarvelCinematicUniverse MCU]]). The Hulk's iconic YouWouldntLikeMeWhenImAngry catchphrase also originated in the series. |
| 196 | * For the live action adaptations of the manga series ''Manga/TheKindaichiCaseFiles'', it's almost unanimously agreed by fans and viewers that Tsuyoshi Domoto, Hajime's first actor from the 1990s version, is '''the''' Hajime Kindaichi, even if other actors have played Hajime over the decades. It's come to the point that when the 2022 adaptation premiered, there was a short that premiered with it of Tsuyoshi Domoto and Hajime's current actor, Shunsuke Michieda, talking about the impact of the '90s series with Domoto giving Michieda tips on playing Hajime. |
| 197 | * ''Series/MaskedRider'', Creator/{{Saban|Entertainment}}'s adaptation of ''Series/KamenRiderBlackRX'', didn't just color the Franchise/KamenRider franchise itself, it also tarnished its very own name. Originally "Masked Rider" was the official romanized name of Kamen Rider (''kamen'' simply means "mask" in Japanese), but because the name "Masked Rider" is so closely associated to the Saban version outside Japan, most fans refuse to use it despite its prominence in many products. When Adness made ''Series/KamenRiderDragonKnight'' (adapted from ''Series/KamenRiderRyuki''), Executive Producer Steve Wang [[https://web.archive.org/web/20110106080346/http://www.scifijapan.com/articles/2009/02/22/kamen-rider-returns-to-us-television/ insisted]] on using "Kamen Rider" instead of "Masked Rider" since he wanted to distance the show from the Saban version. The Japanese shows, which were using the romanized name of "Masked Rider" on the logos since ''Series/KamenRiderKuuga'', followed suit by switching to "Kamen Rider" beginning with ''Series/KamenRiderDouble''. On top of that, some time ago Saban applied for a trademark for "Power Rider," which many believe is their giving "Kamen Rider" another swing. Although, that was around the time ''Series/PowerRangersSamurai'' was airing (which gave fans the impression they would try to adapt ''Series/KamenRiderDecade'', considering how it [[{{Crossover}} intersected with]] ''Samurai''[='=]s [[Series/SamuraiSentaiShinkenger source series]]), and the fact that Saban let the trademark expire suggests Saban merely did so so no one else could use it. |
| 198 | * While ''Franchise/PowerRangers'' is a successful franchise on its own, many ''Franchise/SuperSentai'' purists view it as the reason why ''Super Sentai'' will never get the proper international recognition it deserves since the adapted footage of the costumes and giant robot battles are so deeply ingrained with ''Power Rangers'', ''Super Sentai'' could never stand on its own merits. It's not uncommon to see ''Super Sentai'' videos on the internet (such as the "Legendary War" scene from ''Series/KaizokuSentaiGokaiger'') to be labeled as ''Power Rangers'' videos or even Sentai toys sold on eBay also marked as Power Rangers as well. This is especially prevalent among fans from countries such as Brazil, the Philippines, or France, which used to air locally-dubbed versions of ''Super Sentai'' before switching to ''Power Rangers'' dubs. |
| 199 | ** On another level, the individual ''Sentai'' seasons can be tarred with the ''Rangers'' brush. Some past seasons get a bad reputation simply because of the following ''Rangers'' adaptations. Some fans who watch ''Rangers'' first looked a little skeptically on ''[[Series/HyakujuuSentaiGaoranger Gaoranger]]'' or ''[[Series/GoGoSentaiBoukenger Boukenger]]'' simply because of how badly they were adapted into ''[[Series/PowerRangersWildForce Wild Force]]'' and ''[[Series/PowerRangersOperationOverdrive Operation Overdrive]]'', respectively. |
| 200 | ** This also applies to {{toku}}satsu in general. Fairly often people would call any superhero from Japan "a Power Ranger" (or even worse, "a Power Ranger ripoff"), despite having no resemblance to one whatsoever. The only exception is ''Series/{{GARO}}'', largely due to its more adult themes, and [[Anime/GaroTheAnimation the anime adaptation]] is far more well-known. |
| 201 | * The 1990s ''Series/SabrinaTheTeenageWitch'' sitcom is how most people know about the titular comics that have been running off and on since 1962. The [[WesternAnimation/SabrinaTheAnimatedSeries animated series]] took more cues from the sitcom than the comics, such as Sabrina having long golden blonde hair rather than her comics' platinum blonde bob, Salem being a warlock turned into a cat (a black cat, at that -- Salem had orange fur in the comics) as punishment for trying to take over the world, and Hilda being the ditzy aunt and Zelda the responsible one (other way around in the comics). It remains to be seen if the more horror-based adaptation ''Series/ChillingAdventuresOfSabrina'' will change audience perceptions. |
