...it's like TV Tropes, but LINKED DATA!

Audience-Coloring Adaptation

730 statements
138 feature instances
6 referencing feature instances

Audience-Coloring Adaptation	type	FeatureClass
Audience-Coloring Adaptation	label	Audience-Coloring Adaptation
Audience-Coloring Adaptation	page	AudienceColoringAdaptation
Audience-Coloring Adaptation	comment	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, Hard-to-Adapt Work, Never Live It Down, and First Installment Wins, where the first iteration of a franchise is more remembered than its sequels, regardless of quality. Examples
Audience-Coloring Adaptation	fetched	2024-03-24T23:16:49Z
Audience-Coloring Adaptation	parsed	2024-03-24T23:16:49Z
Audience-Coloring Adaptation	processingComment	Dropped link to AmericansHateTingle: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to ArchEnemy: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to AscendedExtra: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to BetaBitch: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to BoxOfficeBomb: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to CallingYourAttacks: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to CreatorBreakdown: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to DirectToVideo: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to Eminem: Not an Item - IGNORE
Audience-Coloring Adaptation	processingComment	Dropped link to EmotionlessGirl: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to LadyMacbeth: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to LaserHallway: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to MerchandiseDriven: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to MookHorrorShow: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to MovieSuperheroesWearBlack: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to NonSerialMovie: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to PlayedForLaughs: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to RaygunGothic: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to RecoveredAddict: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to RecursiveAdaptation: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to RonTheDeathEater: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to StylisticSuck: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TheBeachBoys: Not an Item - IGNORE
Audience-Coloring Adaptation	processingComment	Dropped link to TheIgor: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TheIngenue: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TheManWhoFellToEarth: Not an Item - UNKNOWN
Audience-Coloring Adaptation	processingComment	Dropped link to TrademarkFavoriteFood: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TragicMonster: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TruerToTheText: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to TurnOfTheMillennium: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to VocalMinority: Not an Item - FEATURE
Audience-Coloring Adaptation	processingComment	Dropped link to heartbrokenbadass: Not an Item - FEATURE
Audience-Coloring Adaptation	processingUnknown	TheManWhoFellToEarth
Audience-Coloring Adaptation	isPartOf	DBTropes
Audience-Coloring Adaptation / int_1858fe06	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1858fe06	comment	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.
Audience-Coloring Adaptation / int_1858fe06	featureApplicability	1.0
Audience-Coloring Adaptation / int_1858fe06	featureConfidence	1.0
Sonic the Hedgehog (Archie Comics) (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_1858fe06
Audience-Coloring Adaptation / int_187a332	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_187a332	comment	While The Smurfs has been active since 1958, the Hanna-Barbera series that ran throughout the 1980s has left a huge impact with the franchise as a whole (especially in the United States). The series made the smurf species notably nicer and cuter compared to their mischievous behavior and tendencies present in original Belgian comics. Despite the show ending in 1989, it left a huge impact with the public (mainly Americans) believing The Smurfs to be saccharine and sentimental. Even Peanuts creator Charles Schulz hated The Smurfs finding them "ugly" as detailed in some of his autobiography books. This doesn't effect fans of the series in Europe (especially in France, the Netherlands, and Belgium) due to Franco-Belgian Comics being huge compared to the United States. It also toned down the slapstick and social satirical elements that was common in the comics and pre-HB animated media.
Audience-Coloring Adaptation / int_187a332	featureApplicability	1.0
Audience-Coloring Adaptation / int_187a332	featureConfidence	1.0
The Smurfs (Franchise)	hasFeature	Audience-Coloring Adaptation / int_187a332
Audience-Coloring Adaptation / int_18d2fbe8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_18d2fbe8	comment	Hawkeye as a character suffers the most, as the films made him an overtly serious guy without the showy and captivating personality or physical prowess of the comics character (movie Hawkeye is a competent fighter and archer, but the comics one is a Badass Normal who is 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.
Audience-Coloring Adaptation / int_18d2fbe8	featureApplicability	1.0
Audience-Coloring Adaptation / int_18d2fbe8	featureConfidence	1.0
Hawkeye / Comicbook	hasFeature	Audience-Coloring Adaptation / int_18d2fbe8
Audience-Coloring Adaptation / int_1a044a10	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1a044a10	comment	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 (the shoes never appear again in the sequels anyway, and were replaced by the Magic Belt). The main reason it bombed was that it was too much like the books, and not enough like the film most people are familiar with; not helping its case was that it opened with Dorothy being assumed delusional and given electroshock therapy, which was not in the books and clashed with the tone of both the books and 1939 film.
Audience-Coloring Adaptation / int_1a044a10	featureApplicability	1.0
Audience-Coloring Adaptation / int_1a044a10	featureConfidence	1.0
Return to Oz	hasFeature	Audience-Coloring Adaptation / int_1a044a10
Audience-Coloring Adaptation / int_1aa9d9f4	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1aa9d9f4	comment	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 an Audience-Alienating Era 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 included episodes written by Paul Dini, who did 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 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 some echoes of it are still felt today, considering nothing Batman-related has ever succeeded in Japan without being at least a little bit silly, such as Batman Ninja.
Audience-Coloring Adaptation / int_1aa9d9f4	featureApplicability	1.0
Audience-Coloring Adaptation / int_1aa9d9f4	featureConfidence	1.0
Batman (1966)	hasFeature	Audience-Coloring Adaptation / int_1aa9d9f4
Audience-Coloring Adaptation / int_1af3cde6	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1af3cde6	comment	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.
Audience-Coloring Adaptation / int_1af3cde6	featureApplicability	1.0
Audience-Coloring Adaptation / int_1af3cde6	featureConfidence	1.0
Cats (Theatre)	hasFeature	Audience-Coloring Adaptation / int_1af3cde6
Audience-Coloring Adaptation / int_1d8df2cf	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1d8df2cf	comment	School Days is mostly remembered for its anime adaptation, which heavily ramped up the characters' worst traits and ended on a rather violent note. Most will be surprised to see in the original visual novel that the core three of Makoto, Sekai and Kotonoha are relatively more stable, and that the endings in which one or more meet a grisly end are the exception, not the norm.
Audience-Coloring Adaptation / int_1d8df2cf	featureApplicability	1.0
Audience-Coloring Adaptation / int_1d8df2cf	featureConfidence	1.0
School Days (Visual Novel)	hasFeature	Audience-Coloring Adaptation / int_1d8df2cf
Audience-Coloring Adaptation / int_1e533770	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_1e533770	comment	There are many, many complaints about the 2014 French film Beauty and the Beast having a blonde Belle (LÃ©a Seydoux) and not a brunette, despite the original fairy tale never even specifying Belle's hair color. That's because Disney made her a brunette in 1991's Beauty and the Beast, and that didn't change with Emma Watson in the 2017 live-action film. And LÃ©a Seydoux is not even the first blonde Belle, as Josette Day already was in the 1946 version.
Audience-Coloring Adaptation / int_1e533770	featureApplicability	1.0
Audience-Coloring Adaptation / int_1e533770	featureConfidence	1.0
Beauty and the Beast (2014)	hasFeature	Audience-Coloring Adaptation / int_1e533770
Audience-Coloring Adaptation / int_227431b6	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_227431b6	comment	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.
Audience-Coloring Adaptation / int_227431b6	featureApplicability	1.0
Audience-Coloring Adaptation / int_227431b6	featureConfidence	1.0
Runaways (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_227431b6
Audience-Coloring Adaptation / int_24a0eb84	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_24a0eb84	comment	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, "HERE'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.
Audience-Coloring Adaptation / int_24a0eb84	featureApplicability	1.0
Audience-Coloring Adaptation / int_24a0eb84	featureConfidence	1.0
The Shining	hasFeature	Audience-Coloring Adaptation / int_24a0eb84
Audience-Coloring Adaptation / int_259fd06e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_259fd06e	comment	While Rudolph has been around since the late 1930s (such as getting adapted into an animated short by Max Fleischer in 1948, a song by Gene Autry in 1949, and a DC Comics series that ran from 1950-1962), the 1964 Christmas special by Rankin & Bass has left a very strong impression on the general public. The public is familiar with the song, but a lot of people are more familiar with the 1964 special than the original story/poem by Robert May from 1939. It's gotten to the point that non-Rankin-Bass adaptations that are faithful adaptations of the original story (such as Rudolph's Lessons For Life by Montgomery Ward from 1996, and the Max Fleischer short) have people questioning where Hermey, Yukon Cornelus, Clarice, and The Misfit Toys are.
Audience-Coloring Adaptation / int_259fd06e	featureApplicability	1.0
Audience-Coloring Adaptation / int_259fd06e	featureConfidence	1.0
Rudolph the Red-Nosed Reindeer	hasFeature	Audience-Coloring Adaptation / int_259fd06e
Audience-Coloring Adaptation / int_25d97c04	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_25d97c04	comment	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. Even more shockingly to those so used to Bond being a Mook Horror Show with one of the biggest body counts in cinema history (being well into the thousands by the Craig era), Literary Bond genuinely hates taking lives! Casino Royale even details how taking a life for the first time on a previous mission left him realistically traumatised and every subsequent time heâ€™s forced to kill Bond (barring a few villain deaths) is disgusted by it. In stark contrast to the cultural zeitgeist of 007 happily gunning down thousands of men always complete with a glib remark. This goes in hand with the books being less action packed and Bond being more spy than assassin as for the majority of people Bond will always be waving around his Walther PPK or any other gun and shooting every baddie in sight, whereas Literary Bond shoots far less people and in some books such as Moonraker doesnâ€™t even fire his gun once.
Audience-Coloring Adaptation / int_25d97c04	featureApplicability	1.0
Audience-Coloring Adaptation / int_25d97c04	featureConfidence	1.0
James Bond (Franchise)	hasFeature	Audience-Coloring Adaptation / int_25d97c04
Audience-Coloring Adaptation / int_2824e7fe	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2824e7fe	comment	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.
Audience-Coloring Adaptation / int_2824e7fe	featureApplicability	1.0
Audience-Coloring Adaptation / int_2824e7fe	featureConfidence	1.0
Yu-Gi-Oh! (first anime series)	hasFeature	Audience-Coloring Adaptation / int_2824e7fe
Audience-Coloring Adaptation / int_2b113d41	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2b113d41	comment	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.
Audience-Coloring Adaptation / int_2b113d41	featureApplicability	1.0
Audience-Coloring Adaptation / int_2b113d41	featureConfidence	1.0
The Mummy (1932)	hasFeature	Audience-Coloring Adaptation / int_2b113d41
Audience-Coloring Adaptation / int_2b67786e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2b67786e	comment	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.
