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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."

A form of Adaptation Displacement in which an installment or adaptation in a long-running franchise irrevocably colors the public's perception of the franchise as a whole.

Done badly, and this can not only damage a franchise's reputation but may also 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. 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.

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 
  • 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. 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.
    • 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, Now 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 Z 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 previous series, 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).
    • In general, a lot of elements people stereotypically associate with the franchise were far more significant in the various Non Serial Movies than the series proper. This was due in large part to the films reusing elements from the series and each other, leading to Character Exaggeration of traits like Piccolo's protectiveness of Gohan, Krillin's ineffectiveness in a fight and Goku’s willingness to kill villains. In particular, there's the films' treatment of Goku and Vegeta as rival Bash Brothers working together to fight the foe of the day—this only happened once in the entire run of the manga and anime but has become so significant to the franchise as to essentially be its modern status quo.
  • 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 melodramatically in a conflict between 2 major superpowers. Subsequently, many people in Western anime communities are more likely to associate Gundam with the aesthetics of Wing, as it was the most popular series outside of Japan.
    • 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 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.
    • SD Gundam 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? SD Gundam Force, which received immediate backlash due to Toonami deciding to air it around the same time they aired more typical Gundam shows (Gundam Wing, G Gundam, the original series, SEED, etc) which had stark contrasting tones and Gundams that "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 (Brave Battle Warriors and Sangoku Soketsuden), with people once again judging the Gundam designs again, and writing both off as childish drivel. The thing is, while the claims about some SD Gundam works being more silly and childish aren't EXACTLY inaccurate, a good number of them still contain a good number of serious moments to them that you would expect from a Gundam work, they just don't go as hard as the main Gundam works do on the darker and more depressing aspects of their stories, and also contain more lighthearted and comedic moments to balance things out. And the claims that Force is just "a silly kids show'' aren't even entirely accurate, as 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).
  • Kirby: Right Back at Ya! 's dub defined, in the eyes of many, how the main 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 "Poyo!" The widespread popularity of King Dedede's anime personality is a point of contention with fans of the modern Kirby games, in which he has undergone extensive Character Development and has become a (generally) heroic Friendly Rival who takes his title seriously rather than the bratty, half-witted Authority in Name Only that most audiences see him as.
  • Naruto: The anime's designs and Character Exaggeration 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 jerkier moments are anime-exclusive.
  • One Piece's anime much like Naruto has this effect upon the manga which people tend to be less familiar with and Character Exaggeration being treated as the norm, for example Luffy being such an idiot that he actually tries eating a treasure chest or Zoro’s sense direction being so bad a dead end into the ocean bewilders him. For even earlier anime watchers the infamous 4Kids dub is this for the series, with the sight of Sanji having a lollipop in Totto Land arc eliciting an unintentional reaction in western fans. The gratuitous fanservice of female characters like Nami the series often gets derided for, is really more a fault of the anime than the manga for adding Hotter and Sexier moments as well exaggerating the physiques of Nami, Robin, etc.
  • Pokémon: The Series:
    • The "original series" of the 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.
    • 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 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.
    • 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, while Pokémon Let's Go, Pikachu! and Let's Go, Eevee! (itself a loose remake of Yellow) made Giovanni interested in finding and capturing Mewtwo as part of his plan.
  • Sailor Moon:
    • The characterization and plot of the anime version 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 were played up by the anime, and she was never interested in Mamoru.
    • The original '90s English dub by DIC Entertainment possesses a lot of discrepancies from the Japanese version of the anime, had lots of censorship, awkward voice acting, script and name changesnote  changed the music and story, and a few episodes were cut completely. But the show still proved to be entertaining and a hit with children in North America, its theme song was very iconic and was one of the catalyst shows that kicked off the anime boom in the 1990s. To many fans, the '90s dub and all of its flavor and lingo was their definitive experience with Sailor Moon, and it's really hard to see the show as anything else. To them Usagi is always 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 Viz Media in 2014, which was more faithful, dubbed with professional voice actors, kept the original music, and didn't make any cuts or edits, a Broken Base 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 campy fun and energy and distinctiveness of the 90s dub that made it so memorable, and DIC's replacement soundtrack was missed by many, even by its most staunch critics.
  • 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 were 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 animenote  as to the games, as does Knuckles and Rouge's relationship.
  • Street Fighter II: The Animated Movie is a tremendous case of this. It brought in many elements that weren’t in the games or at least weren’t as overt but soon became the status quo from then on, like Ryu and Ken being Bash Brothers, Vega having a violent Villainous Crush on Chun-Li, Dhalsim being a wise mentor to the other characters and Chun-Li being a certified Ms. Fanservice. The anime was so influential it directly inspired the Street Fighter Alpha series, particularly in how young Ryu and Ken were portrayed in flashbacks training together.
  • 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.
  • When it comes to Urusei Yatsura, much of the Common Knowledge about the series stems from the anime adaptation:
    • The use of catchphrases by the various characters is largely an anime-exclusive thing.
    • Ryunosuke's father is known for riding random waves to enter the scene and for shouting "I love the sea!" He never does the former in the manga, and uses the latter catchphrase once 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".
    • Lum nicknaming her wrathful zaps of Ataru "Divine Retribution" is an anime thing. Giving Ataru an electrified version of The Glomp only happens half a dozen times in the entire manga (one time when Lum is drunk), and nicknaming this move as "Expression of Love" is unique to the anime.