| 202 | * ''Series/Warehouse13'' uses this as a major plot point. All of the stories children grew up with, such as ''Literature/{{Cinderella}}'' and ''Literature/AlicesAdventuresInWonderland'', were {{bowdleri|se}}zed Warehouse-issue fabrications designed to downplay the more horrifying aspects of the ''true'' stories. |
| 203 | * The ''Series/{{Wonder Woman|1975}}'' series starring Creator/LyndaCarter colored, and continues to color, people's cultural knowledge of the character. Until the [[Film/WonderWoman2017 2017 film]], Wonder Woman never had the benefit of a successful adaptation that mitigates the {{Camp}} elements of the '70s show, and even after, older fans and pop culture still look heavily to the Carter version. The ''WesternAnimation/JusticeLeague'' animated series has helped to some extent, but [[Series/WonderWoman2011Pilot an adaptation with Adrianne Palicki]] was cancelled before it aired. And because, unlike the Batman show, it very rarely attempted to adapt any of the villain concepts from the comics, it's also left future filmmakers floundering to find a villain from the comics that the mainstream will recognize and care about. Creator/PattyJenkins, a fan of the show, ended up leaning heavily towards the show's camp with ''Film/WonderWoman1984'', though this time to critical and audience indifference. |
| 204 | [[/folder]] |
| 205 | |
| 206 | [[folder:Music]] |
| 207 | * Music/TheBeachBoys, despite being known as a surf band, actually transitioned into a highly influential Progressive Pop band in 1966 with the release of their MagnumOpus ''Music/PetSounds''. However, ''Pet Sounds'' was an AcclaimedFlop ([[GermansLoveDavidHasselhoff except in Britain]]), immediately overshadowed by the "Best Of" record ''Best of the Beach Boys Vol. 1'' issued by their label without the band's permission to make up for the loss of producing ''Pet Sounds''. While the worldwide success of the single "Good Vibrations" put them on the road to being taken as seriously as rival band Music/TheBeatles, the failure of the follow-up single "Heroes and Villains" and the cancellation of ''Pet Sounds''' follow-up ''[[Music/SmileTheBeachBoys SMiLE]]'' doomed them to "has-been" status. Then the release of the wildly successful GreatestHitsAlbum ''Endless Summer'' in 1974 cemented their reputation in the public eye as nothing more than a silly surf rock band, and it shifted the band's direction towards attempting to re-capture the success of their early hits ([[SeasonalRot arguably for the worst]]). |
| 208 | * Music/{{Eminem}}: |
| 209 | ** Em's 2010 single "Not Afraid" was an inspirational song in which Eminem rapped happily about his pride in being a RecoveredAddict, [[CreatorBacklash disowned]] his previous album, and asked any of his fans in a bad place to [[TheParagon reach out to him for the strength to save themselves]]. It was a megahit (one of his three Diamond singles) and rewrote his image in the public eye from the bratty little peroxide-blond MisanthropeSupreme he'd been in 2000 to a {{determin|ator}}ed AllLovingHero in sober dark clothing and hair. His follow-up single "Love The Way You Lie" featuring Music/{{Rihanna}}, a DestructiveRomance ArenaRock-influenced ballad, was an even bigger hit. The actual ''album'' these songs are from, ''Recovery'', is full of the VulgarHumor and heartfelt confessional material Eminem is known for; however, many fans of his older persona were disgusted by hearing [[RedBaron the Drama Setter]] promise "''no more drama''", seeing him pal around with the kind of pop stars he used to terrorise, and [[GoodIsBoring losing his punky, subversive edge]]. Even [[DyeingForYourArt dyeing his hair blond again]] and returning to a mature version of his 2000s persona in 2013 did nothing to shake the perception that Slim Shady was dead, and that Eminem got off the drugs, became wimpy, poppy, and [[AudienceAlienatingEra terrible]]. It's not for no reason that ''Kamikaze'''s lead single, "Fall", a DissTrack against [[TakeThatCritics several artists and commentators who'd mocked him for making music that was too nice and poppy]], promised in its first verse "''And though me and my party days have all pretty much parted ways, you'd swear to God I forgot I'm the guy that made "Not Afraid"''". |
| 210 | ** To a lesser extent, Eminem's 2004 album ''Encore'', recorded during a CreatorBreakdown that almost led to his death several years later and with accompanying problems with the content, has dinged his reputation, with a fairly common opinion that [[StarDerailingRole his music never recovered from it]]. Eminem mocked this in "Rap God", in which he claimed the listener was "stuck in a time warp from 2004". |
| 211 | [[/folder]] |
| 212 | |