Audience-Coloring Adaptation / int_2b67786e	featureApplicability	1.0
Audience-Coloring Adaptation / int_2b67786e	featureConfidence	1.0
Frankenstein (1931)	hasFeature	Audience-Coloring Adaptation / int_2b67786e
Audience-Coloring Adaptation / int_2d311a08	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2d311a08	comment	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 are the heroes in a half-shell having differently colored bandanas (in the original comics, they all had red bandanas), the Shredder being promoted from a Token Motivational Nemesis to the Big Bad, and the show's depiction of April O'Neil and her famous yellow jumpsuit, to the point that most other TMNT adaptions will find a small way to homage it, if not have her outright wear something similar.
Audience-Coloring Adaptation / int_2d311a08	featureApplicability	1.0
Audience-Coloring Adaptation / int_2d311a08	featureConfidence	1.0
Teenage Mutant Ninja Turtles (1987)	hasFeature	Audience-Coloring Adaptation / int_2d311a08
Audience-Coloring Adaptation / int_2d316ba2	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2d316ba2	comment	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.
Audience-Coloring Adaptation / int_2d316ba2	featureApplicability	1.0
Audience-Coloring Adaptation / int_2d316ba2	featureConfidence	1.0
Teenage Mutant Ninja Turtles (2003)	hasFeature	Audience-Coloring Adaptation / int_2d316ba2
Audience-Coloring Adaptation / int_2e3e7ac2	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2e3e7ac2	comment	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 Elseworlds story).note For his part, Batman has a pretty sizable list of love interests, with him having a child with Talia Al-Ghul and an on-again-off-again relationship with Catwoman. In regards to the latter, when the 2011 Green Lantern 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.
Audience-Coloring Adaptation / int_2e3e7ac2	featureApplicability	1.0
Audience-Coloring Adaptation / int_2e3e7ac2	featureConfidence	1.0
Justice League	hasFeature	Audience-Coloring Adaptation / int_2e3e7ac2
Audience-Coloring Adaptation / int_2f3aa7ef	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_2f3aa7ef	comment	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.
Audience-Coloring Adaptation / int_2f3aa7ef	featureApplicability	1.0
Audience-Coloring Adaptation / int_2f3aa7ef	featureConfidence	1.0
My Little Pony (Franchise)	hasFeature	Audience-Coloring Adaptation / int_2f3aa7ef
Audience-Coloring Adaptation / int_30a5ebfd	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_30a5ebfd	comment	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.
Audience-Coloring Adaptation / int_30a5ebfd	featureApplicability	1.0
Audience-Coloring Adaptation / int_30a5ebfd	featureConfidence	1.0
Naruto (Manga)	hasFeature	Audience-Coloring Adaptation / int_30a5ebfd
Audience-Coloring Adaptation / int_31677f1c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_31677f1c	comment	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.
Audience-Coloring Adaptation / int_31677f1c	featureApplicability	1.0
Audience-Coloring Adaptation / int_31677f1c	featureConfidence	1.0
He-Man and the Masters of the Universe (1983)	hasFeature	Audience-Coloring Adaptation / int_31677f1c
Audience-Coloring Adaptation / int_341c02e9	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_341c02e9	comment	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 Raâ€™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 Raâ€™s) and one of his canon trainers Henri Ducard was fused with Raâ€™s. Batman: Arkham Originsâ€™s â€œInitiationâ€� DLC borrows greatly from the film right down to the Tibetan setting.
Audience-Coloring Adaptation / int_341c02e9	featureApplicability	1.0
Audience-Coloring Adaptation / int_341c02e9	featureConfidence	1.0
Batman Begins	hasFeature	Audience-Coloring Adaptation / int_341c02e9
Audience-Coloring Adaptation / int_35bceb50	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_35bceb50	comment	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).
Audience-Coloring Adaptation / int_35bceb50	featureApplicability	1.0
Audience-Coloring Adaptation / int_35bceb50	featureConfidence	1.0
Hamlet (Theatre)	hasFeature	Audience-Coloring Adaptation / int_35bceb50
Audience-Coloring Adaptation / int_370f6f37	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_370f6f37	comment	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.
Audience-Coloring Adaptation / int_370f6f37	featureApplicability	1.0
Audience-Coloring Adaptation / int_370f6f37	featureConfidence	1.0
Zorro	hasFeature	Audience-Coloring Adaptation / int_370f6f37
Audience-Coloring Adaptation / int_38ce5997	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_38ce5997	comment	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 massive 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 show's portrayals of Homelander, Starlight, A-Train, The Deep, Mauve, and Soldier Boy in the show are all loved by fans, but in the comic itself, most said characters were very generic (even Starlight is just the 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.
Audience-Coloring Adaptation / int_38ce5997	featureApplicability	1.0
Audience-Coloring Adaptation / int_38ce5997	featureConfidence	1.0
The Boys (2019)	hasFeature	Audience-Coloring Adaptation / int_38ce5997
Audience-Coloring Adaptation / int_3aeb1c75	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_3aeb1c75	comment	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 other English dubs. The grittier rock score by Bruce Falcouner and cheesy scripting changes resulted in a show with a very different tone despite telling the same overall story, and many character and attack names were changed note Kikoho became Tri-Beam, Kienzan is Destructo Disc, the Tenkaichi Budokai is the World Martial Arts Tournament, Kame-Sen'nin is Master Roshi, and most infamously, Mr. Satan is Hercule. 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 lighter, more orchestral 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 always being the one to defeat the villain with an out-of-nowhere new powerup (usually lethally). 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 be its modern status quo.
Audience-Coloring Adaptation / int_3aeb1c75	featureApplicability	1.0
Audience-Coloring Adaptation / int_3aeb1c75	featureConfidence	1.0
Dragon Ball (Franchise)	hasFeature	Audience-Coloring Adaptation / int_3aeb1c75
Audience-Coloring Adaptation / int_3b94d60a	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_3b94d60a	comment	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.
Audience-Coloring Adaptation / int_3b94d60a	featureApplicability	1.0
Audience-Coloring Adaptation / int_3b94d60a	featureConfidence	1.0
L'Orfeo (Theatre)	hasFeature	Audience-Coloring Adaptation / int_3b94d60a
Audience-Coloring Adaptation / int_44127c7c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_44127c7c	comment	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.
Audience-Coloring Adaptation / int_44127c7c	featureApplicability	1.0
Audience-Coloring Adaptation / int_44127c7c	featureConfidence	1.0
Power Rangers (Franchise)	hasFeature	Audience-Coloring Adaptation / int_44127c7c
Audience-Coloring Adaptation / int_46196a4	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_46196a4	comment	For the live action adaptations of the manga series The Kindaichi Case Files, it's almost unanimously agreed by fans and viewers that Tsuyoshi Domoto, Hajime's first actor from the 1990s version, is the Hajime Kindaichi, even if other actors have played Hajime over the decades. It's come to the point that when the 2022 adaptation premiered, there was a short that premiered with it of Tsuyoshi Domoto and Hajime's current actor, Shunsuke Michieda, talking about the impact of the '90s series with Domoto giving Michieda tips on playing Hajime.
Audience-Coloring Adaptation / int_46196a4	featureApplicability	1.0
Audience-Coloring Adaptation / int_46196a4	featureConfidence	1.0
The Kindaichi Case Files (Manga)	hasFeature	Audience-Coloring Adaptation / int_46196a4
Audience-Coloring Adaptation / int_48bcdb28	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_48bcdb28	comment	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 Byrne's She-Hulk, with her skinnier design, campy rom-com behaviour, and Breaking the Fourth Wall humour.
Audience-Coloring Adaptation / int_48bcdb28	featureApplicability	1.0
Audience-Coloring Adaptation / int_48bcdb28	featureConfidence	1.0
The Sensational She-Hulk (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_48bcdb28
Audience-Coloring Adaptation / int_49a87cb3	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_49a87cb3	comment	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 (as well as Advent Children, as mentioned in the animated films section).
Audience-Coloring Adaptation / int_49a87cb3	featureApplicability	1.0
Audience-Coloring Adaptation / int_49a87cb3	featureConfidence	1.0
Final Fantasy VII (Video Game)	hasFeature	Audience-Coloring Adaptation / int_49a87cb3
Audience-Coloring Adaptation / int_4b55d6ca	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_4b55d6ca	comment	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.
Audience-Coloring Adaptation / int_4b55d6ca	featureApplicability	1.0
Audience-Coloring Adaptation / int_4b55d6ca	featureConfidence	1.0
Street Fighter II: The Animated Movie	hasFeature	Audience-Coloring Adaptation / int_4b55d6ca
Audience-Coloring Adaptation / int_50a9ace1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_50a9ace1	comment	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.
Audience-Coloring Adaptation / int_50a9ace1	featureApplicability	1.0
Audience-Coloring Adaptation / int_50a9ace1	featureConfidence	1.0
Popeye (Comic Strip)	hasFeature	Audience-Coloring Adaptation / int_50a9ace1
Audience-Coloring Adaptation / int_50e2e357	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_50e2e357	comment	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.
Audience-Coloring Adaptation / int_50e2e357	featureApplicability	1.0
Audience-Coloring Adaptation / int_50e2e357	featureConfidence	1.0
Star Trek (2009)	hasFeature	Audience-Coloring Adaptation / int_50e2e357
Audience-Coloring Adaptation / int_52dd4a4c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_52dd4a4c	comment	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 Ultimate Spider-Man being the biggest example of this: every adaptation of the character since the early 2000s has had Peter Parker meet the bulk of his supporting cast in high school rather than college, while being friends with Harry Osborn and one of his love interests (usually Mary Jane) since childhood. The 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 S.H.I.E.L.D.), although later phases in the MCU downplay the Ultimate Marvel influence to borrow more heavily from the mainline 616 Universe, with plotlines such as Civil War, the Infinity Saga, and The Illuminati.
Audience-Coloring Adaptation / int_52dd4a4c	featureApplicability	1.0
Audience-Coloring Adaptation / int_52dd4a4c	featureConfidence	1.0
Ultimate Marvel (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_52dd4a4c
Audience-Coloring Adaptation / int_558b4c84	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_558b4c84	comment	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.
Audience-Coloring Adaptation / int_558b4c84	featureApplicability	1.0
Audience-Coloring Adaptation / int_558b4c84	featureConfidence	1.0
Guardians of the Galaxy (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_558b4c84
Audience-Coloring Adaptation / int_59151283	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_59151283	comment	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).
