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Audience-Coloring Adaptation

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"People don't really hate Aquaman.
It's just that the 70s version of him is such an easy and irresistible target."

An adaptation to a long running franchise which irrevocably colors the public's perception of the franchise as a whole.

Done badly, this can not only kill a show, but may also kill any interest in doing future adaptations unless we are promised the next one will be very good. Done well, it can attract more potential fans, and can cause creators of the main work to incorporate some of the qualities of the adaptation.


Sometimes, it is used for Lost in Imitation.

See also Adaptation Displacement, Never Live It Down, and First Installment Wins, where the first iteration of a franchise is more remembered than its sequels, regardless of quality.


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    Anime and Manga 
  • Pokémon:
    • The "original season" Pokémon anime will always be how the Pokémon 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 Pokémon Speak. 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.
    • Similar to Dragon Ball Z below, in the West many of the dub human names are more well-known, such as Ash over Satoshi and Misty over Kasumi.
    • Pokémon: The First Movie 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 Pokémon Red and Blue, and Mewtwo had no defined personality, though Pokémon Ultra Sun and Ultra Moon had Giovanni with a Mewtwo as a nod to the anime.
  • Gundam:
    • While still well-liked by the general fandom, Mobile Suit Gundam Wing 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 Alternate Continuity), 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, it garnered higher ratings in the US than in its native Japan and acted as a Gateway Series to Gundam. However, its popularity eclipsed those of the UC entries as the original Mobile Suit Gundam aired after Wing's run only to suffer abysmal ratings. Furthermore, as Wing had many female fans, it was also blamed for intensifying the Ship-to-Ship Combat and Die for Our Ship sentiments in Gundam that started in Mobile Suit Zeta Gundam. Much of the rift stems from the differences in narrative and aesthetic styles of Wing and UC entries. Wing is about a Ho Yay-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 melodramatic in a conflict between 2 major superpowers. Subsequently, many people in Western anime communities are more likely to associate Gundam with the aesthetics of Wing, as it was the most popular series outside of Japan.
    • In general, some fringe UC fans will accuse any alternate universe Gundam series not made by Yoshiyuki Tomino for negatively affecting the image of Gundam, regardless of actual quality. Not even beloved OVA series set in the UC timeline like Mobile Suit Gundam: The 08th MS Team 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 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.
  • People generally associate Yu-Gi-Oh! with the Merchandise-Driven Yu-Gi-Oh! Duel Monsters series, where card games are Serious Business and Duels Decide Everything. 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.
    • Toei's Yu-Gi-Oh! (first anime series) is regarded as Darker and Edgier and close to the manga, when it was much Lighter and Softer 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.
  • Dragon Ball:
    • The anime is this to the manga. People familiar with the many (fairly accurate) jokes about how dragged out the fights are and the heavy use of Inaction Sequence might be surprised to find that the manga is, for the most part, fairly fast-paced and frantic.
    • For the West, in particular the United States, Funimation's 1998 in-house dub of Dragon Ball Z is effectively more canon than the Japanese original, and even other English dubs. The replacement score by Bruce Falcouner and 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 . Goku's character in particular is more outwardly heroic and has parallels to a traditional hero like Superman, possibly aided by their similar origin stories. As a result, most U.S. fans have a reverse They Changed It, So It Sucks to the Japanese show, decrying aspects like the Kikuchi score and that almost all of the Son family is voiced by "some old lady." Dragon Ball Kai 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 Dragon Ball Super for the same reasons.
    • In a more meta sense, the popularity of Dragon Ball Z in the West has meant that the earlier version of the show, Dragon Ball, 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).
  • The characterization and plot of the anime version of Sailor Moon has eclipsed the manga to the point that fans discovering Sailor Moon Crystal (a much Truer to the Text adaptation of the manga) were surprised to find a vast number of discrepancies. For example, Mamoru - while he had Deadpan Snarker tendencies in the manga, he was never the Jerk with a Heart of Gold 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, Aloof Dark-Haired Girl who Does Not Like Men. Her Hot-Blooded tendencies was played up by the anime, and she was never interested in Mamoru.
  • Sonic X is the most influential Sonic the Hedgehog derivative outside of the Archie comics thanks to it airing during a Newbie Boom and it being Truer to the Text than other adaptations. Elements of it was even used in the games. The fandom's portrayals of Amy, Tails, Shadow, and Maria owe as much to the anime as to the games, as does Knuckles and Rouge's relationship.