| 213 | [[folder:Mythology & Religion]] |
| 214 | * ''Literature/TheBible'': The King James translation, with its florid verse and antiquated diction (it was deliberately written to be a bit archaic, even in James' day) has played a significant role in shaping the average person's image of ''The Bible'' in the English-speaking world. Most notably: it's the primary reason why so many people envision {{God}} speaking in YeOldeButcheredeEnglishe, with His speech peppered with "thees" and "thous". Some anglophone Christians hold it in such high regard that they treat it as the ''only'' English translation of ''The Bible'', and don't like to acknowledge other translations. This is a bit ironic if you know that the King James Bible initially became popular because of its literary merit rather than its accuracy: it wasn't intended to be a literal translation from Hebrew and Greek, but rather [[{{Woolseyism}} a work of English verse in its own right]]. |
| 215 | * Myth/ClassicalMythology: |
| 216 | ** ''Literature/TheMetamorphoses'' by the late Roman poet Ovid are this to Classical Mythology as a whole; Greek was a lost language in Western Europe for most of the Middle Ages, so most people from that region's only expose to Classical Myth only came through what the Roman's had translated into Latin (which ''was'' widely spoken thanks to being the Lingua Franca of the Roman Empire and later the Catholic Church). As a result, the versions of the stories presented by Ovid are more widely known and influential than the earlier Greek versions (see Medusa's backstory for an excellent example). Ovid's depiction of the Olympians as a pantheon of JerkassGods was a deliberate choice reflecting his own anti-traditionalist views, but due to his works being among the most influential interpretations of Greek mythology, most people will think that your average ancient Greek really believed their gods were rapists and selfish manchildren prone to smiting for the most petty of reasons. |
| 217 | ** Popular perception of Orpheus comes from Virgil and Ovid, the latter being a parodist, who first retold the tragic myth of Orpheus and Eurydice as we know it today--his music charmed the Underworld and persuaded its rulers to give him a chance to save Eurydice, but he looked back and lost her again. This inadvertently made Orpheus's other accomplishments, like traveling with the Argonauts or his reputation as a magician and healer, pale in comparison to his failure at saving Eurydice. Operas like ''Theatre/LOrfeo'' and ''Theatre/OrfeoEdEuridice'' further shaped his perception by focusing solely on his quest for Eurydice, to the point where even his adventure with the Argonauts is secondary in popular culture. |
| 218 | ** Medusa's perception as a TragicMonster largely came from Ovid, who first depicted her as the victim of a curse due to relations with Poseidon (consensual or otherwise) in Athena's temple. In earlier stories she and her sisters were born monsters and purely evil, but for any sympathetic retellings of her story, Ovid's is the one people remember and write about most. |
| 219 | ** Medea killing her own children just to spite Jason seems to have been Euripides's invention, but it eventually became the more popular version and is the one most people remember. Originally, it was the citizens of Corinth who killed Medea's children to avenge their murdered king and princess. |
| 220 | [[/folder]] |
| 221 | |
| 222 | [[folder:Theatre]] |
| 223 | * ''Theatre/TheMarriageOfFigaro'' was originally a play by Beaumarchais, and was the second installment in his Figaro trilogy. Mozart's opera adaptation, however, [[AdaptationDisplacement has been so much more successful than the original play]][[note]]for which we can probably blame ''WesternAnimation/LooneyTunes'' and MGM for using it so much[[/note]]that all subsequent adaptations of the plays are compared to Mozart's version of the story, rather than Beaumarchais': |
| 224 | ** Rossini's adaptation of the "prequel" (''Theatre/TheBarberOfSeville'', the actual first installment of the trilogy) gives Marcellina a much larger role than in the original play, due to her importance in Mozart's sequel, although it [[AdaptationalNameChange changes her name]] to Berta. |
| 225 | ** Additionally, the success of Mozart's version has 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 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. |