Audience-Coloring Adaptation / int_59151283	featureApplicability	1.0
Audience-Coloring Adaptation / int_59151283	featureConfidence	1.0
Metal Gear (Video Game)	hasFeature	Audience-Coloring Adaptation / int_59151283
Audience-Coloring Adaptation / int_5bfd17b7	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_5bfd17b7	comment	The best-known entry of the Canadian teen drama franchise Degrassi is Degrassi: The Next Generation, the fourth incarnation, which ran from 2001 to 2015, and the one which starred future musician Drake. To this day, this entry has colored general public perception of the franchise; one of the effects of this being that many people, even if they are aware that it isn't, still speak of it as if it were the original or "default" version, despite it being a reboot of a beloved 80s Canadian cult classic, and the numerous allusions to this fact. Where this trope really affects the franchise can be seen in how a lot of people criticise Degrassi as a "whole" for falling prey to the same annoying and/or problematic tropes of most other Teen Drama series, when only Degrassi: The Next Generation and Degrassi: Next Class are really guilty of doing this, or at least are by far the most egregious; Degrassi Junior High and Degrassi High, the 80s series of which Next Generation was a continuation, both largely avoid a lot of the trappings that Next Generation is criticised for.
Audience-Coloring Adaptation / int_5bfd17b7	featureApplicability	1.0
Audience-Coloring Adaptation / int_5bfd17b7	featureConfidence	1.0
Degrassi (Franchise)	hasFeature	Audience-Coloring Adaptation / int_5bfd17b7
Audience-Coloring Adaptation / int_5c208620	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_5c208620	comment	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.
Audience-Coloring Adaptation / int_5c208620	featureApplicability	1.0
Audience-Coloring Adaptation / int_5c208620	featureConfidence	1.0
Superman: The Animated Series	hasFeature	Audience-Coloring Adaptation / int_5c208620
Audience-Coloring Adaptation / int_5d0d1463	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_5d0d1463	comment	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 for which we can probably blame Looney Tunes and MGM for using it so muchthat 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 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.
Audience-Coloring Adaptation / int_5d0d1463	featureApplicability	1.0
Audience-Coloring Adaptation / int_5d0d1463	featureConfidence	1.0
The Marriage of Figaro (Theatre)	hasFeature	Audience-Coloring Adaptation / int_5d0d1463
Audience-Coloring Adaptation / int_5f76cba1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_5f76cba1	comment	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.
Audience-Coloring Adaptation / int_5f76cba1	featureApplicability	1.0
Audience-Coloring Adaptation / int_5f76cba1	featureConfidence	1.0
New 52 (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_5f76cba1
Audience-Coloring Adaptation / int_60996c02	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_60996c02	comment	Spider-Man: The Animated Series (1994) on Fox Kids, much like its sister show X-Men, greatly impacted Spideyâ€™s lore, and became one of the most celebrated and long-running adaptations of the superhero. Notably, the idea of Venom Symbiote affecting the hostâ€™s personality, i.e. making Peter douchey and aggressive, originated from the animated version of the saga, as in the comic version the Symbiote (being in love with Peter) was actually happy just being a cool costume and it didnâ€™t change his personality whatsoever. It only went nuts and villainous when Peter rejected it upon learning from Mr. Fantastic that it was alive. Now, thanks to the '90s show, every subsequent retelling of the Symbiote Saga (e.g Spider-Man 3, The Spectacular Spider-Man, Ultimate Spider-Man and Marvel's Spider-Man 2) has the Symbiote suit adversely affect Spidey when he wears it, to the point of it being a Superpowered Evil Side.
Audience-Coloring Adaptation / int_60996c02	featureApplicability	1.0
Audience-Coloring Adaptation / int_60996c02	featureConfidence	1.0
Spider-Man: The Animated Series	hasFeature	Audience-Coloring Adaptation / int_60996c02
Audience-Coloring Adaptation / int_616039c3	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_616039c3	comment	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.
Audience-Coloring Adaptation / int_616039c3	featureApplicability	1.0
Audience-Coloring Adaptation / int_616039c3	featureConfidence	1.0
The Incredible Hulk (1977)	hasFeature	Audience-Coloring Adaptation / int_616039c3
Audience-Coloring Adaptation / int_62570927	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_62570927	comment	Marvel Universeâ€™s The Mighty Thor has certainly had this effect on Norse Mythology as a whole, overlapping with Sadly Mythtaken. In Prose Edda Thor is instead of being blonde is red haired and flies around on a chariot driven by two goats, Loki and Sif are fair haired instead of dark-haired whilst Fandral, Hogun and Volstagg are no where to be seen, being original creations of Marvel. Look up artwork of Thor and Loki online however, the vast majority of it will be of their Marvel versions or clearly inspired by them. For God of War RagnarÃ¶k, there was many complaints that Thor looked different when his image was first revealed even though he is actually Truer to the Text to a lot of the myths â€” really fans were more upset that he didnâ€™t look more like the Marvel version. Itâ€™s notably compared to Classical Mythology which has been interpreted in all manner of ways, whilst Norse Mythology by contrast has been glued to the Marvel version by publicâ€™s consciousness.
Audience-Coloring Adaptation / int_62570927	featureApplicability	1.0
Audience-Coloring Adaptation / int_62570927	featureConfidence	1.0
Marvel Universe (Franchise)	hasFeature	Audience-Coloring Adaptation / int_62570927
Audience-Coloring Adaptation / int_62f94c6	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_62f94c6	comment	The Dark Knight Trilogy: Being the Batmanâ€™s films of the Turn of the Millennium, Christopher Nolanâ€™s version of the mythos is often what mainstream (especially younger) audiences first think of when it comes to the character and his foes with the tone being extremely grounded and more traditional esoteric elements like Robin being averted altogether. The popular perception of Batman being a black-armour-plated violent vigilante who uses his cape as a glider, growls and snarls his threats like â€œSWEAR TO MEâ€� 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. Lucius Fox also got the Ascended Extra treatment; he was a minor character in the comics, but thanks to the trilogy, he's now integral to Batmanâ€™s life. While still generally rivaled by Nicholson, the late Heath Ledgerâ€™s iconic performance as The Joker 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 most Joker media (and actors) afterwards 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 Raâ€™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 Raâ€™s) and one of his canon trainers Henri Ducard was fused with Raâ€™s. Batman: Arkham Originsâ€™s â€œInitiationâ€� DLC borrows greatly from the film right down to the Tibetan setting.
Audience-Coloring Adaptation / int_62f94c6	featureApplicability	-1.0
Audience-Coloring Adaptation / int_62f94c6	featureConfidence	1.0
The Dark Knight Trilogy	hasFeature	Audience-Coloring Adaptation / int_62f94c6
Audience-Coloring Adaptation / int_640d9be1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_640d9be1	comment	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.
Audience-Coloring Adaptation / int_640d9be1	featureApplicability	1.0
Audience-Coloring Adaptation / int_640d9be1	featureConfidence	1.0
Fire Emblem: The Binding Blade (Video Game)	hasFeature	Audience-Coloring Adaptation / int_640d9be1
Audience-Coloring Adaptation / int_69d15cc0	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_69d15cc0	comment	The Marvel Cinematic Universe is 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, as the films made him an overtly serious guy without the showy and captivating personality or physical prowess of the comics character (movie Hawkeye is a competent fighter and archer, but the comics one is a Badass Normal who is 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.â€™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 and even borderline 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 isnâ€™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.
Audience-Coloring Adaptation / int_69d15cc0	featureApplicability	1.0
Audience-Coloring Adaptation / int_69d15cc0	featureConfidence	1.0
Marvel Cinematic Universe (Franchise)	hasFeature	Audience-Coloring Adaptation / int_69d15cc0
Audience-Coloring Adaptation / int_6a15f664	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6a15f664	comment	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 (between the Hot-Blooded G Gundam and the more traditionally melodramatic SEED) 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, 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 "regular" Gundam work, they just don't go as hard as the main Gundam works do on the darker and more depressing aspects of their stories, and also contain more lighthearted and comedic moments to balance things out. And the claims that Force is just "a silly kids show'' aren't even entirely accurate, as 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).
Audience-Coloring Adaptation / int_6a15f664	featureApplicability	1.0
Audience-Coloring Adaptation / int_6a15f664	featureConfidence	1.0
SD Gundam (Franchise)	hasFeature	Audience-Coloring Adaptation / int_6a15f664
Audience-Coloring Adaptation / int_6a4bddd6	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6a4bddd6	comment	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.â€™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 and even borderline 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 isnâ€™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.
Audience-Coloring Adaptation / int_6a4bddd6	featureApplicability	1.0
Audience-Coloring Adaptation / int_6a4bddd6	featureConfidence	1.0
Iron Man (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_6a4bddd6
Audience-Coloring Adaptation / int_6ae4671a	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6ae4671a	comment	Fans of The Blue Lagoon may be aware that the 1980 movie received poor reviews from critics. In the novel, it is mentioned that the characters of Dick and Emmeline were around the age of sixteen or seventeen when they first became intimate and Emmeline gave birth to their child, Hannah, approximately a year later. However, during filming, Brooke Shields, who played Emmeline, was only fourteen years old while Christopher Atkins, who played Dick, was eighteen. Additionally, the movie altered Emmelineâ€™s age at the time of giving birth to around fourteen or fifteen, which may have been due to Executive Meddling.
Audience-Coloring Adaptation / int_6ae4671a	featureApplicability	1.0
Audience-Coloring Adaptation / int_6ae4671a	featureConfidence	1.0
The Blue Lagoon	hasFeature	Audience-Coloring Adaptation / int_6ae4671a
Audience-Coloring Adaptation / int_6c2c4bf3	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6c2c4bf3	comment	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 In the comics, Rogue is a sexy and confident former supervillain who could fly and punch through walls for most of her history, Charles Xavier is an American political activist with a strong manipulative streak, Magneto is a muscular white-haired man named "Max Eisenhardt" ("Erik Lehnsherr" is one of his many aliases; it was officially his real name in the comics when the movies were first released, but this was later retconned), Wolverine is a scruffy-looking loner who's often the butt of jokes for his short stature, and Mystique is a treacherous and slippery spy and assassin who led her own supervillain team for most of her history. 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 In the comics, they were only friends for (at most) a few weeks before they were driven apart by ideological differences, and their past friendship wasn't revealed until more than a decade after the series began; for the vast majority of the series, the two of them are legitimately bitter enemies; 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 not like the very efficient Captain America-esque leader figure who is actually quite complex from the comics, 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 unlike the comics where Jean was the Psychic Powers Scarlet Witch-level powerhouse long before Wanda entered the mainstream and generally is just as interesting and powerful even when she's not got Phoenix Force troubles, 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.