    Comic Books 
  • The Dark Knight Returns absolutely is this, not only to the mainstream audience but the Batman mythos in general as Frank Miller’s comic helped pioneer many of the modern conventions of Batman and DC that many people don’t realise are Newer Than They Think. In the 80s comics at the time Batman while darker than he was in Silver Age, still had plenty of lighthearted camp about him. In TKDR however featured a far Darker and Edgier Batman that had been seen before with his superhero antics being akin to an addiction he’s fallen back into after losing pretty much everything else in his life. Bruce treating the Robins as “soldiers”, his devil may care stubbornness in the face of authority, being extra Crazy-Prepared when dealing with Superman, extreme brutality to opponents and even the black and grey costume returning (in the '80s at the time it was still blue and grey) all come from The Dark Knight Returns and were folded forward into the mainline comics (and films and cartoons) one way or another. Thanks to this comic Superman and Batman’s relationship changed no longer being perfect friends, The World's Finest, but rather somewhat distant and distrusting (if respectful) of each other. Even the strange sexual overtones Joker has towards Batman, something that’s considered normal nowadays was a strange addition at the time where Joker in the other comics was a traditional Arch-Enemy with no overt Foe Romance Subtext.
  • The League of Extraordinary Gentlemen 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 Jules Verne's 20,000 Leagues Under the Sea (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); The Mysterious Island (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 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.
  • DC's New 52 reboot from 2011 is similar to Ultimate Marvel in this regard, 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 Barbara's tenure as Oracle and the later Batgirls Cassandra Cain and Stephanie Brown; the Legacy Character concept in general really) were downplayed. This also came with the universe becoming Darker and Edgier 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 Lighter and Softer approach — historically, this had always been the other way around.
  • 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.
  • The Sensational She-Hulk by John Byrne, has had this effect on She-Hulk to a massive extent. Originally Jen’s story was much closer to her cousin Bruce’s, being regarded as a monster and acting like it being burly and ill-tempered. Shulkie’s adventures, like Hulk, were often Monster of the Week 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 Lighter and Softer character and her appearance while still tall had become supermodel petite, with her fanservice and often fourth wall breaking humour being at the forefront. This version quickly became the most popular iteration of She-Hulk and any attempts to make her more serious and “Hulk”-like again having often been met with considerable dislike from fans. The MCU’s She-Hulk: Attorney at Law series takes great influence from Bryne’s She-Hulk, with her skinnier design, campy rom-com behaviour, and Breaking the Fourth Wall humour.
  • Similar to the X-Men below, the '90s era of Spider-Man instigated by 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 Venom being a hilarious wisecracking Cloudcuckoolander Anti-Hero similar to Deadpool comes from this era as he was previously a much more serious and nightmarishly threatening antagonist when he debuted in the late 80s.
  • Sonic the Hedgehog (Archie Comics) 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 Western 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 the Hedgehog (SatAM) due to the shared origin.
  • Ultimate Marvel, Marvel's Ultimate Universe, 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 Genetic Engineering Is the New Nuke or "realistic" deconstructions. Though the 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 Spider-Man being the biggest example of this: every adaptation since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The Marvel Cinematic Universe 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 Hawkeye having a family and Black Widow working for SHIELD). Although later phases in the MCU downplay the Ultimate Marvel influence, to burrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, Infinity Saga, and The Illuminati.
  • The '90s X-Men era will always be the major audience-influencing incarnation of the team (unsurprisingly given X-Men 1# by Chris Claremont and Jim Lee was highest selling comic of all time). The perception of Cyclops being in his blue kevlar suit with yellow cross belts and a wraparound visor, Jean in her yellow and blue bodysuit, Storm in her silver bodysuit, Rogue with her green and yellow bodysuit as well as bomber jacket and massive mane of hair and Gambit and Jubilee being highly prominent, despite being quite new members at the time is all thanks to this period. Thanks to this era fans will likely easily recognise Psylocke in her fanservicey ninja form but will not recognise her purple-haired and pink outfit which was her look for decades prior to getting a body swap. A similar case occurs with Angel as he’s more remembered in the rad-looking metallic Archangel form than his normal Angel persona he had for years before becoming a Horseman of Apocalypse. This comic period would go onto to inspire both the Fox Kids animated series (itself highly influential see Western Animation) and X-Men: Children of the Atom and the subsequent Marvel vs. Capcom franchise. There’s also a spin-off comic based on the animated series, which was based on this era.

    Films — Animation 
  • The four Direct to Video 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 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.
  • Disney has played an enormous role in coloring public knowledge of numerous fairy tales, and even some novels and short stories, with Dumbo, Lady and the Tramp, 101 Dalmatians, The Aristocats, The Rescuers, The Fox and the Hound, The Black Cauldron and The Great Mouse Detective being but a few titles now almost entirely unknown outside their Disney version.
  • DreamWorks Animation's How to Train Your Dragon series, which was adapted from a long-running, but somewhat obscure British children's book series of the same name, have pretty much defined the series in the general public. The average person might be surprised at the wide amount of differences between the books and the movies if you hand them one of the books. The most obvious difference is that part of the books' premise is that semi-domesticated dragons have already been a common aspect of viking life for generations, rather than Hiccup being the one to spearhead the concept. What made Hiccup notable in the books was that he was one of very few people who could speak their language, which by proxy meant that all the dragons spoke in the books, with Toothless being quite talkative and sarcastic. Aside from the basic premise of "fantasy vikings with dragons", the books and the films might as well be two different intellectual properties with a handful of recycled character names.