| 226 | * Since its debut in 1986, the musical adaptation of ''Theatre/ThePhantomOfTheOpera'' popularized the Phantom's image of wearing a mask covering only half his face rather than the full face mask in [[Literature/ThePhantomOfTheOpera the book]]. This [[SerendipityWritesThePlot only came about]] because it made it easier for the actor to wear a headset microphone and be more clearly understood while performing. The 1986 musical is also directly responsible for turning the Phantom from a TragicMonster to a sensual DracoInLeatherPants villain who enthralls the heroine Christine, in contrast to Gaston Leroux’s version where Erik (that’s his name in the book) while sympathetic is still [[TheGrotesque horrifying and repulsive]] in his appearance as well as his AxCrazy behaviour. You will find plenty of people who complain about the Lon Chaney version of the Phantom being too ugly and monstrous even though it’s far more accurate to the original book than the musical version. Christine is also affected by the musical. The most popular perception of her: TheIngenue brunette Sarah Brightman version, who is very submissive to the Phantom’s machinations is actually ''[[{{Chickification}} far]]'' removed from the book version of Christine who is a blonde, bold, outspoken WellExcuseMePrincess PluckyGirl who spends most of the book protecting her {{Love Interest|s}} Raoul after learning the “Angel of Music”'s true nature. Fans who started with the musical are often quite surprised upon reading the novel at how different Christine is (i.e courageous and active) compared to her musical theater counterpart. |
| 227 | * Creator/WilliamShakespeare did this with almost every story he adapted for the stage. |
| 228 | ** 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, 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. |
| 229 | ** Everyone knows LadyMacbeth, but most people couldn't tell you her actual name, because it's never mentioned in the play. For the curious, it was [[spoiler:Gruoch]]. Many scholars and English classes have debated her lines "I have given suck, and know How tender 'tis to love the babe that milks me" since no child of hers appears in the play, and a few adaptations will play her as having [[DeathOfAChild lost a child]] in the backstory. It's rarely mentioned in analysis of the play that she ''did'' have a son, Lulach, by her first husband (Lulach was thus Macbeth's stepson), and he outlived Macbeth by a good 18 years. |
| 230 | ** When we talk about ''Pyramus and Thisbe'', we're probably talking about the [[StylisticSuck incompetent]] ShowWithinAShow from ''Theatre/AMidsummerNightsDream'', and not the story from Creator/{{Ovid}}'s ''Literature/{{Metamorphoses}}''. |
| 231 | ** There was actually a bit of a fuss around this during Shakespeare's own lifetime: in early versions of the ''Theatre/HenryIV'' plays, the character of Sir John Falstaff -- an [[TheAlcoholic alcoholic]] FatBastard and all-around LazyBum, though undeniably a JerkWithAHeartOfGold -- was named Sir John Oldcastle, after an actual knight at Henry's court. The descendants of the actual Oldcastle, anticipating this trope, complained that the play would ruin their ancestor's good name, so Shakespeare renamed the character. |
| 232 | ** Everybody knows that at the end of ''Theatre/{{Hamlet}}'', [[EverybodyDiesEnding almost every main character is dead]], right? Not many people know that's an AdaptationalAlternateEnding; in the original Scandinavian legend of ''Amleth'', as recorded by Saxo, the title character kills his EvilUncle (whose name is Feng, and not Claudius) and becomes king of Jutland. His story doesn't even stop there; he gets mixed up in a whole series of wacky antics in the British Isles, is simultaneously married to two princesses, before ultimately falling in battle to a rival king from his mother's family. There's another version of the story in which it isn't even Amleth who kills Feng, but the ghost of his murdered father (whose name, in this version, is Orwendel). |
| 233 | ** The story of ''Theatre/KingLear'' is actually drawn from the ''Literature/HistoriaRegumBritanniae''...which has a happy ending, with Lear restored to the throne and Cordelia eventually succeeding him. Funnily enough, Shakespeare's tragedy was largely replaced by a bowdlerized version, Nahum Tate's ''The History of King Lear,'' for 150 years. It's rarely shown today but has always proven popular with audiences. |
| 234 | [[/folder]] |
| 235 | |
| 236 | [[folder:Video Games]] |
| 237 | * ''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}} (as well as ''[[Anime/FinalFantasyVIIAdventChildren Advent Children]]'', as mentioned in the animated films section). |
| 238 | * In a partial example, Dak'kon from ''VideoGame/PlanescapeTorment''. Dak'kon, a [[CharacterAlignment canonically]] LawfulNeutral ZenSurvivor with shades of WarriorMonk, was deliberately an unusual Githzerai; most were ChaoticNeutral, befitting their home in the inherently chaotic plane of Limbo. For every edition of ''TabletopGame/DungeonsAndDragons'' thereafter, the Githzerai became more and more like Dak'kon, who himself became a major, often-referenced figure in their history after his time with the Nameless One. |