Audience-Coloring Adaptation / int_6c2c4bf3	featureApplicability	1.0
Audience-Coloring Adaptation / int_6c2c4bf3	featureConfidence	1.0
X-Men Film Series	hasFeature	Audience-Coloring Adaptation / int_6c2c4bf3
Audience-Coloring Adaptation / int_6c4031ea	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6c4031ea	comment	Can you name all seven dwarfs? Most people will immediately think of the versions from Disney's Snow White and the Seven Dwarfs. The original Brothers Grimm story never named them.
Audience-Coloring Adaptation / int_6c4031ea	featureApplicability	1.0
Audience-Coloring Adaptation / int_6c4031ea	featureConfidence	1.0
Snow White and the Seven Dwarfs	hasFeature	Audience-Coloring Adaptation / int_6c4031ea
Audience-Coloring Adaptation / int_6cb2d709	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6cb2d709	comment	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 The original script called for Hermione to slap Draco as she does in the book. During rehearsal, Emma Watson actually slapped Tom Felton with full force. She later said she had no idea why she did it and felt horrible about it afterwards. She decided to punch him instead in the final version, as a punch is easier to fake than a slap. 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. Alan Rickman's portrayal of Severus Snape is so iconic it is the main image the public (and even parts of the book fandom) think of when the character is mentioned, despite Rickman being more conventionally attractive and significant older than the character is described in the books. Also, his Sadist Teacher tendencies are heavily downplayed and more of a source of comic relief in the movies, helping to give Snape a "Draco in Leather Pants" treatment within the fandom.
Audience-Coloring Adaptation / int_6cb2d709	featureApplicability	1.0
Audience-Coloring Adaptation / int_6cb2d709	featureConfidence	1.0
Harry Potter (Franchise)	hasFeature	Audience-Coloring Adaptation / int_6cb2d709
Audience-Coloring Adaptation / int_6f7cfb8d	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_6f7cfb8d	comment	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.)
Audience-Coloring Adaptation / int_6f7cfb8d	featureApplicability	1.0
Audience-Coloring Adaptation / int_6f7cfb8d	featureConfidence	1.0
The Princess Bride	hasFeature	Audience-Coloring Adaptation / int_6f7cfb8d
Audience-Coloring Adaptation / int_7441e239	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_7441e239	comment	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.
Audience-Coloring Adaptation / int_7441e239	featureApplicability	1.0
Audience-Coloring Adaptation / int_7441e239	featureConfidence	1.0
The Ten Commandments (1956)	hasFeature	Audience-Coloring Adaptation / int_7441e239
Audience-Coloring Adaptation / int_76c806ab	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_76c806ab	comment	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.
Audience-Coloring Adaptation / int_76c806ab	featureApplicability	1.0
Audience-Coloring Adaptation / int_76c806ab	featureConfidence	1.0
Howard the Duck / Comicbook	hasFeature	Audience-Coloring Adaptation / int_76c806ab
Audience-Coloring Adaptation / int_78d38339	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_78d38339	comment	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 havenâ€™t touched the games. While the games themselves are extremely popular, odds are most modern viewersâ€™ first exposure to the IP will instead be the Anderson films which are In Name Only to the source material. For instance, Milla Jovovichâ€™s Alice is popular enough in the public zeitgeist that a lot of people donâ€™t even know sheâ€™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 a 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. The RE films have also affected to games themselves to some extent. The Laser Hallway from the first Anderson film was put in RE4 and Resident Evil: The Umbrella Chronicles with the Red Queen becoming a Canon Immigrant to the latter game. The extremely bombastic action tone of RE5 and especially RE6 can also be partially attributed to the Anderson filmsâ€™ influence.
Audience-Coloring Adaptation / int_78d38339	featureApplicability	1.0
Audience-Coloring Adaptation / int_78d38339	featureConfidence	1.0
Resident Evil Film Series	hasFeature	Audience-Coloring Adaptation / int_78d38339
Audience-Coloring Adaptation / int_79b17f0f	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_79b17f0f	comment	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.
Audience-Coloring Adaptation / int_79b17f0f	featureApplicability	1.0
Audience-Coloring Adaptation / int_79b17f0f	featureConfidence	1.0
Ant-Man (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_79b17f0f
Audience-Coloring Adaptation / int_7d4d7d22	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_7d4d7d22	comment	The 1995 film Casper served as most Millennials' and Zoomers' introduction to the Casper the Friendly Ghost franchise, and remains one of the most iconic pieces of media featuring the character. But since many people who've seen the film have never seen the original cartoons or read the Harvey Comics books, they might not realize that the film takes several liberties with the source material. Thanks to the film, many people tend to believe that Casper's "official" backstory is that he's the deceased son of eccentric inventor J.M. McFadden, that he lives in a Haunted House called Whipstaff Manor, and that he's best friends with a lovably snarky girl named Kat Harvey. In the source material, Casper doesn't have a backstory (the original comics and cartoons avoided acknowledging his pre-death life to maintain a lighthearted tone), he lives in an enchanted forest (not a haunted house), and his primary friendships are with other Harvey Comics characters—most notably Richie Rich, Wendy the Good Little Witch, and Hot Stuff the Little Devil. While many children of the '90s were eventually introduced to Wendy via the direct-to-video sequel Casper Meets Wendy (where she was played by a then-unknown Hilary Duff), Casper's friendship with Kat remains his most iconic relationship.note Ironically, Kat was originally going to be named "Wendy" as a Mythology Gag (which is why she also wears a red hooded jacket in one scene), but Universal Pictures renamed her to avoid potential legal issues, since they didn't own the movie rights to the character at the time.
Audience-Coloring Adaptation / int_7d4d7d22	featureApplicability	1.0
Audience-Coloring Adaptation / int_7d4d7d22	featureConfidence	1.0
Casper	hasFeature	Audience-Coloring Adaptation / int_7d4d7d22
Audience-Coloring Adaptation / int_7f8a38b6	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_7f8a38b6	comment	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 two major superpowers. Subsequently, many people in Western anime communities are more likely to associate Gundam with the aesthetics of Wing, as it was the most popular series outside of Japan.
Audience-Coloring Adaptation / int_7f8a38b6	featureApplicability	1.0
Audience-Coloring Adaptation / int_7f8a38b6	featureConfidence	1.0
Mobile Suit Gundam Wing	hasFeature	Audience-Coloring Adaptation / int_7f8a38b6
Audience-Coloring Adaptation / int_80c9474c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_80c9474c	comment	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.
Audience-Coloring Adaptation / int_80c9474c	featureApplicability	1.0
Audience-Coloring Adaptation / int_80c9474c	featureConfidence	1.0
The Invisible Man (1933)	hasFeature	Audience-Coloring Adaptation / int_80c9474c
Audience-Coloring Adaptation / int_819b8c9e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_819b8c9e	comment	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.
Audience-Coloring Adaptation / int_819b8c9e	featureApplicability	1.0
Audience-Coloring Adaptation / int_819b8c9e	featureConfidence	1.0
Warehouse 13	hasFeature	Audience-Coloring Adaptation / int_819b8c9e
Audience-Coloring Adaptation / int_83ad4daa	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_83ad4daa	comment	PokÃ©mon: 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 PokÃ©mon Red and Blue, and Mewtwo had no defined personality, though PokÃ©mon Ultra Sun and Ultra Moon had Giovanni with a Mewtwo as a nod to the anime, while PokÃ©mon 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.
Audience-Coloring Adaptation / int_83ad4daa	featureApplicability	1.0
Audience-Coloring Adaptation / int_83ad4daa	featureConfidence	1.0
PokÃ©mon: The First Movie	hasFeature	Audience-Coloring Adaptation / int_83ad4daa
Audience-Coloring Adaptation / int_8501afb1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_8501afb1	comment	Final Fantasy VII: Advent Children: Advent Children is a notable example, as it 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 side under a cool guy persona (as seen with his attempt at a Rousing Speech before the final battle being the immediately lambasted "Let's mosey"), is an angst-heavy Stoic Woobie who almost never smiles note In-Universe Cloud is like this in the film because he was suffering from the Geostigma disease before being cured, but unfortunately this was forgotten across later titles which depict Cloud as a brooding loner without that excuse. 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 sheâ€™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.
Audience-Coloring Adaptation / int_8501afb1	featureApplicability	1.0
Audience-Coloring Adaptation / int_8501afb1	featureConfidence	1.0
Final Fantasy VII: Advent Children	hasFeature	Audience-Coloring Adaptation / int_8501afb1
Audience-Coloring Adaptation / int_87e00d8e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_87e00d8e	comment	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. Foremost was the higher humor quotient between Cyborg as a Boisterous Bruiser and Fun Personified, Raven as a Perky Goth and The Comically Serious while Starfire as a Funny Foreigner with a Verbal Tic in avoiding contractions and regularly say the word "the." Raven's costume also changed to be a Leotard of Power (because it was easier to animate) and Starfire uses green starbolts, with her sister Blackfire now sporting purple ones, as opposed to the entire Tameranian species just having red starbolts. Cyborg in the comics got a "promotion" of sorts to become a Justice League of America founding member in the New 52 DC Comics era, which followed through in both the DC Animated Movie Universe and Justice League (2017) film. But when Justice League vs. Teen Titans came out, there was a notable effort to keep a very similar roster (Robin is Damian Wayne rather than Dick Grayson, and the Jaime Reyes Blue Beetle is a tech-centered character like Cyborg) and ensure that Cyborg became more friendly with the group because of the Teen Titans show's legacy.
Audience-Coloring Adaptation / int_87e00d8e	featureApplicability	1.0
Audience-Coloring Adaptation / int_87e00d8e	featureConfidence	1.0
Teen Titans (2003)	hasFeature	Audience-Coloring Adaptation / int_87e00d8e
Audience-Coloring Adaptation / int_88c4f91c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_88c4f91c	comment	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.
Audience-Coloring Adaptation / int_88c4f91c	featureApplicability	1.0
Audience-Coloring Adaptation / int_88c4f91c	featureConfidence	1.0
Henry IV (Theatre)	hasFeature	Audience-Coloring Adaptation / int_88c4f91c
Audience-Coloring Adaptation / int_8ac4e993	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_8ac4e993	comment	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 two major superpowers. Subsequently, many people in Western anime communities are more likely to associate Gundam with the aesthetics of Wing, as it was the most popular series outside of Japan. 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 (between the Hot-Blooded G Gundam and the more traditionally melodramatic SEED) 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, 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 "regular" Gundam work, they just don't go as hard as the main Gundam works do on the darker and more depressing aspects of their stories, and also contain more lighthearted and comedic moments to balance things out. And the claims that Force is just "a silly kids show'' aren't even entirely accurate, as 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).
Audience-Coloring Adaptation / int_8ac4e993	featureApplicability	1.0
Audience-Coloring Adaptation / int_8ac4e993	featureConfidence	1.0
Gundam (Franchise)	hasFeature	Audience-Coloring Adaptation / int_8ac4e993
Audience-Coloring Adaptation / int_8d50e6ff	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_8d50e6ff	comment	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.