  • Final Fantasy VII: Advent Children has had this effect upon not only the original game and its expanded material but how the Fanon views the FFVII characters in general. Cloud, instead of being a BFS spinning cocky showoff who hides his insecure dorkier (“Let’s mosey”) side under a cool guy persona, is an angst heavy stoic Hurting Hero who almost never smiles 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 Too Good for This Sinful Earth Purity Personified figure. Tifa rather than being quite the Shrinking Violet compared to Aerith, keeping her feelings to herself, is Hot-Blooded and confident to go along with her Ms. Fanservice appearance. Thanks to Advent Children along with other titles such as Kingdom Hearts and Dissidia Final Fantasy this is how a lot people view the characters as and many were shocked at Final Fantasy VII Remake for seemingly altering their personalities (e.g having Aerith curse “Shit!”) even though it was actually just making them Truer to the Text.
    • Notably Emotionless Girl Lightning from Final Fantasy XIII's character was devised and frequently seen as a kind of Distaff Counterpart 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 Square Enix themselves like the fans, took the “brooding emo” perception of Cloud as the norm, and wasn’t until Tetsuya Nomura decided he wanted to bring Cloud back closer to his original characterisation in Remake that this changed.
    • Advent Children also introduced a lot of the realistic aesthetics and 2000s-era 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.

    Films — Live-Action 
  • The Addams Family:
    • 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, and the Netflix TV series Wednesday amped it up even further by having her try to outright kill people.
    • Casting conventionally attractive actors like John Astin and Carolyn Jones (and later Raúl Juliá and Anjelica Huston) as the Addamses has also colored what fans believe they should look like, as the original comics depicted them as rather grotesque. The 2019 movie used character designs directly inspired by Charles Addams' original art, but it was criticized for looking "ugly".
    • While Charles Addams and John Astin 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 Latin Lover in the 1991 film (where he was played by the Puerto Rican Raúl Juliá), it's become pretty standard to portray him as explicitly Hispanic, dropping the occasional flourish of Gratuitous Spanish in his dialogue. He was voiced by the Guatemalan-born Oscar Isaac in the 2019 animated film and played by the Puerto Rican Luis Guzman in Wednesday, with his children in that series similarly played by Jenna Ortega and Isaac Ordonez. Wednesday also explicitly established his heritage in canon, with Morticia mentioning that he has Mexican ancestors.
  • In Jules Verne's 1873 novel Around the World in Eighty Days, 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 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.
  • Batman (1989):
    • The movie helped mainstream audiences forget the other live-action portrayal of Batman, 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 Grappling-Hook Pistol, Batman wearing mostly black, and Gotham City being a gothic, decaying metropolis.
    • Jack Nicholson was so iconic as The Joker that several aspects of his take on the character have been repeated by casual fans, including that he was the man who murdered Batman's parentsnote , that he was a middle-aged mannote  or that his real name is Jack Napiernote .
  • Batman Returns:
    • The Michelle Pfeiffer version of Catwoman 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 Batman, she had always been more of an Anti-Villain. 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. Halle Berry's take on the character was widely mocked (but more due to poor filmmaking). Anne Hathaway's version from The Dark Knight Rises, 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.
    • Tim Burton and Danny DeVito's interpretation of 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 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.
  • 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 (though one eventually did get made).
  • Although Bram Stoker's Dracula is considerably more faithful to the original novel in many respects, it also introduced a few original ideas that have shaped general perceptions of Dracula. Among other things: it helped popularize the idea of Dracula being 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 Vlad the Impaler being the same person (instead of one just being vaguely inspired by the other). Most adaptations or retellings since Francis Ford Coppola's have given Dracula some kind of personal connection to Mina, and many have used the "reincarnated wife" element (which was originally the Mummy's schtick).
  • Carrie (1976) 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.
  • The 1998 film version of 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 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 itself 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 that band who sang "In The Summertime" than with a musical theatre cat.
  • Jean Shepherd's tales involving the Parker family cover almost every aspect of Ralphie's childhood and adolescence, but due to A Christmas Story's famous reputation, many people are under the impression that his entire body of work is centered around Christmastime nostalgia. In truth, the "Red Ryder" bit is pretty much the only one of Sheperd's stories to revolve around the holiday (even the other plot threads in the movie are taken from other stories that don't feature Christmas in any way).
  • 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.
  • The Dark Knight Trilogy:
    • Being the Batman’s films of the Turn of the Millennium, Christopher Nolan’s version of the mythos is often what mainstream (especially younger) audiences first think of when it comes to the character and his foes with the tone being extremely grounded and more traditional esoteric elements like Robin being averted altogether. The popular perception of Batman being a black-armour-plated violent vigilante who growls and snarls his threats like “SWEAR TO ME” comes from these films, with the armoured plated look for the Batsuit getting rolled forward into media like Injustice: Gods Among Us, Batman: Arkham Knight and Batman: The Telltale Series. Not to mention a character like Lucius Fox getting the Ascended Extra treatment, being a minor character in the comics but thanks to the trilogy, he's now integral to Batman’s life.
    • While still generally rivaled by Nicholson above, Heath Ledger’s late and great performance as The Joker has left a massive mark upon the character. The idea of Joker being a beggared and dirty Psycho Knife Nut mobster with a Glasgow Grin comes from his portrayal of the character and Joker media (and actors) afterwards often take cues from his incarnation of the character.
    • The films, in particular Batman Begins 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 Evil Mentor, 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 fused with Ra’s. Batman: Arkham Origins’s “Initiation” DLC burrows greatly from the film right down to the Tibetan setting.
  • 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 Sondheim 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).