| 239 | * ''VideoGame/SuperSmashBros'' has done this for a number of characters, due to intentional and unintentional reinterpretation: |
| 240 | ** Many depictions of [[VideoGame/MetalGear Solid Snake]] use his ''Smash'' design, which he never actually looked like. ''Smash'' Snake's design is essentially [[VideoGame/MetalGearSolid3SnakeEater Big Boss]] [[CompositeCharacter wearing Snake's outfit]], and even then it's based entirely on the ''VideoGame/MetalGearSolid2SonsOfLiberty'' Sneaking Suit (as that game was Solid Snake's most recent appearance when ''VideoGame/SuperSmashBrosBrawl'' added him to the series). |
| 241 | ** There's also [[VideoGame/FireEmblemTheBindingBlade Roy]], who has been named in fanon to be a HotBlooded tough guy when he's actually a soft-spoken and underconfident strategist. |
| 242 | ** [[Franchise/{{Metroid}} Samus]] tends to be treated in fanon as a FemmeFatale, an athlete, and/or a huge AnimalLover based on her "Zero Suit" depictions in ''Smash'' (with the "animal lover" part specifically coming from [[VideoGame/SuperSmashBrosBrawl the Subspace Emissary]] where she saves and protects Pikachu, which also extends to her suited form, though this also has its roots in [[VideoGame/SuperMetroid a much older game]]). In her native series meanwhile, she's generally depicted as a stock SilentProtagonist, with what little dialogue she does get being fairly clinical, the sole exception being her more timid portrayal in ''VideoGame/MetroidOtherM''. |
| 243 | ** 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 ''VideoGame/FZeroGX'' and the stylistic middle ground of both ''Anime/FZeroGPLegend'' and later promotional material (both in and out of ''Smash''). |
| 244 | * ''VideoGame/TheWitcher'' game series by Creator/CDProjektRed is undoubtedly this across the ''[[Franchise/TheWitcher Witcher]]'' franchise as despite deviating from [[Literature/TheWitcher the 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. [[Series/TheWitcher2019 the 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. |
| 245 | [[/folder]] |
| 246 | |
| 247 | [[folder:Western Animation]] |
| 248 | * ''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. |
| 249 | * Starting in the mid-2010s, the ''Franchise/DCSuperHeroGirls'' cartoons have made Jessica Cruz one of the more prominent Green Lanterns for younger general audiences as well, helped that [[AffirmativeActionLegacy she's a Latina woman bearing the mantle of one of the more well-known superheroes]]. Some media such as the ''ComicBook/RWBYJusticeLeague'' crossover comic use her volumetric hair with a green streak, based on her 2019 ''DC Super Hero Girls'' appearance, and her popularity as well as being a representation character are why she's sometimes used in place of Hal and John nowadays. |
| 250 | * Rankin/Bass's adaptation of ''WesternAnimation/FrostyTheSnowman''. 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. 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 also designed after this version of him, including the hat and nose.]] |
| 251 | * Everyone remembers ''WesternAnimation/HeManAndTheMastersOfTheUniverse1983'', with its goofy takes on the characters and the [[AndKnowingIsHalfTheBattle moral segments]] at the end. It was a cultural phenomenon in its day and is ripe for MemeticMutation in the Internet age. Fewer know that it was not the first version, and it wasn't even close to the last. The earliest version of He-Man were the minicomics sold with the Mattel Action Figures; he had no SecretIdentity, just being a BarbarianHero in a sort of FuturePrimitive setting implied to be AfterTheEnd of their world. [[WesternAnimation/HeManAndTheMastersOfTheUniverse2002 The 2002 series]] was a reboot that primarily drew from the first cartoon, but dialed down the camp and bumped things up a stage on the SlidingScaleOfContinuity. DC Comics would handle another reboot in 2012, in the form of a DarkerAndEdgier comic series. On top of that, you have the spin-off of the first cartoon, ''[[WesternAnimation/SheRaPrincessOfPower She-Ra]]'', about He-Man's long-lost sister, and the pseudo-sequel, ''WesternAnimation/TheNewAdventuresOfHeMan'', which moved to a new setting, mostly new cast, and transitioned to sci-fi. |
| 252 | * ''WesternAnimation/HowTheGrinchStoleChristmas'' depicted its [[TheGrinch titular antagonist]] as green instead of white (though color printing wasn't widely available when the original book was published), cemented Creator/BorisKarloff as the voice of the Grinch, and famously made "[[TheVillainSucksSong You're a Mean One, Mr. Grinch]]" a staple of any [[Film/HowTheGrinchStoleChristmas future]] [[WesternAnimation/TheGrinch2018 adaptions]] to have it covered. But because of the special's influence, it's The Grinch most audiences are familiar with. |