Audience-Coloring Adaptation / int_8d50e6ff	featureApplicability	1.0
Audience-Coloring Adaptation / int_8d50e6ff	featureConfidence	1.0
Kirby: Right Back at Ya!	hasFeature	Audience-Coloring Adaptation / int_8d50e6ff
Audience-Coloring Adaptation / int_8dd8ec81	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_8dd8ec81	comment	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.
Audience-Coloring Adaptation / int_8dd8ec81	featureApplicability	1.0
Audience-Coloring Adaptation / int_8dd8ec81	featureConfidence	1.0
Sailor Moon (Manga)	hasFeature	Audience-Coloring Adaptation / int_8dd8ec81
Audience-Coloring Adaptation / int_90b916ba	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_90b916ba	comment	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.
Audience-Coloring Adaptation / int_90b916ba	featureApplicability	1.0
Audience-Coloring Adaptation / int_90b916ba	featureConfidence	1.0
Batman: The Animated Series	hasFeature	Audience-Coloring Adaptation / int_90b916ba
Audience-Coloring Adaptation / int_914ba844	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_914ba844	comment	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 (the shoes never appear again in the sequels anyway, and were replaced by the Magic Belt). The main reason it bombed was that it was too much like the books, and not enough like the film most people are familiar with; not helping its case was that it opened with Dorothy being assumed delusional and given electroshock therapy, which was not in the books and clashed with the tone of both the books and 1939 film.
Audience-Coloring Adaptation / int_914ba844	featureApplicability	1.0
Audience-Coloring Adaptation / int_914ba844	featureConfidence	1.0
The Wizard of Oz	hasFeature	Audience-Coloring Adaptation / int_914ba844
Audience-Coloring Adaptation / int_91bfaf94	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_91bfaf94	comment	Thanks to its classic Japanese adaptation and the 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 In the books, the virus has the ability to mutate if its ability to reproduce is affected. Before the protagonist stumbles upon the tape, some stupid teenagers unwittingly did just that when they erased the part of the video which explained the solution, causing the virus to mutate when the protagonist copies the tape. The protagonist also writes a journal which becomes a new host of the virus. The resulting mutation kills the tape's viewers whether they have copied it or not, and the journal accelerates the spread of the virus. It's not until someone manages to draft a vaccine that Sadako's curse can be lifted, though not before many people have been killed. We never do learn the original solution to stop the virus. 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.
Audience-Coloring Adaptation / int_91bfaf94	featureApplicability	1.0
Audience-Coloring Adaptation / int_91bfaf94	featureConfidence	1.0
The Ring	hasFeature	Audience-Coloring Adaptation / int_91bfaf94
Audience-Coloring Adaptation / int_9a6791aa	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_9a6791aa	comment	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.
Audience-Coloring Adaptation / int_9a6791aa	featureApplicability	1.0
Audience-Coloring Adaptation / int_9a6791aa	featureConfidence	1.0
King Lear (Theatre)	hasFeature	Audience-Coloring Adaptation / int_9a6791aa
Audience-Coloring Adaptation / int_9e2f90f4	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_9e2f90f4	comment	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 Zoroâ€™s sense direction being so bad that a dead end into the ocean stumps him. For even earlier anime watchers the infamous 4Kids Entertainment dub is this for the series, with the sight of Sanji having a lollipop in Totto Land arc will elicit an unintentional reaction in western fans. The gratuitous fanservice of female characters like Nami in the series that often gets derided, is really more a fault of the anime than the manga for adding Hotter and Sexier moments and scenes as well exaggerating the physiques of Nami, Robin and every other attractive female character.
Audience-Coloring Adaptation / int_9e2f90f4	featureApplicability	1.0
Audience-Coloring Adaptation / int_9e2f90f4	featureConfidence	1.0
One Piece (Manga)	hasFeature	Audience-Coloring Adaptation / int_9e2f90f4
Audience-Coloring Adaptation / int_9e84c324	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_9e84c324	comment	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.
Audience-Coloring Adaptation / int_9e84c324	featureApplicability	1.0
Audience-Coloring Adaptation / int_9e84c324	featureConfidence	1.0
Batman Returns	hasFeature	Audience-Coloring Adaptation / int_9e84c324
Audience-Coloring Adaptation / int_9ff4a8d9	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_9ff4a8d9	comment	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.
Audience-Coloring Adaptation / int_9ff4a8d9	featureApplicability	1.0
Audience-Coloring Adaptation / int_9ff4a8d9	featureConfidence	1.0
Godzilla (Franchise)	hasFeature	Audience-Coloring Adaptation / int_9ff4a8d9
Audience-Coloring Adaptation / int_a2c37f38	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_a2c37f38	comment	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.
Audience-Coloring Adaptation / int_a2c37f38	featureApplicability	1.0
Audience-Coloring Adaptation / int_a2c37f38	featureConfidence	1.0
Planescape: Torment (Video Game)	hasFeature	Audience-Coloring Adaptation / int_a2c37f38
Audience-Coloring Adaptation / int_a34863aa	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_a34863aa	comment	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 are the heroes in a half-shell having differently colored bandanas (in the original comics, they all had red bandanas), the Shredder being promoted from a Token Motivational Nemesis to the Big Bad, and the show's depiction of April O'Neil and her famous yellow jumpsuit, to the point that most other TMNT adaptions will find a small way to homage it, if not have her outright wear something similar. 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.
Audience-Coloring Adaptation / int_a34863aa	featureApplicability	1.0
Audience-Coloring Adaptation / int_a34863aa	featureConfidence	1.0
Teenage Mutant Ninja Turtles (Franchise)	hasFeature	Audience-Coloring Adaptation / int_a34863aa
Audience-Coloring Adaptation / int_a5549ed0	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_a5549ed0	comment	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."
Audience-Coloring Adaptation / int_a5549ed0	featureApplicability	1.0
Audience-Coloring Adaptation / int_a5549ed0	featureConfidence	1.0
The Bible	hasFeature	Audience-Coloring Adaptation / int_a5549ed0
Audience-Coloring Adaptation / int_a877956	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_a877956	comment	The Witcher game series by CD Projekt RED is undoubtedly this across the Witcher 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.
Audience-Coloring Adaptation / int_a877956	featureApplicability	1.0
Audience-Coloring Adaptation / int_a877956	featureConfidence	1.0
The Witcher (Video Game)	hasFeature	Audience-Coloring Adaptation / int_a877956
Audience-Coloring Adaptation / int_a96a7ada	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_a96a7ada	comment	Yu-Gi-Oh!: 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.
Audience-Coloring Adaptation / int_a96a7ada	featureApplicability	1.0
Audience-Coloring Adaptation / int_a96a7ada	featureConfidence	1.0
Yu-Gi-Oh! (Franchise)	hasFeature	Audience-Coloring Adaptation / int_a96a7ada
Audience-Coloring Adaptation / int_ab4c698e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ab4c698e	comment	When people think of Aladdin, odds are they'll think of the Disney version with its storybook version of Persia/Arabia, rather than the Chinese setting that the original story employed.
Audience-Coloring Adaptation / int_ab4c698e	featureApplicability	1.0
Audience-Coloring Adaptation / int_ab4c698e	featureConfidence	1.0
Aladdin	hasFeature	Audience-Coloring Adaptation / int_ab4c698e
Audience-Coloring Adaptation / int_ac07f986	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ac07f986	comment	Super Friends has crippled Aquaman as a character for quite a long time, largely because of the memetic value of the show always making sure he can contribute to the team dynamics. Give him a harpoon hand, replace it with a magical water hand, point out how life at the bottom of the ocean has made him stronger, faster, and more resilient than most humans... and everyone will still be like, "He's just some guy who swims fast and talks to fish." The comic and various other adaptations have been trying to combat this for years (for instance, 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.
Audience-Coloring Adaptation / int_ac07f986	featureApplicability	1.0
Audience-Coloring Adaptation / int_ac07f986	featureConfidence	1.0
Superfriends	hasFeature	Audience-Coloring Adaptation / int_ac07f986
Audience-Coloring Adaptation / int_ad20e006	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ad20e006	comment	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.
Audience-Coloring Adaptation / int_ad20e006	featureApplicability	1.0
Audience-Coloring Adaptation / int_ad20e006	featureConfidence	1.0
Wonder Woman (1975)	hasFeature	Audience-Coloring Adaptation / int_ad20e006
Audience-Coloring Adaptation / int_af872a82	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_af872a82	comment	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 doesnâ€™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.
Audience-Coloring Adaptation / int_af872a82	featureApplicability	1.0
Audience-Coloring Adaptation / int_af872a82	featureConfidence	1.0
The League of Extraordinary Gentlemen (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_af872a82
Audience-Coloring Adaptation / int_b0c4181d	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_b0c4181d	comment	Kaze no ShÅ�jo Emily: Regional example. In the Middle East, Western Literature isn't as well known as it is in it's home area, so this anime was the first introduction they had to the Emily of New Moon. It's to the point that even the original book is referred to as "Ù�ØªØ§Ø© Ø§Ù„Ø±ÙŠØ§Ø Ø¥ÙŠÙ…ÙŠÙ„ÙŠ " (Wind Girl Emily), the anime's Arabic title over there.
Audience-Coloring Adaptation / int_b0c4181d	featureApplicability	1.0
Audience-Coloring Adaptation / int_b0c4181d	featureConfidence	1.0
Kaze No Shojo Emily	hasFeature	Audience-Coloring Adaptation / int_b0c4181d
Audience-Coloring Adaptation / int_b31b332f	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_b31b332f	comment	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.
Audience-Coloring Adaptation / int_b31b332f	featureApplicability	1.0
Audience-Coloring Adaptation / int_b31b332f	featureConfidence	1.0
Transformers Film Series	hasFeature	Audience-Coloring Adaptation / int_b31b332f
Audience-Coloring Adaptation / int_b3b15bc1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_b3b15bc1	comment	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; it probably doesn't hurt that those same character designs would be used in several classic Capcom arcade games of the period (most famously Marvel vs. Capcom), which remained popular with gamers for decades afterward, cementing their iconic status. 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!
Audience-Coloring Adaptation / int_b3b15bc1	featureApplicability	1.0
Audience-Coloring Adaptation / int_b3b15bc1	featureConfidence	1.0
X-Men: The Animated Series	hasFeature	Audience-Coloring Adaptation / int_b3b15bc1
Audience-Coloring Adaptation / int_b4996199	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_b4996199	comment	Spider-Man: The '90s era of The Amazing Spider-Man (1963) 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.