    Comic Books 
  • Archie Comics' Sonic the Hedgehog is this to the Sonic the Hedgehog fandom due to being a long-running adaptation that began when the series had minimal plot. Even two decades after Sonic Adventure, many fans believe Sonic lives on Mobius instead of Earth. Some even treat Canon Foreigner comic characters like they're either game-canon or canon to Sonic Sat AM due to the shared origin.
  • 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 A-Force, 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 Girly Girl with a Tomboy Streak into a straight Girly Girl 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.

    Film - Animated 
  • Disney has played an enormous role in coloring public knowledge of numerous fairy tales, and even some novels and short stories, with Lady and the Tramp, The Rescuers, The Fox and the Hound, 101 Dalmatians, the The Great Mouse Detective, and The Black Cauldron being but a few titles now almost entirely unknown outside their Disney version.
    • When people think of Aladdin, odds are they'll think of the Disney version with its storybook version of Persia/Arabia, rather than the Chinese setting that the original story employed. To be fair, nearly all adaptations of Aladdin were set in Arabia well before Disney got their hands on the story. And moving the story out of China does make it easier to cast Caucasian actors, as the Disney film did. Besides, the "China" of the original story was In Name Only, solely for the sake of making the setting more exotic.
    • Pocahontas, meanwhile, is one of the biggest subversions. The stage version of John Smith and Pocahontas had formed itself not long after the real events, through many different variations and romanticizing went as far as them being lovers. Once Disney put that story to celluloid, people complained enough that everyone now knows the real Pocahontas was only twelve years old at the time and has no love affair with Smith. She even married John Rolfe and moved with him to England, a fact that Disney got right in the direct-to-video sequel.
    • There are many, many complains about the 2014 French film Beauty and the Beast having a blonde Belle (Léa Seydoux) and not a brunette, despite the original fairy tale never specifying Belle's hair color. That's because Disney made her a brunette in 1991's Beauty and the Beast, and that didn't change with Emma Watson in the 2017 live action film. And Léa Seydoux is not even the first blonde Belle, as Josette Day already was in the 1946 version.
  • The How to Train Your Dragon movies, which was adapted from the fairly obscure book series of the same name, have pretty much defined the series in the general public. The average person might be surprised at the wide amount of differences between the books and the movies if you hand them one of the books, where Toothless is a much smaller and annoying dragon for example.