| 253 | * ''WesternAnimation/Invincible2021'' is 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 series 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. |
| 254 | * ''WesternAnimation/JusticeLeague'' influenced many people's views on characters like Wonder Woman and ComicBook/GreenLantern for years, because it served as their only major appearances throughout the 2000s and early 2010s. For example, many are surprised to find that Batman and Wonder Woman are not an OfficialCouple in the comics. In regards to the latter, while they're sometimes written as having feelings for each other, Wonder Woman is usually with Steve Trevor (or Superman in any sort of Creator/{{Elseworlds}} story).[[note]]For his part, Batman has a pretty sizable list of love interests, with him having a child with [[Characters/BatmanTaliaAlGhul Talia Al-Ghul]] and an on-again-off-again relationship with Catwoman.[[/note]] In regards to the latter, when the 2011 ''Film/{{Green Lantern|2011}}'' film came out, many accused DC of {{Race Lift}}ing Green Lantern, unaware that [[MorePopularReplacement Hal predated John]] and that there are multiple Green Lanterns of Earth (not counting Alan Scott, there were four Lanterns operating concurrently in the comics at that point). Even the comics themselves have taken influence from the DCAU show, with ''ComicBook/JusticeLeague2018'' by Creator/ScottSnyder having the Superman, Batman, Wonder Woman, Flash, Martian Manhunter, John Stewart Green Lantern, and Hawkgirl line-up in addition to a lot of the humorous team chemistry from the show. |
| 255 | * ''Franchise/MyLittlePony'': Material from older iterations of the franchise is frequently dismissed by the 4th Generation fandom as an unwatchable pile of sugary {{sweetness|Aversion}}. This is almost entirely because of ''WesternAnimation/MyLittlePonyG3'', which had SliceOfLife stories [[NoAntagonist with no villains to speak of]]. People turned onto the franchise by ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' are often surprised to find the G1 [[WesternAnimation/MyLittlePonyTVSpecials TV specials]], [[WesternAnimation/MyLittlePonyTheMovie1986 movie]], and [[WesternAnimation/MyLittlePonyAndFriends cartoon show]] can be remarkably mature, can be [[VileVillainSaccharineShow a bit]] [[SurprisinglyCreepyMoment dark]], and on occasion [[https://derpibooru.org/1084620 quite horrifying]]. ''WesternAnimation/MyLittlePonyTales'', while also a slice-of-life show with no villains, gets less flak by virtue of its only claim to fame being that it was obscure to begin with. |
| 256 | * The ''ComicStrip/{{Popeye}}'' theatrical shorts are far better known than the comic strip he originated from, meaning anyone who reads them are surprised to find that the comic boasts actual storylines and strong continuity, as opposed to the shorts, which are a pure GagSeries. |
| 257 | * ''WesternAnimation/RudolphTheRedNosedReindeer1964'': |
| 258 | ** [[Literature/RudolphTheRedNosedReindeer While Rudolph has been around since the late 1930s]] (such as getting adapted [[WesternAnimation/RudolphTheRedNosedReindeer1948 into an animated short by Max Fleischer in 1948]], a song by Music/GeneAutry in 1949, and a Creator/DCComics series that ran from 1950-1962), the 1964 Christmas special by [[Creator/RankinBassProductions Rankin & Bass]] has left a very strong impression on the general public. The public is familiar with the song, but a lot of people are more familiar with the 1964 special [[AdaptationDisplacement than the original story/poem by Robert May from 1939]]. [[TruerToTheText It's gotten to the point that non-Rankin-Bass adaptations that are faithful adaptations of the original story]] (such as ''[[WesternAnimation/RudolphsLessonsForLife Rudolph's Lessons For Life]]'' by Montgomery Ward from 1996, and the [[Creator/FleischerStudios Max Fleischer short]]) have people questioning where [[CanonForeigner Hermey, Yukon Cornelus, Clarice, and The Misfit Toys are]]. |
| 259 | ** The special even shaped the public perception of how Rudolph's own red nose works. The special made Rudolph's red nose smaller and had it work like a flashlight (such as being able to glow randomly), complete with sound effect coming from his nose. Compared to the original story and pre-Rankin-Bass adaptations where Rudolph's red nose always glowed (such as his nose being so shiny that it glistened during the day, [[https://static.tvtropes.org/pmwiki/pub/images/rudolphtherednosedreindeer1948.jpg and his nose still glowing as he's sleeping]]) [[GagNose and his nose was notably bigger than the other reindeer]]. After 1964, future illustrations and media featuring Rudolph would have his red nose work like it did in the special. [[WesternAnimation/RudolphTheRedNosedReindeer1998 Even the 1998 feature film]] was influenced by the 1964 stop-motion special by having his nose work the same as the special including sound effects when it starts glowing. |