Audience-Coloring Adaptation / int_b4996199	featureApplicability	1.0
Audience-Coloring Adaptation / int_b4996199	featureConfidence	1.0
Spider-Man (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_b4996199
Audience-Coloring Adaptation / int_b4f0a147	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_b4f0a147	comment	Rankin/Bass's adaptation of Frosty the Snowman. 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 MelÃ©ndez takes cues from the 1969 special, with Frosty's design being similar to the Rankin/Bass version. The official music video of the song (performed by Jimmy Durante before performing it again in the special) is also designed after this version of him, including the hat and nose.
Audience-Coloring Adaptation / int_b4f0a147	featureApplicability	1.0
Audience-Coloring Adaptation / int_b4f0a147	featureConfidence	1.0
Frosty the Snowman	hasFeature	Audience-Coloring Adaptation / int_b4f0a147
Audience-Coloring Adaptation / int_ba1e4187	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ba1e4187	comment	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).
Audience-Coloring Adaptation / int_ba1e4187	featureApplicability	1.0
Audience-Coloring Adaptation / int_ba1e4187	featureConfidence	1.0
Bram Stoker's Dracula	hasFeature	Audience-Coloring Adaptation / int_ba1e4187
Audience-Coloring Adaptation / int_bbbb8c43	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_bbbb8c43	comment	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.
Audience-Coloring Adaptation / int_bbbb8c43	featureApplicability	1.0
Audience-Coloring Adaptation / int_bbbb8c43	featureConfidence	1.0
Scooby-Doo (2002)	hasFeature	Audience-Coloring Adaptation / int_bbbb8c43
Audience-Coloring Adaptation / int_bf09bf33	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_bf09bf33	comment	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 especially for fans of the Wally West era, as the show has popularized Barry Allen as the Flash, with Wally's tenure being seen as only a temporary venture by many in spite of having over two decades of story to himself. This is a case of Mis-blamed, though, as DC (former co-publisher Dan DiDio, mostly) has been sweeping Wally, and to a lesser degree all other non-Barry Flashes, under the rug for quite some time. Some fans of Wally were astonished that the show ever used him in the first place!. This especially goes for the Green Arrow, whose comic version is very different.note The show version begins as a very dark Judge, Jury, and Executioner, and after that is always struggling with his own dark side. He is The Cowl to The Cape of Barry, and even a Russian Mafia captain nicknamed "The K. G. Beast" is shocked by his brutality. Very compelling, yes, but it leaves him with little in common with the comic version, or any other adaptation, beyond "shoots arrows."
Audience-Coloring Adaptation / int_bf09bf33	featureApplicability	1.0
Audience-Coloring Adaptation / int_bf09bf33	featureConfidence	1.0
Arrowverse	hasFeature	Audience-Coloring Adaptation / int_bf09bf33
Audience-Coloring Adaptation / int_c01688c8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c01688c8	comment	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, the suit being body armor instead of tights, 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 was actually a perfectly ordinary street criminal named Joe Chill, that he was a middle-aged mannote In a majority of the comics his age is ambiguous, but generally he's portrayed as being around the same age as Batman, or even possibly younger or that his real name is Jack Napiernote His real name has never been revealed, though he has used several aliases, Napier among them. Any time the Joker seems to be telling you his backstory it is likely a lie.
Audience-Coloring Adaptation / int_c01688c8	featureApplicability	1.0
Audience-Coloring Adaptation / int_c01688c8	featureConfidence	1.0
Batman (1989)	hasFeature	Audience-Coloring Adaptation / int_c01688c8
Audience-Coloring Adaptation / int_c0da5437	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c0da5437	comment	The Punisher: Garth Ennis's Punisher from the MAX imprint has left a significant mark on the character's identity to this day, infusing it with touches of realism, grit, and glimpses of complexity and humanity that, in many ways, have made it the definitive version of the character. He's a character that simply doesn't fit within a more caricatured superhero environment (as it did before) due to his inherently brutal and mundane nature, and that's something Ennis made very clear. It's also influenced some of the Punisher's non-comic incarnations, most notably Punisher: War Zone and the Marvel Cinematic Universe version of the character.
Audience-Coloring Adaptation / int_c0da5437	featureApplicability	1.0
Audience-Coloring Adaptation / int_c0da5437	featureConfidence	1.0
The Punisher (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_c0da5437
Audience-Coloring Adaptation / int_c0eadab8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c0eadab8	comment	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 and in particular its heavily-edited English dub, which further exaggerated their personalities as to the games, as does Knuckles and Rouge's relationship.
Audience-Coloring Adaptation / int_c0eadab8	featureApplicability	1.0
Audience-Coloring Adaptation / int_c0eadab8	featureConfidence	1.0
Sonic X	hasFeature	Audience-Coloring Adaptation / int_c0eadab8
Audience-Coloring Adaptation / int_c2297a9c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c2297a9c	comment	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.
Audience-Coloring Adaptation / int_c2297a9c	featureApplicability	1.0
Audience-Coloring Adaptation / int_c2297a9c	featureConfidence	1.0
Judge Dredd (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_c2297a9c
Audience-Coloring Adaptation / int_c23062c	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c23062c	comment	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.
Audience-Coloring Adaptation / int_c23062c	featureApplicability	1.0
Audience-Coloring Adaptation / int_c23062c	featureConfidence	1.0
Godzilla vs. Megalon	hasFeature	Audience-Coloring Adaptation / int_c23062c
Audience-Coloring Adaptation / int_c43df4d8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c43df4d8	comment	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 or fifth, if you count the non-canon Peter Cushing films 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).
Audience-Coloring Adaptation / int_c43df4d8	featureApplicability	1.0
Audience-Coloring Adaptation / int_c43df4d8	featureConfidence	1.0
Doctor Who	hasFeature	Audience-Coloring Adaptation / int_c43df4d8
Audience-Coloring Adaptation / int_c70a1171	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c70a1171	comment	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.
Audience-Coloring Adaptation / int_c70a1171	featureApplicability	1.0
Audience-Coloring Adaptation / int_c70a1171	featureConfidence	1.0
Conan the Barbarian (Franchise)	hasFeature	Audience-Coloring Adaptation / int_c70a1171
Audience-Coloring Adaptation / int_c75ae76b	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c75ae76b	comment	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).
Audience-Coloring Adaptation / int_c75ae76b	featureApplicability	1.0
Audience-Coloring Adaptation / int_c75ae76b	featureConfidence	1.0
Dick Tracy (Comic Strip)	hasFeature	Audience-Coloring Adaptation / int_c75ae76b
Audience-Coloring Adaptation / int_c8e04b53	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_c8e04b53	comment	The Legend of Zelda: Four Swords (2004) is invariably the basis for any kind of fan work related to The Legend of Zelda: Four Swords Adventures, which was one of the lowest-selling games in Zelda history. The manga has the benefit of giving each of the four Links his own personality instead of making them The Dividual, and gives Shadow Link a lot of Adaptational Sympathy.
Audience-Coloring Adaptation / int_c8e04b53	featureApplicability	1.0
Audience-Coloring Adaptation / int_c8e04b53	featureConfidence	1.0
The Legend of Zelda: Four Swords (2004) (Manga)	hasFeature	Audience-Coloring Adaptation / int_c8e04b53
Audience-Coloring Adaptation / int_cb6dff30	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_cb6dff30	comment	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 peopleâ€™s first exposure to Silent Hill will be the two films that take an infamously Broad Strokes approach to games. A lot of people will bring up the bit where Pyramid Head rips a womanâ€™s skin off, but far fewer people are likely to bring up/know about Pyramid Head being the manifestation of guilt and desire for the punishment of one particular character. Most people thanks to the film will also assume itâ€™s a mother looking for her daughter's story, rather than a father looking for his daughter's story like it was in the original game. Not helping matters is the fact 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.
Audience-Coloring Adaptation / int_cb6dff30	featureApplicability	1.0
Audience-Coloring Adaptation / int_cb6dff30	featureConfidence	1.0
Silent Hill	hasFeature	Audience-Coloring Adaptation / int_cb6dff30
Audience-Coloring Adaptation / int_cce5a834	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_cce5a834	comment	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, heâ€™s been a Awesome Aussie in the games and other media ever since. Raiden is another prominent example, in first MK he wasnâ€™t a Big Good Mentor Archetype but rather an asshole Thunder God who entered the tournament out of sheer boredom and while he Took a Level in Kindness in the sequel, he still wasnâ€™t meant be a Gandalf or Zordon figure to the heroes. Thanks to Christopher Lambertâ€™s wise and cool mentor portrayal of Raiden however, heâ€™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. The iconic song â€œTechno Syndromeâ€� by The Immortals is also heavily associated with the film, so much so that most donâ€™t know that it debuted two years before the film, nor that itâ€™s actually a remix of another song altogether.
Audience-Coloring Adaptation / int_cce5a834	featureApplicability	1.0
Audience-Coloring Adaptation / int_cce5a834	featureConfidence	1.0
Mortal Kombat: The Movie	hasFeature	Audience-Coloring Adaptation / int_cce5a834
Audience-Coloring Adaptation / int_ce4d28	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ce4d28	comment	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.
Audience-Coloring Adaptation / int_ce4d28	featureApplicability	1.0
Audience-Coloring Adaptation / int_ce4d28	featureConfidence	1.0
Masked Rider	hasFeature	Audience-Coloring Adaptation / int_ce4d28
Audience-Coloring Adaptation / int_ce50887e	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ce50887e	comment	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).
Audience-Coloring Adaptation / int_ce50887e	featureApplicability	1.0
Audience-Coloring Adaptation / int_ce50887e	featureConfidence	1.0
Dragon Ball (Manga)	hasFeature	Audience-Coloring Adaptation / int_ce50887e
Audience-Coloring Adaptation / int_cefae276	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_cefae276	comment	Island of Lost Souls wasn't the first major adaptation of H. G. Wells's The Island of Doctor Moreau, but it is without doubt the most influential. In the original novel, the only major characters were Moreau, Edward, and Montgomery. Lota, the part-panther woman in this film, wasn't part of the original story. Since this film, each adaptation has a part-feline female character (e.g. Maria in the 1977 adaptation and Aissa in the 1996 adaptation).