  • Even though it was a Box Office Bomb and a dud with critics, David Lynch's Dune has had a lasting influence on the pop culture perception of the 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 crams 800 pages of plot into a 2-hour container). Several of the most well-known quotes related to the Dune franchise 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 worms' distinctive three-pronged Flower Mouth 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 Denis Villeneuve 2021-2023 adaptation in two parts reprises many of these elements, although notably not the three-pronged jaws for the sandworms.
  • Godzilla:
    • Though Godzilla (1954) was a serious and scary movie, Godzilla is usually remembered in the United States as a camp icon from the '60s and '70s, or by the 1998 very loose adaptation. This sentiment has only been alleviated somewhat by the 2014 reboot and the 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 The Return of Godzilla into a more comedic outing to tailor it to U.S. expectations.
    • 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 Godzilla vs. Megalon, 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 Shin Godzilla. While Japan produces comedic Godzilla media as well, bigger releases like the anime films and the series Godzilla: Singular Point 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.
    • Godzilla (1998) is still the franchise flag-bearer in global markets where the Japanese films have made little to no impact. As fan reports suggest, this even lead to a backlash against the post-2014 MonsterVerse films, which were celebrated by American and Japanese fans for taking more inspiration from the source material but were derided by international audiences for the same reason.
  • 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 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 
    • 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.
    • 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.
  • Many common parodies of Jack Nicholson seem more inspired by Christian Slater's imitation of him than by the vocal nuances of Nicholson himself.
  • 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 2020, despite The Incredible Hulk's Sequel Hook (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).
  • James Bond 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.
    • 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.
    • To the surprise of many who know Bond for being a chronic womanizer, Literary Bond is a lot more of a Heartbroken Badass. 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 On Her Majesty's Secret Service and Casino Royale, but the standard Girl of the Week formula is what most people think of when it comes to Bond's romances.
  • 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. As a result of this, it took north of two decades and another adaptation that went Truer to the Text (which still bombed in theaters, though was Vindicated by Cable) 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.
  • Steven Spielberg's film adaptation of Jurassic Park has long since overshadowed Michael Crichton'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.
  • The success of 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 pretty small. 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 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.
    • Some specific aspects that have colored perception include Frodo's age. He was played by Elijah Wood, 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.
  • The Marvel Cinematic Universe is, as of 2021, the biggest film franchise of all time, but while people are generally aware the movies are based on Marvel Comics, 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.
    • For just a starter, 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 Ant-Man and The Wasp. 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.
    • Hawkeye as a character suffers the most thanks to this, as the films made him an overtly serious guy without the showy and captivating personality of the comics character, not to mention the physical prowess (movie Hawkeye is an apt fighter and archer, but the comics one is a Badass Normal who was physically on-par with Captain America!), and thus his character became something of a Memetic Loser, a reputation that has affected the comics character significantly. Only Avengers: Endgame 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.
    • 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 Robert Downey Jr.’s portrayal is a loveable, charismatic, quip-happy hilarious Jerk with a Heart of Gold who when the chips are down will save the universe as the Big Good. 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 Strawman Political Broken Ace pseudo-fascist starting with 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.
    • 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.
    • 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 Guardians of the Galaxy 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.
  • 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.
  • Mortal Kombat: The Movie 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 Land Down Under badass in the games ever since. Raiden is another prominent example, in first MK he wasn’t a Big Good Mentor Archetype but rather a asshole Thunder God who entered the tournament out of sheer boredom and while he Took a Level in Kindness in the sequel, he still wasn’t meant be a Gandalf or Zordon figure to the heroes. Thanks to Christopher Lambert’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 Belligerent Sexual Tension also comes from this movie. Not to mention the iconic song “Techno Syndrome” by The Immortals people heavily associated with the film, so much so they don’t know that it debuted two years before the film nor that it’s actually a remix of another song altogether.
  • The Resident Evil Film Series being the most financially successful film franchise based on a video game series is unavoidably this for a lot of mainstream audiences who often haven’t touched the games. While the games themselves are of course extremely popular, odds are most modern viewers’ first exposure to the IP will instead be the Anderson films which are In Name Only to the source material. For instance, Milla Jovovich’s Alice is popular enough in the public zeitgeist that a lot of people don’t even know she’s a Canon Foreigner 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 post-apocalypse story like most zombie fiction rather than largely isolated outbreaks like in the games. Resident Evil (2022) was even catered towards fans of the films with the similar setting (with scrapped plans to have Alice cameo), Constantin Film company who own the films rights to RE even felt Resident Evil: Welcome to Raccoon City 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.
  • Thanks to its classic Japanese adaptation and reasonably popular American remake, The Ring today is best known for two things: (1) watching a 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 Red Herring that kinda serves as the whole point of the series.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.
  • The first four Scooby-Doo (2002) live-action films portraying Fred as a Jerk Jock-type character seems to have affected his public perception, particularly among audience members that had/did not have previous exposure to Scooby-Doo material (his defining trait in the original series was just being The Leader and a Nice Guy; since he was such a bland character to start with, it's natural that most people remember the more defined characterization that Freddie Prinze Jr. 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 Daphne with Velma.
  • Ask a layperson about The Shining, and more often than not they'll default to the 1980 adaptation by Stanley Kubrick. Like Dune, most of what the public considers the most iconic and essential moments from the story (e.g. the axe, "HEEEEERE'S JOHNNY," the hedge maze) were original to the film as a result of it being a hugely Pragmatic Adaptation (the book had a roque mallet instead of an axe, the hedge maze was a group of living topiaries, Jack never references Johnny Carson). 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 King hated Kubrick's film), and the film version of the book's sequel instead based itself on the 1980 version.