| 260 | * ''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 happy 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'', ''ComicBook/UltimateSpiderMan'' and ''VideoGame/MarvelsSpiderMan2'') has the Symbiote suit adversely affect Spidey when he wears it, to the point of it being a SuperPoweredEvilSide. |
| 261 | * ''WesternAnimation/SuperFriends'' has crippled ComicBook/{{Aquaman}} as a character for quite a long time, largely because of the memetic value of the show [[ThisLooksLikeAJobForAquaman always making sure he can contribute to the team dynamics]]. Give him a harpoon hand, replace it with a magical water hand, point out how life at the bottom of the ocean has made him stronger, faster, and more resilient than most humans... and everyone will still be like, "He's just some guy who swims fast and talks to fish." The comic and various other adaptations have been trying to combat this for years (for instance, ''WesternAnimation/JusticeLeague'' followed the comics of the time and gave him features of a BarbarianHero, while ''WesternAnimation/BatmanTheBraveAndTheBold'' made him a BoisterousBruiser and LargeHam), but while these versions each had their share of fans none seemed to permanently stick in the public consciousness until he was featured in the Franchise/DCExtendedUniverse (which also went the barbarian look route), where he's played by Creator/JasonMomoa. Between [[Series/StargateAtlantis Ronon Dex]], [[Series/GameOfThrones Khal Drogo]] and Film/{{Conan|The Barbarian 2011}}, if there was one person in the world who could rescue Aquaman's reputation as a stone-cold badass, it was him. Based on how his [[Film/Aquaman2018 solo movie]]'s turned into a billion-dollar success, it's a fair bet to say he's succeeded. |
| 262 | * ''WesternAnimation/SupermanTheAnimatedSeries'' introduced a new version of [[Characters/SupermanBrainiacCharacter Brainiac]] who has largely shaped popular perceptions of the character, to the point that he's arguably more iconic than the original version from the comics. Thanks to the show, many casual fans are likely to believe that Brainiac is a Kryptonian android rather than a Coluan cyborg, and they're likely to picture him as a stoic and dispassionate villain driven by the pursuit of knowledge (rather than a ruthless cyborg driven to conquer or assimilate lesser lifeforms). Notably, the version of Brainiac from the animated series was something of a CompositeCharacter with "The Eradicator", who is now relatively obscure due to Brainiac replacing him in the show. |
| 263 | * ''Franchise/TeenageMutantNinjaTurtles'': |
| 264 | ** 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 are the heroes in a half-shell having [[ColorCodedCharacters differently colored bandanas]] (in the original comics, they all had red bandanas), the Shredder being promoted from a TokenMotivationalNemesis to the BigBad, and 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. |
| 265 | ** [[WesternAnimation/TeenageMutantNinjaTurtles2003 The 2003 cartoon]] has a more notable character example with Karai. Karai as she appeared in the comics was originally a much more neutral character who could be ruthless but was not an enemy of the Turtles and while she was also a Foot Clan member, she didn't have much to do with Shredder either. However, the 2003 show established her as a daughter figure to the Shredder [[MyMasterRightOrWrong with varying degrees of loyalty to him]] and usually starts out as an enemy to the Turtles with her and Leonardo having some kind of connection of sorts. This characterization of Karai would go on to be her more familiar template for future incarnations. |
| 266 | * The popularity of both the 2000s ''WesternAnimation/{{Teen Titans|2003}}'' animated series and the 2010s ''WesternAnimation/TeenTitansGo'' has made those incarnations of the characters -- from personality to costumes -- ''the'' definitive version of the superhero team, [[LostInImitation with the comic book versions of these characters being changed to account for the fact that potential readers would be more familiar with the animated versions]]. Foremost was the higher humor quotient between Cyborg as a BoisterousBruiser and FunPersonified, Raven as a PerkyGoth and TheComicallySerious while Starfire as a FunnyForeigner with a {{Verbal Tic}} in avoiding contractions and regularly say the word "the." Raven's costume also changed to be a LeotardOfPower (because it was easier to animate) and Starfire uses green starbolts, with her sister Blackfire now sporting purple ones, as opposed to the entire Tameranian species just having red starbolts. 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 is Damian Wayne rather than Dick Grayson, and the Jaime Reyes ComicBook/BlueBeetle is a tech-centered character like Cyborg) and ensure that Cyborg became more friendly with the group because of the ''Teen Titans'' show's legacy. |