Audience-Coloring Adaptation / int_cefae276	featureApplicability	1.0
Audience-Coloring Adaptation / int_cefae276	featureConfidence	1.0
Island of Lost Souls	hasFeature	Audience-Coloring Adaptation / int_cefae276
Audience-Coloring Adaptation / int_cf3e7a82	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_cf3e7a82	comment	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 Zodâ€™s entire modern characterisation is thanks to Terence Stampâ€™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 wasnâ€™t until Superman II that Zodâ€™s whole character got an overhaul being upgraded to Supermanâ€™s main evil Kryptonian foil who fully takes advantage of powers Earthâ€™s yellow sun gave him. Itâ€™s thanks to Stampâ€™s portrayal the look of the character changed too going from stereotypical military officer to the black-garbed goateed tyrant like the film. Nowadays youâ€™d be hard-pressed to find an incarnation of Zod that isnâ€™t strongly influenced by Terence Stampâ€™s version from the Post-Crisis comics to Michael Shannonâ€™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, almost all comics went with the crystal look for Krypton, and other media like the prequel TV show tend to borrow greatly from the aesthetics of the Reeve films.
Audience-Coloring Adaptation / int_cf3e7a82	featureApplicability	1.0
Audience-Coloring Adaptation / int_cf3e7a82	featureConfidence	1.0
Superman (Franchise)	hasFeature	Audience-Coloring Adaptation / int_cf3e7a82
Audience-Coloring Adaptation / int_d0d11190	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_d0d11190	comment	Batman: The Dark Knight Returns absolutely is this, not only to the mainstream audience but the Batman mythos in general as Frank Millerâ€™s comic helped pioneer many of the modern conventions of Batman and DC that many people donâ€™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. TKDR, however, featured a far Darker and Edgier Batman than had been seen before with his superhero antics being akin to an addiction heâ€™s fallen back into after losing almost everything else in his life. Bruce treating the Robins as â€œsoldiersâ€�, his devil may care stubbornness in the face of authority, being extra Crazy-Prepared when dealing with Superman, extreme brutality to opponents, and the black and grey costume returning (in the '80s at the time it was still blue and grey) all come from The Dark Knight Returns and were folded forward into the mainline comics (and films and cartoons) one way or another. Thanks to this comic, Superman and Batmanâ€™s relationship also changed - no longer being perfect friends, The World's Finest, but rather somewhat distant and distrusting (if respectful) of each other. Even the strange sexual overtones Joker has towards Batman, something thatâ€™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.
Audience-Coloring Adaptation / int_d0d11190	featureApplicability	1.0
Audience-Coloring Adaptation / int_d0d11190	featureConfidence	1.0
Batman: The Dark Knight Returns (Comic Book)	hasFeature	Audience-Coloring Adaptation / int_d0d11190
Audience-Coloring Adaptation / int_d4f6f3fb	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_d4f6f3fb	comment	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).
Audience-Coloring Adaptation / int_d4f6f3fb	featureApplicability	1.0
Audience-Coloring Adaptation / int_d4f6f3fb	featureConfidence	1.0
F-Zero (Video Game)	hasFeature	Audience-Coloring Adaptation / int_d4f6f3fb
Audience-Coloring Adaptation / int_d5ddd6c1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_d5ddd6c1	comment	PokÃ©mon: The Series: The "original series" of the anime will always be how the PokÃ©mon 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 PokÃ©mon will always speak PokÃ©mon 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 PokÃ©mon 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 PokÃ©mon to match their anime appearances was done specifically due to how drastically and immediately the anime came to define the IP. PokÃ©mon: 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 PokÃ©mon Red and Blue, and Mewtwo had no defined personality, though PokÃ©mon Ultra Sun and Ultra Moon had Giovanni with a Mewtwo as a nod to the anime, while PokÃ©mon 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.
Audience-Coloring Adaptation / int_d5ddd6c1	featureApplicability	1.0
Audience-Coloring Adaptation / int_d5ddd6c1	featureConfidence	1.0
PokÃ©mon: The Series	hasFeature	Audience-Coloring Adaptation / int_d5ddd6c1
Audience-Coloring Adaptation / int_d7aab7c1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_d7aab7c1	comment	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 Usagi becomes "Serena", Mamoru becomes "Darien", Makoto becomes "Lita", Minako is shortened to "Mina", Rei and Ami just have their spelling Anglicized to "Raye" and "Amy", Chibiusa becomes "Rini", and Naru becomes "Molly" changed the music and story, and a few episodes were cut completely. But the show still proved to be entertaining and a hit with children in North America, its theme song became a '90s icon, and it was one of the catalyst shows that kicked off the anime boom in the 1990s. To many fans, the '90s dub and all of its flavor and lingo was their definitive experience with Sailor Moon, and it's really hard to see the show as anything else. To them Usagi is always 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.
Audience-Coloring Adaptation / int_d7aab7c1	featureApplicability	1.0
Audience-Coloring Adaptation / int_d7aab7c1	featureConfidence	1.0
Sailor Moon	hasFeature	Audience-Coloring Adaptation / int_d7aab7c1
Audience-Coloring Adaptation / int_dad73e07	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_dad73e07	comment	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 albeit on a rather short-sighted decision after the film version didn't do so well upon initial release, 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. 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 (one chapter is even titled "The Other Children Go Home"), it's not even an alteration from the first film, where Wonka tells Charlie the other children will be fine, but hopefully a little wiser.
Audience-Coloring Adaptation / int_dad73e07	featureApplicability	1.0
Audience-Coloring Adaptation / int_dad73e07	featureConfidence	1.0
Willy Wonka & the Chocolate Factory	hasFeature	Audience-Coloring Adaptation / int_dad73e07
Audience-Coloring Adaptation / int_db088973	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_db088973	comment	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.
Audience-Coloring Adaptation / int_db088973	featureApplicability	1.0
Audience-Coloring Adaptation / int_db088973	featureConfidence	1.0
Hyakujuu Sentai Gaoranger	hasFeature	Audience-Coloring Adaptation / int_db088973
Audience-Coloring Adaptation / int_dc08acbd	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_dc08acbd	comment	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.
Audience-Coloring Adaptation / int_dc08acbd	featureApplicability	1.0
Audience-Coloring Adaptation / int_dc08acbd	featureConfidence	1.0
How the Grinch Stole Christmas!	hasFeature	Audience-Coloring Adaptation / int_dc08acbd
Audience-Coloring Adaptation / int_dd5bff3	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_dd5bff3	comment	Rudolph the Red-Nosed Reindeer (1964): While Rudolph has been around since the late 1930s (such as getting adapted into an animated short by Max Fleischer in 1948, a song by Gene Autry in 1949, and a DC Comics series that ran from 1950-1962), the 1964 Christmas special by Rankin & Bass has left a very strong impression on the general public. The public is familiar with the song, but a lot of people are more familiar with the 1964 special than the original story/poem by Robert May from 1939. It's gotten to the point that non-Rankin-Bass adaptations that are faithful adaptations of the original story (such as Rudolph's Lessons For Life by Montgomery Ward from 1996, and the Max Fleischer short) have people questioning where Hermey, Yukon Cornelus, Clarice, and The Misfit Toys are. The special even shaped the public perception of how Rudolph's own red nose works. The special made Rudolph's red nose smaller and had it work like a flashlight (such as being able to glow randomly), complete with sound effect coming from his nose. Compared to the original story and pre-Rankin-Bass adaptations where Rudolph's red nose always glowed (such as his nose being so shiny that it glistened during the day, and his nose still glowing as he's sleeping◊) and his nose was notably bigger than the other reindeer. After 1964, future illustrations and media featuring Rudolph would have his red nose work like it did in the special. Even the 1998 feature film was influenced by the 1964 stop-motion special by having his nose work the same as the special including sound effects when it starts glowing.
Audience-Coloring Adaptation / int_dd5bff3	featureApplicability	1.0
Audience-Coloring Adaptation / int_dd5bff3	featureConfidence	1.0
Rudolph the Red-Nosed Reindeer (1964)	hasFeature	Audience-Coloring Adaptation / int_dd5bff3
Audience-Coloring Adaptation / int_de8f6a97	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_de8f6a97	comment	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.
Audience-Coloring Adaptation / int_de8f6a97	featureApplicability	1.0
Audience-Coloring Adaptation / int_de8f6a97	featureConfidence	1.0
Godzilla (1954)	hasFeature	Audience-Coloring Adaptation / int_de8f6a97
Audience-Coloring Adaptation / int_de8f6b17	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_de8f6b17	comment	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.
Audience-Coloring Adaptation / int_de8f6b17	featureApplicability	1.0
Audience-Coloring Adaptation / int_de8f6b17	featureConfidence	1.0
Godzilla (1998)	hasFeature	Audience-Coloring Adaptation / int_de8f6b17
Audience-Coloring Adaptation / int_df7a30e1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_df7a30e1	comment	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 RaÃºl JuliÃ¡ 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 RaÃºl JuliÃ¡), 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.
Audience-Coloring Adaptation / int_df7a30e1	featureApplicability	1.0
Audience-Coloring Adaptation / int_df7a30e1	featureConfidence	1.0
The Addams Family	hasFeature	Audience-Coloring Adaptation / int_df7a30e1
Audience-Coloring Adaptation / int_df910951	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_df910951	comment	The Metamorphoses by the late Roman poet Ovid are this to Classical Mythology as a whole; Greek was a lost language in Western Europe for most of the Middle Ages, so most people from that region's only expose to Classical Myth only came through what the Roman's had translated into Latin (which was widely spoken thanks to being the Lingua Franca of the Roman Empire and later the Catholic Church). As a result, the versions of the stories presented by Ovid are more widely known and influential than the earlier Greek versions (see Medusa's backstory for an excellent example). Ovid's depiction of the Olympians as a pantheon of Jerkass Gods was a deliberate choice reflecting his own anti-traditionalist views, but due to his works being among the most influential interpretations of Greek mythology, most people will think that your average ancient Greek really believed their gods were rapists and selfish manchildren prone to smiting for the most petty of reasons.
Audience-Coloring Adaptation / int_df910951	featureApplicability	1.0
Audience-Coloring Adaptation / int_df910951	featureConfidence	1.0
The Metamorphoses	hasFeature	Audience-Coloring Adaptation / int_df910951
Audience-Coloring Adaptation / int_dfafaa10	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_dfafaa10	comment	When The Railway Series storybooks were adapted into the now insanely-successful Thomas & Friends series, there were numerous changes right out of the gate; Annie and Clarabel had 4 wheels each instead of bogies, there was only one Sir Topham Hatt, the Skarloey Railway engines were painted in different colors instead of sharing a uniform livery, and Thomas himself retains his distinctive sloped footplate dip on his front. Knapford was also changed from a minor junction to the main terminus in the middle of Sodor, while Gordon's hill was now an actual hill rather than a simple incline. The first 26 books were published annually beginning in 1942 before stopping, followed by 13 more on a similar schedule in 1983, before finally ending with two one-off prints in 2007 and 2011. The television series, however, ran consecutively for 37 years, from 1984 to 2021. While the series did switch to CGI in 2009 before a 2D reboot replaced it in 2021, the original live-action model episodes from the first to seventh series are the most well-remembered of the entire franchise, and aside from liberal fan adaptations most fan stories tend to draw inspiration and visual cues from those episodes the most. Most modern fans, however, are much more familiar with the CGI entries in the franchise, with these being emulated just as much as the original model episodes (though the writing is more along the lines of seasons 17-21, which were widely considered superior to most episodes of modern Thomas).