  • Silent Hill by Christophe Gans is inevitably this for most mainstream audiences. The games series while often the Sacred Cow 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 which take an infamously Broad Strokes 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 punishment of one particular character. Most people thanks to the film will also assume it’s a mother looking for her daughter story, rather than a father looking for his daughter story like it was in the original game. Not helping matters is the fact Silent Hill: Homecoming the most readily available title borrows heavily from the movie making the shirtless triangular-headed look for Pyramid Head even more standardised.
  • Sam Raimi's Spider-Man Trilogy was the first high-profile film adaptation of the Spider-Man comics, and served as many people's first real introduction to them. In particular: Tobey Maguire, James Franco and Kirsten Dunst's iconic performances as Peter Parker, Harry Osborn, and 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 Dogged Nice Guy (despite the comics' version being more of a snarky Jerk with a Heart of Gold), they tend to picture Harry as Peter's affable lifelong best friend (in the comics, he was originally a 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 The Amazing Spider-Man and The Amazing Spider-Man 2 incorporated many ideas from the comics that the Sam Raimi movies omitted (e.g. 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 more faithful to the source material in many respects.
  • 2009's Star Trek made much out of the general perception by the public, even some longtime fans, of Kirk as an anti-authoritarian Space Cowboy who breaks rules when he truly believes he's correct, barely scrapes through the Academy and 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 an alternate reality where Kirk's upbringing was decidedly different. It wasn't until the third film that his persona was more like the actual Kirk of the classic series.
  • 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.
    • 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.
    • Gene Hackman's portrayal of Lex Luthor has definitely stuck in the minds of many. Quite a few people think that Lex is meant to be a middle-aged Large Ham 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 Corrupt Corporate Executive, and far from being a hammy megalomaniac is usually a far more subtle, Affably Evil bad guy.
    • General Zod’s entire modern characterisation is thanks to Terence Stamp’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 Superman II that Zod’s whole character got an overhaul being upgraded to Superman’s main 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 Michael Shannon’s take in the DC Extended Universe.
    • 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 Raygun Gothic style of the Golden Age, the film however went with the Crystal Spires and Togas look. After that, pretty much all comics went with the crystal look for Krypton and even other media like the prequel TV show burrow greatly from the aesthetics of the Reeve films.
  • Suffice it to say that most post-1956 adaptations of the Bible story of the Exodus story bear the unmistakable fingerprints of The Ten Commandments. Most notably, 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.
  • 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 media, where it has plenty of good stories, mature writing and memorable characters (as well as giant robots fighting). Bumblebee was made to specifically fix this.
  • To this day, Universal Horror has had this impact on many of the "classic" horror monsters, especially those that they adapted from older material. The Hammer remakes in the '50s and '60s hewing to Universal's characterization only solidified their impact.
    • 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 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, 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 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 following sequel has 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.
      • The 1931 film also introduced 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 Son of Frankenstein and The Ghost of Frankenstein) — the iconic hunchback assistant who unlike even the Bride 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 animated film) and is generally viewed by the mainstream as synonymous with the Frankenstein story itself.
    • Bela Lugosi's portrayal of the Count in the 1931 adaptation of 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 Classical Movie Vampire and uses an uncaptioned picture of Lugosi's Dracula as that trope's page image. Nowadays, having Count Dracula walk around freely in daylight is regarded as a subversion of the "traditional" rules, and if a man with a mustache dressed up in a cape and fangs, he'd be jeered as a poor copy for not shaving. The Count's white mustache is the first thing Harker notices about his host's appearance in the original novel.
    • The Invisible Man (1933) incorporated elements not just from H. G. Wells' 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, he only turns evil after the experiment when he realizes what he can get away with. The pseudo-remake Hollow Man 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 the 2020 remake would run with.
    • Going in the other direction, Universal's The Mummy (1932) saw a significantly less scary reinvention with The Mummy Trilogy, to the point that the trailer for the 2017 remake had 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 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.
  • 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!
  • 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 UK — and especially in the United States — the novel has suffered Adaptation Displacement. This is why Tim Burton's 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 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 filmnote , 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 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 more faithful to the book than the 1971 film) kept most of these changes, only making Charlie and his family British again. And even Charlie and the Great Glass Elevator (the sequel to the original book) followed the movie's lead by retconning Charlie and his family as Americans.
    • A number of fans and critics decried Burton's film for the unforgivable "alteration" of making the other children's fates known to the viewer. There is a widespread perception that the classic film left their ultimate endings ambiguous, even implying that they all died. Not only is this not an alteration from the original text (there's an entire chapter called "The Other Children Go Home"), it's not even an alteration from the first film, where Wonka tells Charlie the other children will be fine, but hopefully a little wiser.
  • For many viewers,The Wizard of Oz is the main influence in the way in which they perceive anything related to the Land of Oz 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 Return to Oz, people wondered why Dorothy was a young girl and not in her late teens like Judy Garland was in the famous 1939 film. Disney paid a hefty sum to use the ruby slippers as well, rather than confuse audiences who never read the books by having them be silver (not to mention the shoes never appear again in the sequels anyway, and were replaced by the Magic Belt). Basically, the main reason it bombed was that it was too much like the books, and not enough like the film most people are familiar with; not helping its case was that it opened with Dorothy being assumed delusional and given electroshock therapy, which was not in the books and clashed with the tone of both the books and 1939 film.