| 267 | * ''WesternAnimation/TheSmurfs1981'': |
| 268 | ** While ''Franchise/TheSmurfs'' has been active since 1958, the Creator/HannaBarbera series that ran throughout [[WesternAnimation/TheSmurfs1981 the 1980s]] has left a huge impact with the franchise as a whole (especially in [[GermansLoveDavidHasselhoff the United States]]). The series made the smurf species [[AdaptationalNiceGuy notably nicer and cuter]] compared to their mischievous behavior and tendencies present in [[ComicBook/TheSmurfs original Belgian comics]]. Despite the show ending in 1989, it left a huge impact with the public (mainly Americans) believing The Smurfs to [[SweetnessAversion be saccharine and sentimental]]. Even ComicStrip/{{Peanuts}} creator Creator/CharlesSchulz hated The Smurfs finding them "ugly" as detailed in some of his autobiography books. This doesn't effect fans of the series in Europe (especially in France, the Netherlands, and Belgium) due to FrancoBelgianComics being huge compared to the United States. It also toned down the slapstick and social satirical elements that was common in the comics and [[WesternAnimation/TheSmurfsAndTheMagicFlute pre-HB animated media.]] |
| 269 | ** The show popularized the idea of Gargamel and Azrael always being the ArchEnemy to The Smurfs. In the comics and older Smurf media, Gargamel and Azrael only appeared in two storylines from the comics with The Smurfs facing other dangerous humans and animals (such as The Howlibird). The massive popularity of the Hanna-Barbera cartoon caused both Gargamel and his cat to be the default antagonists which Creator/{{Peyo}} decided to incorporate into the comics near the end of his life. |
| 270 | ** In the comics, [[TrademarkFavoriteFood The Smurfs' food of choice was Sarsaparilla]]. The 1980s series changed it to "Smurfberries" which gained it's own [[TieInCereal cereal brand]] during the show's original run. Their love for Smurfberries was present in the [[Film/TheSmurfs live-action films]] [[Film/TheSmurfs2 series]] by Creator/SonyPicturesAnimation and the CGI animated film ''WesternAnimation/SmurfsTheLostVillage''. The [[WesternAnimation/TheSmurfs2021 2021 series]] reverted back to them loving Sarsaparilla despite taking place in the same universe as the 2017 animated film. The 2010 mobile game ''Smurfs Village'' features The Smurfs equally enjoying both Smurfberries and Sarsaparilla. |
| 271 | * 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]]; it probably doesn't hurt that those same character designs would be used in several classic Creator/{{Capcom}} arcade games of the period (most famously ''VideoGame/MarvelVsCapcom''), which remained popular with gamers for decades afterward, cementing their iconic status. 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}}! |
| 272 | * When ''Literature/TheRailwaySeries'' storybooks were adapted into the now insanely-successful ''WesternAnimation/ThomasAndFriends'' series, there were numerous changes right out of the gate; Annie and Clarabel had 4 wheels each instead of bogies, there was only one Sir Topham Hatt, the Skarloey Railway engines were painted in different colors instead of sharing a uniform livery, and Thomas himself retains his distinctive sloped footplate dip on his front. Knapford was also changed from a minor junction to the main terminus in the middle of Sodor, while Gordon's hill was now an actual hill rather than a simple incline. The first 26 books were published annually beginning in 1942 before stopping, followed by 13 more on a similar schedule in 1983, before finally ending with two one-off prints in 2007 and 2011. The television series, however, ran consecutively for 37 years, from 1984 to 2021. While the series did switch to CGI in 2009 before a 2D reboot replaced it in 2021, the original live-action model episodes from the first to seventh series are the most well-remembered of the entire franchise, and aside from liberal fan adaptations most fan stories tend to draw inspiration and visual cues from those episodes the most. Most modern fans, however, are much more familiar with the CGI entries in the franchise, with these being emulated just as much as the original model episodes (though the writing is more along the lines of seasons 17-21, which were widely considered superior to most episodes of modern ''Thomas''). |
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