    Film - Live Action 
  • In 1995, Judge Dredd had a film adaptation starring Sylvester Stallone 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. Almost two decades later, the impact can still be seen in DC's failed attempt to market Judge Dredd trade paperbacks in American comic stores, and in how the latest film adaptation was a Box Office Bomb despite being much closer to the source material and winning the acclaim of those who actually saw it.
  • Though the original Gojira was a serious and scary movie, Godzilla is usually remembered in the United States as a camp icon from the 60s, or by the 1998 In Name Only adaptation, a sentiment that has only been alleviated somewhat by the 2014 reboot, and to a lesser extent, the original Japanese version of the first film being made widely available.
    • This trope plays differently in Japan though. While the campy films were heavily promoted in the United States, particularly Godzilla vs. Megalon, and were often aired on television or sold on home video extremely cheap, 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 much of the Heisei series, and the recent Shin Godzilla, while much of Western kaiju fandom overlooked these later installments until fairly recently.
  • The first sound version of Frankenstein (made in 1931, starring Boris Karloff) simplified and compressed the story considerably and changed the character of Frankenstein's Monster. In particular, the monster in the original story was actually about as lithe as a human, could speak, and was very intelligent, not the stiff, shambling, groaning monster of the movies. He also did not have bolts in his neck or a cylindrical flat-top head. The movie's first sequel solidified the idea that the monster was called Frankenstein, though this mix-up was already in effect in the preceding decades. 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.
  • Bela Lugosi's portrayal of the Count in the 1931 adaptation of Dracula thoroughly supplanted the original novel's depiction of the title character. Nowadays, having Count Dracula walk around freely in daylight is regarded as Our Vampires Are Different, 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.)
  • Related to Universal Horror, The Mummy (1932) saw a significantly less scary reinvention with The Mummy Trilogy, to the point the trailer for the 2017 remake has many commenters weirded out by the horror tone returning instead of the Indiana Jones-esque adventure tone seen in the movies with Brendan Fraser.
  • The success of the The Lord of the Rings 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 expected to approach zero. The studio struggled for a while to get the prequel, The Hobbit, off the ground, due in part to the pressure of making it conform to the existing films and turning it into a trilogy.
    • In particular, many people seem to have forgotten that The Hobbit was originally a children's story and not a manly action-adventure tale. 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.
  • The Conan the Barbarian franchise has been a series of adaptations building on each other, for better or worse, until the original Howard stories were Lost in Imitation. Some aspects of the Expanded Universe Conan, such as the classic Arnold Schwarzenegger film and Frank Frazetta's artwork depictions, are more successful than others, such as the sequel Conan the Destroyer which with Red Sonja nearly killed the entire genre as well as franchise. And the Conan remake seems to have done it all over again, as it did poorly at the box-office and was savaged by critics.
  • For most people, Superman is synonymous with the Christopher Reeve movies. To a lesser extent there is the 1950s TV show with George Reeves, 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.
  • Howard the Duck fans will always have to deal with the negative reputation the series had from the film adaptation. This got so bad that The Stinger to Guardians of the Galaxy featuring Howard was divisive, up until Fantastic Four (2015) retroactively helped the movie's reputation by being regarded as worse.
  • Ang Lee's Hulk movie is often blamed for the failure of the MCU reboot, The Incredible Hulk, which despite being better received by fans, sold even fewer tickets than the original. The character's cinematic reputation has been somewhat restored by The Avengers, but Marvel is still wary of giving the property another chance, which is why there's no Hulk sequel in the works as of 2016 (it's likely that Thor: Ragnarok 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).
  • Willy Wonka & the Chocolate Factory is this for its source novel, Roald Dahl's Charlie and the Chocolate Factory. That film has become so iconic and parodied that outside of the U.K. — and especially in the United States — the novel has suffered Adaptation Displacement. This is why Tim Burton's 2005 adaptation didn't age well, as it is widely seen as poorly-done remake of the film rather than a faithful retelling of the novel. There are actually 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 Gene Wilder film, never mind that said tellings are usually Truer to the Text (the 2013 stage musical was heavily retooled for its 2017 Broadway run to work in more film-specific material for this reason). Dahl himself disowned the film 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.
    • One good example is how the characters' nationalities are presented. Willy Wonka is clearly supposed to be British in the novel, but in both film versions he's American — after all, both Gene Wilder and Johnny Depp are American. Augustus Gloop's family in the novel is either British or East Coast American, judging by his mother's speech patterns, but both films made them Germans. Veruca Salt's family was American rather than British (in the text, Mr. Salt says "crazy" rather than "mad" and calls his female employees "gals" rather than "girls"), but both films changed this. With the Bucket family it's a gray area: Charlie and his parents and grandparents are implied to be British (eating cabbage soup and whatnot), but the sequel Charlie and the Great Glass Elevator follows the lead of the 1971 film by retconning them as Americans, albeit ones of English descent (Grandma Georgina's ancestors came over on the Mayflower); in Burton's version, though, they're back to being British.
  • Not surprisingly, Walter Hill's 1979 cinematic adaptation of The Warriors has completely eclipsed the Sol Yurick novel — so much so that the 2005 video game adaptation not only kept Hill's campy approach, but made it even campier!
  • While the Transformers Film Series 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 medias, where it has plenty of good stories, mature writing and memorable characters (as well as giant robots fighting).
  • While in the original novel Zorro wore a poncho, a sombrero and a full-face mask and used a cavalry sword and a pistol as his main weapons, the 1920 movie adaptation introduced the costume and weapons that have been used in all adaptations, with even the original author (who was still alive) revising his stories to fit.
  • A rare example of a film coloring perception of non-fictional persons is Bonnie and Clyde. Despite the various liberties it takes with history, virtually all mainstream knowledge of the historical Outlaw Couple 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 Outlaw Couple were portrayed as Villain Protagonists). There have been some attempts to make a more historically true film about the pair, but they are stuck in Development Hell at best.
  • In the original Addams Family comic strip and 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). Christina Ricci's portrayal in the film adaptations, meanwhile, took out most of the perkiness and made her into a snarky, stoic goth girl and something of a proto-Daria. Ricci's version seems to have left a mark, with the '90s revival The New Addams Family, despite using many Recycled Scripts from the original series, keeping the films' characterization of Wednesday.
  • Public perception of Harry Potter is generally more tied to the film series than to the books themselves. This is even true within the fandom, to an extent — at least part of the Ron the Death Eater trope is often chalked up to Ron being an Adaptational Wimp in the films. This has even led to one instance of it happening within the books themselves; Harry alludes to Hermione punching Malfoy in a later book. But that was an invention of the film — as Hermione only slapped Malfoy in the book.
  • The 1939 adaptation of The Wonderful Wizard of Oz literally colored most subsequent adaptations, creating the Ruby Slippers (which were silver shoes in the book) and the classic portrayal of Wicked Witches as green-skinned.
  • Brian DePalma's adaptation of Carrie made several changes that other adaptations have followed:
    • 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."
    • 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.
    • Chris Hargensen gets her Beta Bitch 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 2002 and 2013 versions, Norma in the 1976 version) is given Adaptational Villainy.
    • Carrie's showdown with Margaret becomes the climax of all the films, whereas Carrie tracks down Chris and Billy afterwards in the book.
  • These days, if people remember Dick Tracy at all, they'll almost certainly think of the hugely hyped 1990 Disney film, which was very colorful and shot through with Broadway-style musical numbers — two elements that were not present in 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 Al Pacino's makeup in the film).
  • When most people picture Marilyn Monroe, 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 Gentlemen Prefer Blondes 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.
  • Many common parodies of Jack Nicholson seem more inspired by Christian Slater's imitation of him than by the vocal nuances of Nicholson himself.