  • The live-action X-Men Film Series from 20th Century Fox are notable for being one of the first major attempts at adapting a Marvel Comics series to film for a general audience, and they served as many people's first introduction to the X-Men (if they hadn't already been introduced by X-Men: The Animated Series 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:
    • 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 Rogue is a timid teenager who steals other people's superpowers, that Charles Xavier is a kindly British schoolmaster, that Magneto is a frail-looking man named "Erik Lehnsherr", that Wolverine is a Tall, Dark, and Handsome loner, and that Mystique is Magneto's loyal female minion. note  Patrick Stewart's portrayal of Charles Xavier was so iconic, in fact, that a few later adaptations set in different continuities — like X-Men: Evolution and Legion (2017) — largely based their own portrayals of the character on his performance, and Stewart even briefly reprised his role in a cameo in Doctor Strange in the Multiverse of Madness. The films are also the reason so many people imagine Xavier and Magneto as lifelong friends with a playful and cordial dynamic who call each other "Charles" and "Erik"note ; this idea was largely invented for the films (likely inspired by the Real Life friendship between Patrick Stewart and Ian McKellen), but it proved to be one of the most well-received things about them.
    • For the other X-Men characters (Storm, Gambit, etc.), the movies didn't erase what other adaptations such as X-Men: The Animated Series and Marvel vs. Capcom helped cement as iconic... except for 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 to be an obstacle in between Wolverine and Jean note , and 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 , particularly as some other incarnations give them a fair amount of Adaptational Wimp like the films.
    • The Fox films also pioneered the Movie Superheroes Wear Black trope (due to Bryan Singer 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 lampshaded this.
      Cyclops: Sorry, Logan. Superheroes wear costumes. And quite frankly, all the black leather is making people nervous.
  • 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 Mark of Zorro (1920) introduced the costume and weapons that have been used in all later adaptations, with even the original author Johnston McCulley revising his newer stories to fit. Also, the 1920 movie implied his costume was red, it wasn't until The Mark of Zorro (1940) that it became definitively black. And finally, although Zorro's cloak billowing on horseback is the iconic image, the cape didn't arrive until 1957.

  • The King James version of The Bible, 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 Ye Olde Butcherede Englishe, with His speech peppered with "thees" and "thous". Some particularly conservative Christians in the English-speaking world 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 a work of English verse in its own right. Even Richard Dawkins (an outspoken atheist) acknowledges its artistic value, once saying that "a native speaker of English who has never read a word of the King James Bible is verging on the barbarian."
  • 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 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.)

    Live-Action TV 
  • The Arrowverse has had this effect for the mythos of Green Arrow, The Flash, and 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 Supergirl (2015) 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 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, having the shows become the popular representation of the franchises in pop culture can be something of a sour pointnote . This especially goes for the Green Arrow, whose comic version is very different.note 
  • Batman (1966)'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 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).
    • Many also complain that the show paints 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 '60s and '70s was still cool in his own right.
    • 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.
    • 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, in 2013 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 from Knightfall and Harley Quinn from the '90s animated series), to modest success.
    • The Adam West TV show is still the metric in which anything Batman-related is compared to in Japan since that show was the first serious attempt to localize Batman for Japanese audiences. As a result, Batman gained a reputation for being a campy weirdo in a bat costume who punches and kicks equally campy weird villains, and the Japanese loved him for being exactly that. The result was later attempts to show more serious Batman stories falling totally flat in Japan because 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 Box Office Bomb in Japan for not being campy, and may still be like that today, considering nothing Batman-related has ever succeeded in Japan without being at least a little bit silly, such as Batman Ninja.
  • The Boys is definitely this for people in regards to the comic it's based on. The comic is one of Garth Ennis' 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 deconstructive Take That! at DC and Marvel with shock for shock's sake violence, sex (often non-consensual), grotesque imagery, nihilism, and good old fashioned Toilet Humour. The much more well-known Amazon show, though still exceptionally dark and edgy, is really a Lighter and Softer 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 portrayals of Homelander, Starlight, A-Train, The Deep, Mauve, and Soldier Boy in the show are all loved by fans but in the comic itself most said characters were very generic (even Starlight is just the Satellite Love Interest to Hughie). Comic Homelander in particular isn't anything like the Love to Hate 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.
  • 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 (although some use Matt Smith as a yardstick, given his more distinctive Doctor appearance).
  • The Incredible Hulk (1977) 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 Hulk Speak in the movies until 2017's Thor: Ragnarok (the Hulk's fourth major appearance in the MCU). The Hulk's iconic You Wouldn't Like Me When I'm Angry! Catchphrase also originated in the series.
  • 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 the fact that Saban let the trademark expire suggests Saban merely did so so no one else could use it.
  • 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. The only exception is GARO, largely due to its more adult themes, and the anime adaptation is far more well-known.
  • 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. The 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 Chilling Adventures of Sabrina will change audience perceptions.
  • 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.
  • The Wonder Woman series starring Lynda Carter colored, and continues to color, people's cultural knowledge of the character. Until the 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 Justice League animated series has helped to some extent, but 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. Patty Jenkins, a fan of the show, ended up leaning heavily towards the show's camp with Wonder Woman 1984, though this time to critical and audience indifference.

  • The Beach Boys, despite being known as a surf band, actually transitioned into a highly influential Progressive Pop band in 1966 with the release of their Magnum Opus Pet Sounds. However, Pet Sounds was an Acclaimed Flop (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 The Beatles, the failure of the follow-up single "Heroes and Villains" and the cancellation of Pet Sounds' follow-up SMiLE doomed them to "has-been" status. Then the release of the wildly successful Greatest Hits Album 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 (arguably for the worst).