Audience-Coloring Adaptation / int_dfafaa10	featureApplicability	1.0
Audience-Coloring Adaptation / int_dfafaa10	featureConfidence	1.0
The Railway Series	hasFeature	Audience-Coloring Adaptation / int_dfafaa10
Audience-Coloring Adaptation / int_e02d5288	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_e02d5288	comment	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 series being on the same streaming service) with the frequently talked-about moment where he puts Mark in the path of a speeding train with the passengers getting torn apart all over him being actually original to the show, and a case of Adaptational Villainy compared to the comic, where Nolan never deliberately kills 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.
Audience-Coloring Adaptation / int_e02d5288	featureApplicability	1.0
Audience-Coloring Adaptation / int_e02d5288	featureConfidence	1.0
Invincible (2021)	hasFeature	Audience-Coloring Adaptation / int_e02d5288
Audience-Coloring Adaptation / int_e548c08a	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_e548c08a	comment	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.
Audience-Coloring Adaptation / int_e548c08a	featureApplicability	1.0
Audience-Coloring Adaptation / int_e548c08a	featureConfidence	1.0
Toku	hasFeature	Audience-Coloring Adaptation / int_e548c08a
Audience-Coloring Adaptation / int_e7efd7dd	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_e7efd7dd	comment	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).
Audience-Coloring Adaptation / int_e7efd7dd	featureApplicability	1.0
Audience-Coloring Adaptation / int_e7efd7dd	featureConfidence	1.0
Bonnie and Clyde	hasFeature	Audience-Coloring Adaptation / int_e7efd7dd
Audience-Coloring Adaptation / int_e8d13e52	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_e8d13e52	comment	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 does the former and uses the latter catchphrase once apiece in the entire manga, although he does wear "I (heart) the sea" on his shirt and calls his cafe the "I (heart) the sea Cafe". The anime invented both his inexplicable ability to summon waves and gave him the catchphrase. Lum nicknaming her wrathful zaps of Ataru "Divine Retribution" is an early anime thing, and she actually drops the Calling Your Attacks gimmick very quickly. Giving Ataru an electrified version of The Glomp only happens in five chapters in the entire manga (the last two times being when Lum is drunk and under the effects of a Love Potion), and whilst it's slightly more prevalent in the early anime, it too fades out quickly — the last episode it appears in is Episode 42, with a reference in chapter 60. Nicknaming this move as "Expression of Love" was unique to the anime, though she does use the name in the final chapter where it appears, which was also adapted into the OVA "Catch the Heart".
Audience-Coloring Adaptation / int_e8d13e52	featureApplicability	1.0
Audience-Coloring Adaptation / int_e8d13e52	featureConfidence	1.0
Urusei Yatsura (Manga)	hasFeature	Audience-Coloring Adaptation / int_e8d13e52
Audience-Coloring Adaptation / int_e92aabb8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_e92aabb8	comment	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.
Audience-Coloring Adaptation / int_e92aabb8	featureApplicability	1.0
Audience-Coloring Adaptation / int_e92aabb8	featureConfidence	1.0
The Addams Family (Franchise)	hasFeature	Audience-Coloring Adaptation / int_e92aabb8
Audience-Coloring Adaptation / int_f04b4111	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f04b4111	comment	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.
Audience-Coloring Adaptation / int_f04b4111	featureApplicability	1.0
Audience-Coloring Adaptation / int_f04b4111	featureConfidence	1.0
Metroid (Franchise)	hasFeature	Audience-Coloring Adaptation / int_f04b4111
Audience-Coloring Adaptation / int_f11c7ff2	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f11c7ff2	comment	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 a 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.
Audience-Coloring Adaptation / int_f11c7ff2	featureApplicability	1.0
Audience-Coloring Adaptation / int_f11c7ff2	featureConfidence	1.0
Universal Horror (Franchise)	hasFeature	Audience-Coloring Adaptation / int_f11c7ff2
Audience-Coloring Adaptation / int_f1da64b5	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f1da64b5	comment	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.
Audience-Coloring Adaptation / int_f1da64b5	featureApplicability	1.0
Audience-Coloring Adaptation / int_f1da64b5	featureConfidence	1.0
The Lord of the Rings	hasFeature	Audience-Coloring Adaptation / int_f1da64b5
Audience-Coloring Adaptation / int_f29ece04	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f29ece04	comment	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.
Audience-Coloring Adaptation / int_f29ece04	featureApplicability	1.0
Audience-Coloring Adaptation / int_f29ece04	featureConfidence	1.0
DC Super Hero Girls (Franchise)	hasFeature	Audience-Coloring Adaptation / int_f29ece04
Audience-Coloring Adaptation / int_f502a38a	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f502a38a	comment	The Smurfs (1981): While The Smurfs has been active since 1958, the Hanna-Barbera series that ran throughout the 1980s has left a huge impact with the franchise as a whole (especially in the United States). The series made the smurf species notably nicer and cuter compared to their mischievous behavior and tendencies present in original Belgian comics. Despite the show ending in 1989, it left a huge impact with the public (mainly Americans) believing The Smurfs to be saccharine and sentimental. Even Peanuts creator Charles Schulz hated The Smurfs finding them "ugly" as detailed in some of his autobiography books. This doesn't effect fans of the series in Europe (especially in France, the Netherlands, and Belgium) due to Franco-Belgian Comics being huge compared to the United States. It also toned down the slapstick and social satirical elements that was common in the comics and pre-HB animated media. The show popularized the idea of Gargamel and Azrael always being the Arch-Enemy to The Smurfs. In the comics and older Smurf media, Gargamel and Azrael only appeared in two storylines from the comics with The Smurfs facing other dangerous humans and animals (such as The Howlibird). The massive popularity of the Hanna-Barbera cartoon caused both Gargamel and his cat to be the default antagonists which Peyo decided to incorporate into the comics near the end of his life. In the comics, The Smurfs' food of choice was Sarsaparilla. The 1980s series changed it to "Smurfberries" which gained it's own cereal brand during the show's original run. Their love for Smurfberries was present in the live-action films series by Sony Pictures Animation and the CGI animated film Smurfs: The Lost Village. The 2021 series reverted back to them loving Sarsaparilla despite taking place in the same universe as the 2017 animated film. The 2010 mobile game Smurfs Village features The Smurfs equally enjoying both Smurfberries and Sarsaparilla.
Audience-Coloring Adaptation / int_f502a38a	featureApplicability	1.0
Audience-Coloring Adaptation / int_f502a38a	featureConfidence	1.0
The Smurfs (1981)	hasFeature	Audience-Coloring Adaptation / int_f502a38a
Audience-Coloring Adaptation / int_f510a5c1	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f510a5c1	comment	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.
Audience-Coloring Adaptation / int_f510a5c1	featureApplicability	1.0
Audience-Coloring Adaptation / int_f510a5c1	featureConfidence	1.0
Around the World in Eighty Days	hasFeature	Audience-Coloring Adaptation / int_f510a5c1
Audience-Coloring Adaptation / int_f6fe1bfc	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f6fe1bfc	comment	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.
Audience-Coloring Adaptation / int_f6fe1bfc	featureApplicability	1.0
Audience-Coloring Adaptation / int_f6fe1bfc	featureConfidence	1.0
Sabrina the Teenage Witch	hasFeature	Audience-Coloring Adaptation / int_f6fe1bfc
Audience-Coloring Adaptation / int_f81101f2	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_f81101f2	comment	The "original series" of the anime will always be how the PokÃ©mon 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 PokÃ©mon will always speak PokÃ©mon 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.
Audience-Coloring Adaptation / int_f81101f2	featureApplicability	1.0
Audience-Coloring Adaptation / int_f81101f2	featureConfidence	1.0
Pokémon: The Original Series	hasFeature	Audience-Coloring Adaptation / int_f81101f2
Audience-Coloring Adaptation / int_fa44b9bb	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_fa44b9bb	comment	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.
Audience-Coloring Adaptation / int_fa44b9bb	featureApplicability	1.0
Audience-Coloring Adaptation / int_fa44b9bb	featureConfidence	1.0
Carrie (1976)	hasFeature	Audience-Coloring Adaptation / int_fa44b9bb
Audience-Coloring Adaptation / int_fb173de	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_fb173de	comment	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 Lerouxâ€™s version where Erik (thatâ€™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 itâ€™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 Phantomâ€™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 â€œAngel of Musicâ€�'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.
Audience-Coloring Adaptation / int_fb173de	featureApplicability	1.0
Audience-Coloring Adaptation / int_fb173de	featureConfidence	1.0
The Phantom of the Opera (Theatre)	hasFeature	Audience-Coloring Adaptation / int_fb173de
Audience-Coloring Adaptation / int_fe85bfc8	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_fe85bfc8	comment	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). 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).
Audience-Coloring Adaptation / int_fe85bfc8	featureApplicability	1.0
Audience-Coloring Adaptation / int_fe85bfc8	featureConfidence	1.0
Super Smash Bros. (Video Game)	hasFeature	Audience-Coloring Adaptation / int_fe85bfc8
Audience-Coloring Adaptation / int_ff8bc445	type	Audience-Coloring Adaptation
Audience-Coloring Adaptation / int_ff8bc445	comment	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.
Audience-Coloring Adaptation / int_ff8bc445	featureApplicability	1.0
Audience-Coloring Adaptation / int_ff8bc445	featureConfidence	1.0
The Barber of Seville (Theatre)	hasFeature	Audience-Coloring Adaptation / int_ff8bc445

The following is a list of statements referring to the current page from other pages.

Audience-Coloring Adaptation	processingCategory2	Audience Reactions
Audience-Coloring Adaptation	processingCategory2	Derivative Works
Audience-Coloring Adaptation	processingCategory2	Media Adaptation Tropes
Audience-Coloring Adaptation	processingCategory2	Unexpected Reactions to This Index
I Have No Mouth, and I Must Scream / int_a52b6edb	type	Audience-Coloring Adaptation
The Mythology Guy (Web Video) / int_a52b6edb	type	Audience-Coloring Adaptation

Copyright of DBTropes.org wrapper 2009-2013 DFKI Knowledge Management. Imprint. - Thanks to Bakken&Baeck for hosting. Contact.
Copyright of data TVTropes.org contributors under Creative Commons Attribution-Share Alike 3.0 Unported License.