  • The King James version of The Bible, with its antiquated (it was deliberately a bit archaic even in James' day) version of English, seems to have produced in some people the rather bizarre notion that God speaks Ye Olde Butcherede Englishe exclusively, and that it's very nearly sacrilegious to use modern English when speaking to or about Him. To this day, there are a great many Christians and Christian denominations (especially those on the fundamentalist end), known as "King James Onlyites," who will insist that the King James Version is the only English translation "approved" by God, and can get very touchy on the subject. However, these people are in the minority in much of the world. This is especially ironic/silly when you consider just why people like the KJV: because it is the version of the Bible with the most artistic merit. Rather than just a translation of the Hebrew, it is a work of English verse in its own right. In other words, it isn't a literal translation.
  • In-universe, the later runs of The Princess Bride include post-novel content in which William Goldman tells us (kayfabe) that Stephen King 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 abridgement 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.

    Live Action TV 
  • The 60s high Camp TV interpretation of Batman still lingers on as some people's view of the character, despite several adaptations and major character changes since. This has continued to the extent that Warner Bros. Consumer Products approached Adam West and 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.) The Jim Holmes incident may further encourage this revival of the West version.
    • Many also complain that the show paints the The Comics Code/Silver Age-era Batman comics, which are now remembered as being as campy and silly as the show. Many forget that the West show was intended as a parody, and was restrained by the production values and budget of an ABC show in the 1960s. Fans of classic comics lament that so many view this period of comics as a Dork Age, because despite not treating a guy who dresses up as a giant bat to fight crime as such serious business, the Batman of the 60's and 70s was still cool in his own right.
    • In some ways, Batman colored the perception for the genre of Western superheroes. Until 2000 or so, when superhero movies started being huge, any outside journalism on the genre would feature "Bif! Pow!" in the headline, as if Adam West was the last word on the subject.
    • Notably, The Dark Age of Comic Books may have revitalized interest in the show as a backlash against all the grimdarkness. Batman: The Brave and the Bold was something of a love letter to both the show and the Silver Age DC comics, and even included episodes written by Paul Dini, who had done plenty of serious work for the comparatively serious Batman: The Animated Series. Also, DC Comics debuted Batman '66, 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 and Harley Quinn) in 2013, to modest success.
  • The 70s Wonder Woman series starring Lynda Carter colored, and continues to color, peoples' cultural knowledge of the character. Unlike Batman, however, Wonder Woman has never had the benefit of a successive adaptation that mitigates the Camp elements of the 70s show. The Justice League animated series has helped to some extent, but popular culture still looks almost exclusively to the Carter version, and 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 care about.
  • While Power Rangers is a successful franchise on its own, many Super Sentai 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 Kaizoku Sentai Gokaiger) 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.
    • 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 Gaoranger or Boukenger simply because of how badly they were adapted into Wild Force and Operation Overdrive, respectively.
    • This also applies to tokusatsu 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.
  • Masked Rider, Saban's adaptation of Kamen Rider BLACK RX, didn't just color the Kamen Rider 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 Kamen Rider Dragon Knight (adapted from Kamen Rider Ryuki), Executive Producer Steve Wang 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 Kamen Rider Kuuga, followed suit by switching to "Kamen Rider" beginning with Kamen Rider Double. 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 Power Rangers Samurai was airing (which gave fans the impression they would try to adapt Kamen Rider Decade, considering how it intersected with Samurai's source series), and nothing yet has come of that.
  • Warehouse 13 uses this as a major plot point. All of the stories children grew up with, such as Cinderella and Alice's Adventures in Wonderland, were bowdlerized Warehouse-issue fabrications designed to downplay the more horrifying aspects of the true stories.
  • Any Doctor in Doctor Who will be inevitably compared to Tom Baker's take on the character, who is considered the default Doctor portrayal even though he was the fourth actor to play the rolenote  and was in contrast to his predecessors at the time. The "Hinchcliffe era" of the show, which had over-the-top Gothic Horror villains, a metafictional tone, What Do You Mean, It's for Kids?, No Hugging, No Kissing and lots of BBC Quarry sets and corridor-running, is considered to be the way the show operates at its most Strictly Formula. (Note that this is something of a Dead Unicorn Trope.) After the New series took off, any new Doctor will also be compared to David Tennant, who is considered the default NuWho Doctor.
  • The Arrowverse has had this effect for the mythos of Green Arrow and The Flash, which have been the biggest out-of-comics takes on those two 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. Unfortunate for many fans of the comics, though, as the shows receive a great deal of They Changed It, Now It Sucks! treatment and there's something of a Fandom Rivalry between fans of the comic versions and fans of the shows, so having the shows become the popular representation of the franchises in the pop culture can be something of a sour pointnote . This especially goes for the Green Arrow, whose comic version is very different.note 
  • The 1990s Sabrina the Teenage Witch sitcom is how most people know about the titular comics that have been running off and on since 1962. It remains to be seen if the more horror-based adaptation Chilling Adventures of Sabrina will change audience perceptions.