  • Eminem:

    Mythology & Religion 
  • Classical Mythology:
    • 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 L'Orfeo and Orfeo ed Euridice 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.
    • Medusa's perception as a Tragic Monster 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.

  • The Marriage of Figaro was originally a play by Beaumarchais, and was the second installment in his Figaro trilogy. Mozart's opera adaptation, however, has been so much more successful than the original playnote that all subsequent adaptations of the plays are compared to Mozart's version of the story, rather than Beaumarchais':
    • Rossini's adaptation of the "prequel" (The Barber of Seville, 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 changes her name to Berta.
    • Additionally, the success of Mozart's version has basically doomed any attempt to adapt the third play in the trilogy, The Guilty Mother, because of its darker tone. Beaumarchais wrote the trilogy as a progression from comedy to tragedy, but Mozart toned down or removed many of the darker themes from the second play that made that progression more gradual; his version only hinted at Cherubino's lust for the Countess and cut any mention of her reciprocation, and it Plays for Laughs the Count's plan to force Cherubino 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 gave birth to his child is a Genre Shift that is too abrupt for audiences to accept, given the light comedic tone of Mozart's opera.
  • Since its debut in 1986, the musical adaptation of The Phantom of the Opera popularized the Phantom's image of wearing a mask covering only half his face rather than the full face mask in the book. This 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 Tragic Monster to a sensual Draco in Leather Pants 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 horrifying and repulsive in his appearance as well as his Ax-Crazy 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: The Ingenue brunette Sarah Brightman version, who is very submissive to the Phantom’s machinations is actually far removed from the book version of Christine who is a blonde, bold, outspoken Well, Excuse Me, Princess! Plucky Girl who spends most of the book protecting her Love Interest 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.
  • William Shakespeare did this with just about every story he adapted for the stage.
    • When we talk about historical figures like Richard III of England or Macbeth, King of Scotland, we're usually talking about — or at least acknowledging — their decidedly villainous portrayals in Shakespeare. These two plays in particular are often given a Setting Update, such as the 1995 version of Richard III with Ian McKellen, which transplants the character into the 1930s and the rise of fascism, or the 2007 Patrick Stewart Macbeth, which was set in something resembling the Soviet Union in the late '40s and early '50s, literally taking the characters out of their historical contexts. If audiences weren't already trained to see Richard III and Macbeth as literary characters first and historical figures second, this would seem ridiculous and anachronistic.
      • Everyone knows Lady Macbeth, but most people couldn't tell you her actual name, because it's never mentioned in the play. For the curious, it was 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 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.
    • When we talk about Pyramus and Thisbe, we're probably talking about the incompetent Show Within a Show from A Midsummer Night's Dream, and not the story from Ovid's Metamorphoses.
    • There was actually a bit of a fuss around this during Shakespeare's own lifetime: in early versions of the Henry IV plays, the character of Sir John Falstaff — an alcoholic Fat Bastard and all-around Lazy Bum, though undeniably a Jerk with a Heart of Gold — 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.
    • Everybody knows that at the end of Hamlet, almost every main character is dead, right? Not many people know that's an Adaptational Alternate Ending; in the original Scandinavian legend of Amleth, as recorded by Saxo, the title character kills his Evil Uncle (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).
    • The story of King Lear is actually drawn from the Historia Regum Britanniae...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.

    Video Games 
  • Final Fantasy VII's immense popularity has meant every other Final Fantasy 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 Tropes originating from successive portrayals of the characters in Kingdom Hearts and Fanon.
  • In a partial example, Dak'kon from Planescape: Torment. Dak'kon, a canonically Lawful Neutral Zen Survivor with shades of Warrior Monk, was deliberately an unusual Githzerai; most were Chaotic Neutral, befitting their home in the inherently chaotic plane of Limbo. For every edition of Dungeons & Dragons 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.
  • Super Smash Bros. has done this for a number of characters, due to intentional and unintentional reinterpretation:
    • Many depictions of Solid Snake use his Smash design, which he never actually looked like. Smash Snake's design is essentially Big Boss wearing Snake's outfit, and even then it's based entirely on the Metal Gear Solid 2: Sons of Liberty Sneaking Suit (as that game was Solid Snake's most recent appearance when Super Smash Bros. Brawl added him to the series, not counting Metal Gear Solid 4: Guns of the Patriots where he becomes Old Snake).
    • There's also Roy, who has been named in fanon to be a Hot-Blooded tough guy when he's actually a soft-spoken and underconfident strategist.
    • Samus tends to be treated in fanon as a Femme Fatale, an athlete, and/or a huge Animal Lover based on her "Zero Suit" depictions in Smash (with the "animal lover" part specifically coming from the Subspace Emissary where she saves and protects Pikachu, which also extends to her suited form, though this also has its roots in a much older game). In her native series meanwhile, she's generally depicted as a stock Silent Protagonist, with what little dialogue she does get being fairly clinical, the sole exception being her more timid portrayal in Metroid: Other M.
    • And then there's Captain Falcon, who's treated as a flamboyant superhero with highly-damaging attacks, when in his native series he's a stoic racer who never gets into a single fistfight (the superhero archetype is actually Super Arrow, along with his wife, Mrs. Arrow). Plus, several of his movements and animations, like his Victory Pose where he does an overhead kick, are more fitting for the hunter character Beastman. Notably, fan portrayals of Captain Falcon based on his Smash appearances got big enough to directly inform the campier direction of F-Zero GX and the stylistic middle ground of both F-Zero: GP Legend and later promotional material (both in and out of Smash).
  • The Witcher game series by CD Projekt RED is undoubtedly this across the franchise as despite deviating from the source books it is many people’s first introduction to Geralt and co. The original author Andrzej Sapkowski has even expressed some annoyance over the fact the video game series is people's go-to when it comes to his work (in fairness, the books weren’t even translated into English by the time the first game came out). Interestingly the Netflix series caused a Broken Base 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 Rule of Sexy games, her injuries are not seen even with a Navel-Deep Neckline.

    Western Animation 
  • Similarly to the 1966 show, Batman: The Animated Series 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 Tragic Villain 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 Kevin Conroy's Batman and Mark Hamill's Joker are still the yardsticks by which later actors in the roles are compared.
  • Starting in the mid-2010s, the DC Super Hero Girls cartoons have made Jessica Cruz one of the more prominent Green Lanterns for younger general audiences as well, helped that she's a Latina woman bearing the mantle of one of the more well-known superheroes. Some media such as the RWBY/Justice League 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.
  • Rankin/Bass's adaptation of Frosty the Snowman has received similar treatment as Rudolph the Red-Nosed Reindeer. While Frosty has been a staple of the holiday season since 1950 and gained an animated adaptation by 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 Frosty Returns by Bill Meléndez takes cues from the 1969 special, with Frosty's design being similar to the Rankin/Bass version. Even the official music video of the song (performed by Jimmy Durante before performing it again in the special) is designed after this version of him, including the hat and nose.
  • 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 were the minicomics sold with the Mattel Action Figures; he 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.
  • How the Grinch Stole Christmas! depicted its titular antagonist as green instead of white (though color printing wasn't widely available when the original book was published), cemented Boris Karloff as the voice of the Grinch, and famously made "You're a Mean One, Mr. Grinch" a staple of any future adaptions to have it covered. But because of the special's influence, it's The Grinch most audiences are familiar with.
  • Invincible (2021) is certainly this for the Robert Kirkman 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 Memetic Loser 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 Ironic Nickname. Omni-Man is also compared to Homelander by new fans (both being on the same streaming service) with the frequently talked-about moment where he puts Mark in the path of a speeding train with the passengers getting torn apart all over him — being actually original to the show and a case of Adaptational Villainy compared to the comic where Nolan didn’t deliberately kill innocent civilians to traumatise Mark. Even the famous “Think Mark” pose which has been heavily memed by everyone didn’t happen in the comic issue.
  • Justice League influenced many people's views on characters like Wonder Woman and Green Lantern 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 Official Couple 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 Elseworld story).note  In regards to the latter, when the 2011 Green Lantern (2011) film came out, many accused DC of Race Lifting Green Lantern, unaware that 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 Justice League (2018) by Scott Snyder 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.
  • My Little Pony: Material from older iterations of the franchise is frequently dismissed by the 4th Generation fandom as an unwatchable pile of sugary sweetness. 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 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 Gag Series.
  • Rudolph the Red-Nosed Reindeer (1964):
  • Spider-Man: The Animated Series (1994) on Fox Kids, much like its sister show the below-mentioned X-Men greatly impacted Spidey’s lore being one of the most celebrated and long-running adaptations of the superhero. Notably, the idea of Venom Symbiote affecting the host’s personality i.e making Peter douchey and aggressive all originated from the animated version of the saga, as in the comic version the Symbiote (being in love with Peter) was actually fine just being a cool costume and it didn’t change his personality whatsoever, only going nuts and villainous when Peter rejected it upon learning from Mr. Fantastic that it was alive. Now thanks to the '90s show, every subsequent retelling of the Symbiote Saga (e.g Spider-Man 3, The Spectacular Spider-Man and Ultimate Spider-Man) has the Symbiote suit adversely affect Spidey when he wears it, to the point of it being a Superpowered Evil Side in some adaptations.
  • 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 gave him features of 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 look route), where he's played by Jason Momoa. Between Ronon Dex, Khal Drogo and Conan, 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 solo movie's turned into a billion-dollar success, it's a fair bet to say he's succeeded.
  • Superman: The Animated Series introduced a new version of 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 Composite Character with "The Eradicator", who is now relatively obscure due to Brainiac replacing him in the show.
  • Teenage Mutant Ninja Turtles:
    • Everyone remembers the 1987 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. Most notable is the show's depiction of April O'Neil and her famous yellow jumpsuit, to the point that most other TMNT adaptions will find a small way to homage it, if not have her outright wear something similar.
    • The 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 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.
  • 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 being changed to account for the fact that potential readers would be more familiar with the animated versions. This is most evident with Starfire: all animated versions since have had a tendency to avoid contractions and regularly say the word "the" to various degrees, as well as be a bit of a Funny Foreigner. Meanwhile, all versions of the character now have green starbolts, with her sister Blackfire now sporting purple ones, as opposed to the entire Tameranian species just having red starbolts.
  • The 1992 X-Men: The Animated Series cartoon from Fox Kids is pretty true to the story of 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 Jim Lee, 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 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 Rogue with a bomber jacket and a huge mane of dark hair. The show is also likely why Gambit and Jubilee are widely considered "classic" X-Men, despite being 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 Disney+ app are from the movies, the X-Men icons are all slightly modernized versions of the '90s cartoon designs. Special mention to the iconic theme song, which has been used in the MCU as a leitmotif!

Alternative Title(s): Audience Colouring Adaptation