    Video Games 

    Western Animation 
  • Super Friends has crippled Aquaman as a character for quite a long time. 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, Justice League followed the comics of the time and portrayed him akin to a Barbarian Hero, while Batman: The Brave and the Bold made him a Boisterous Bruiser and Large Ham), 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 DC Extended Universe (which also went the barbarian route), where he's played by Jason Momoa. Between Ronon Dex, Khal Drogo and Conan, if there's one person in the world who can rescue Aquaman's reputation as a stone-cold badass, it's him. Based on how his new movie's turned into a billion-dollar success, it's a fair bet to say he's succeeded.
  • Everyone remembers the 1987 Teenage Mutant Ninja Turtles cartoon, while the much darker original comics and subsequent cartoons and movies seem to be living in its shadow... Much like the '60s Batman example earlier in the page.
  • Everyone remembers He-Man and the Masters of the Universe (1983), with its goofy takes on the characters and the moral segments at the end. It was a cultural phenomenon in its day, and is ripe for Memetic Mutation 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 had no Secret Identity, just being a Barbarian Hero in a sort of Future Primitive setting implied to be After the End of their world. 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 Sliding Scale of Continuity. DC Comics would handle another reboot in 2012, in the form of a Darker and Edgier comic series. On top of that, you have the spin-off of the first cartoon, She-Ra, about He-Man's long-lost sister, and the pseudo-sequel, The New Adventures of He-Man, which moved to a new setting, mostly new cast, and transitioned to sci-fi.
  • Inverted in the case of The Real Ghostbusters and Ghostbusters II. It's been said GB2 is seen as the runt of the franchise because RGB set such a high standard with writing and characterization. At least until RGB was tragically torn apart by Executive Meddling in the later seasons, that is.
  • My Little Pony is frequently dismissed as a Tastes Like Diabetes outlet. This is almost entirely because of My Little Pony G3, which had Slice of Life stories with no villains to speak of. People turned onto the franchise by My Little Pony: Friendship Is Magic are often surprised to find the G1 TV specials, movie, and cartoon show can be remarkably mature, can be a bit dark, and on occasion quite horrifying. My Little Pony Tales, 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.
  • The popularity of both the 2000s Teen Titans animated series and the 2010s Teen Titans Go! has made those incarnations of the characters — from personality to costumes — the definitive version of the superhero team, with the comic book versions of these characters (Beast Boy/Changeling in particular) being changed to account for the fact that most potential readers under 30 are more familiar with the animation versions.
    • Starfire gets it some too. Expect her speech pattern, with different levels of exaggeration depending on the tone of the work, to pop up in any animated version. It's even come back to the comics, where her starbolts are now green (they're traditionally red; the show was the first to make them green) and she's portrayed as a bit more of a Fish out of Water like the show version than was ever normal for the comic version who has been on Earth for quite some time by this point.
  • Justice League influenced many people's views on characters like Wonder Woman and Green Lantern for years, because it served as their only major appearences throughout the 2000s and early 2010s. For example, many are surprised to find that Batman and Wonder Woman are not an Official Couple in the comics. They're sometimes written as having feelings for each other, but Wonder Woman is usually with Steve Trevor, while Batman nearly went on to marry Catwoman at the end of the 2010s. When Green Lantern came out, many accused DC of Race Lifting Green Lantern, unaware that Hal predates John and that there are multiple Green Lanterns of Earth.

Alternative Title(s): Audience Colouring Adaptation


Example of: