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Character Exaggeration

 Character Exaggeration
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Character Exaggeration
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The vague but noticeable change in a character's personality or habits in newer adaptations. Interestingly, it is more common for traits to be overemphasized (or even changed completely) rather than deemphasized.
Unlike Flanderization, this version of the character appears like this initially rather than gradually evolving to it; most of the time it just happens that the 'new' version is based on the end-product of the 'old' version's long and changing development. Similarly, production time often limits the amount a character can appear, in which case the most 'important' traits are emphasized to make them distinctive. More negatively, subtlety can be lost if Executive Meddling changes the character to establish more broad appeal to some proven demographic. If something a character has said or done only once (or very rarely) becomes exaggerated in the minds of the audience to the point that it almost defines them, that's Never Live It Down.
Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_1'); })Parodies are especially prone to this. That said, Tropes Are Not Bad and some examples are actually more popular and better-developed than their originals (though others...aren't).
Compare with Ascended Extra, which is done to obscure characters to make them ostensibly prominent. Contrast Out-of-Character Moment. See also Character Check, when the writers try to reverse this, if only momentarily.
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OuranHighSchoolHostClub
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TheBlindSide
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TokenGirl
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DCSuperHeroGirls2019
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DBTropes
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Character Exaggeration
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Batman: Arkham Asylum and especially Batman: Arkham City fare better in showing Bane to be intelligent and a potential ally to Batman. However, according to the in-game character profile Venom nearly triples his body mass and without it he's an average-sized Joe.
Batman: Arkham Origins, done by a different company but still set in the same world, reverts Bane to probably the closest version of his original characterization. The plot of the game sets him up as The Dragon to The Joker, but in such a way it is clear he is the most intelligent and powerful enemy Batman faces that night, arguably even including the Joker. It also offers a justification for later portrayals in the series: for the final battle he uses an experimental modification of Venom which causes him to beef up to the ludicrous proportions seen in Asylum, but has brain-damaging side effects — including wiping his memory of Batman's Secret Identity.
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Character Exaggeration
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The RWBY: Official Manga Anthology Red Like Roses exaggerates Ruby's personality all over the place compared to RWBY. She's more emotional and cries easily. Her childlike spirit is both downplayed and ramped up depending on the scene.
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Character Exaggeration
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''The Paul Powers Show': The Who Would Win episodes all have a special guest character from some unrelated cartoon, comic book, or video game. In every case, they comedically exaggerated versions of their cannon selves.
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Character Exaggeration
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In We Are Our Avatars, there is Young Lordgenome. Because Etheru did not know much about Young Lordgenome, he used several parts of the eighth Parallel Works Video, such as being with animals and no humans in sight as reference. Thus, Lordgenome's personality is dominated by his loneliness and love of animals.)
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A number of LEGO Island characters were exaggerated when they appeared in Dino Attack RPG:
A minor note in the LEGO Island Comic Adventures stated that the Brickster wished to be as evil as Evil Ogel. In Dino Attack RPG, the Brickster has been exaggerated to the point of being Ogel's self-proclaimed #1 fanboy.
Especially in Atton Rand and imperial officer's posts, Enter and Return have been exaggerated to the point that the only jokes they are capable of are variations of their "stretcher, megaphone, shark, tree, umbrella, and mailbox" sketch. In some other peoples' posts, their humor extends a little farther (for example, in one of PeabodySam's posts, they were arguing about the color of their shirts), but for the most part, we only hear jokes about bringing a shark.
In the non-canon scene where Papa Brickolini was arrested by the Nick Brick, the Brickolinis were exaggerated heavily. In the original games, the Brickolinis spoke with a light Italian accent and accidentally freed the Brickster twice (and the second time, they were smart enough to try to prevent it from happening again). In this scene, the Brickolinis' Italian accents were turned Up to Eleven, and the two chefs were depicted as completely oblivious as they incompetently freed the Brickster again and again over the years by constantly sending super-spicy pizzas to the jail, even after what happened the first two times.
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Character Exaggeration
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In the Disgaea games, you can recruit the protagonists of the past games as bonus characters. However, their personality is reduced to one or two of their traits tuned Up to Eleven. It's most noticeable with Laharl and Etna, the two main characters of the first game. Laharl was a the son of the previous Overlord, who started as a arrogant brat who hated love but matured into a responsible Overlord. Etna was his vassal, who was jealous of him for getting all the attention of his father, who she admired and saw as a paternal figure to herself, but as Laharl matured, she started to see that he was more than a spoiled brat and learned to respect him. In every subseqüent appearance, Laharl is a arrogant brat Overlord who wants to be the main character again to get more screentime and is an ass to his peers, while Etna is on a quest to gain more power to defeat Laharl, who she deeply dislikes. Etna also had two minor traits increased by a lot: she is complexed by her flat chest (a point raised in one line in the first game) and that she's a sweet tooth (also mentioned once in the first game, and became her difining trait in spinoffs, where she is always looking for some legendary candy).
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Akane Tendo from Ranma ½ is a zigzagging case, in that it's hard to get any group of fans to agree which of her two incarnations (anime vs. manga) is the more exaggerated. The anime version is generally portrayed as more consistently hot-tempered and quick to start shouting at Ranma or get grumpy. But the manga version goes to far nastier extremes in terms of anger at and distrust for Ranma — for example, believing Ranma will try to rape her when they are home alone together during the Hypnotic Mushrooms story, or accusing Ranma of trying to rape Hinako Ninomiya in her introductory story, both of which are things the anime version of Akane would never do.
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Bleach filler tends to take the distilled essence of each character and blow it up until the character is as one-dimensional as they come. For example, despite being Ax-Crazy, Kenpachi is actually an insightful warrior as shown numerous times throughout the series (such as when he notes that Gin and Tousen are the only captains afraid to die and when he fights enemies whom brute force can't win against). In filler and movies, though, Kenpachi is offscreen until the fighting starts, at which point he just runs in laughing and slashing without any form of thought or development whatsoever. And if you think his portrayal is bad, don't get us started on Soifon, Orihime, or Ichigo.
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Magic Knight Rayearth
In the manga, Alcyone is in love with Zagato and a vicious, Faux Affably Evil opponent to the Magic Knights. The anime has her abuse her own allies by tricking Ascot into giving his own creature a Deadly Upgrade and freezing him solid when he protests, then having her contemplate Murder the Hypotenuse over Emeraude. Oddly, she also becomes more sympathetic than the original because she survives into the second season as a broken woman.
Innouva serves as Zagato's Number Two in the anime, and he's rather contemptuous of the other minions. In the Sega Saturn game his diary entries are about him being Surrounded by Idiots and he executes them when they fail.
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High Inquisitor Enrique's characterization is largely dominated by the He Who Fights Monsters aspect of Erik Lehnsherr's personality, making him come off more as a straight-up Knight Templar than as the tormented Well-Intentioned Extremist known to X-Men fans.
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Played for laughs in the House episode "Two Stories". House relays the events of the past days with all his colleagues at one point being portrayed as gross exaggerations of their primary traits. While they all ignore the patient who is coughing up his lungs in front of them, Foreman is a dick who refuses to consider anyone's opinion but his own, Masters is a morally self-righteous shrill, Taub immediately proposes an extramarital affair to a pretty nurse he sees while Chase suggests a threesome to her.
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Most Elvis Presley impersonators go for the him being fat and wearing leisure suits and sunglasses rather than the attractive well-dressed man he was in the 50s and 60s.
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Umineko: When They Cry:
Maria may be strange, but the anime shot her straight into Creepy Child territory in the first episode... and has just kept dialing it up from there to the point of Narm.
Battler, meanwhile, had his Chivalrous Pervert tendencies and desire to solve the mystery cranked up, at the cost of toning down his reactions to the murders.
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In RWBY: The Official Manga, Ruby's pre-Characterization Marches On shyness and awkwardness from the first episode is turned into a core element of her character.
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Teenage Mutant Ninja Turtles (2012): One of the Shredder's primary motivations was always revenge on Hamato Yoshi no matter what continuity, but this one takes it Up to Eleven. Shredder is utterly obsessed with getting revenge on Yoshi/Splinter, to the extent that he's perfectly willing to help bring about The End of the World as We Know It as long as he can achieve it.
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The Fillers in the Naruto anime often do this to several characters:
Most obviously Naruto's hot headedness, taking him from a Book Dumb Indy Ploy master to full blown idiot that can only spam Rasengan at anything that moves.
Likewise, Sakura goes from only occasionally hitting Naruto when he does something perverted, to beating him at every opportunity.
Tsunade's temper is even shorter in the anime fillers, as she tends to yell at Naruto more often and twice threatens to send him back to the academy and started beating the shit out of Sora because she thought he called her old.
Hinata tends to faint quite a bit more often around Naruto, while she only fainted twice in the manga (once when going to visit him in the hospital after the Sasuke Retrieval arc- which was not shown- and when she sees him for the first time after the timeskip).
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Scooby-Doo! Mystery Incorporated: Fred was always the one to build the traps for the Monster of the Week; this incarnation of Fred is literally obsessed with traps. He reads Traps Illustrated magazine, has said "For trap's sake!" at least once, and can't think of anything beyond making new traps.
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Hannibal greatly plays up Hannibal Lecter's Lack of Empathy and his Manipulative Bastard tendencies while somewhat downplaying his famous Affably Evil personality. In the books, Lecter utterly baffled psychologists by being sincerely kind, polite and charming towards people he respected, yet utterly ruthless towards people he considered beneath him—to the point of viewing them as livestock. Mads Mikkelsen's interpretation doesn't lack charm, but he's generally more the latter than the former. Case in point: it's hard to imagine Anthony Hopkins saying something like "It's only cannibalism if we're equals".
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Gundam Sousei takes the quirks of the staff of Mobile Suit Gundam and crank it Up to Eleven.
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Dragon Ball:
Dragon Ball Z has an example with Frieza's Bad Boss tendencies. He was a Bad Boss in the manga to be sure, but he wasn't prone to killing subordinates. In the anime, he kills his minions at the drop of a hat, reasons varying from "failing him", to "being no longer useful", to "speaking out of turn", to "just needing a target".
Goku also qualifies in a different way, as he's hit with a lot of Adaptational Heroism in the anime (both the original and dub). Akira Toriyama himself has commented that he's always been dissatisfied with Goku's "righteous hero" portrayal in the anime and that he was originally meant to be a rather selfish character who fights for himself rather than others, and just happens to end up in world-saving situations a lot. Dragon Ball Super brings him back in line with Toriyama's original concept, with Goku openly admitting at one point that he's a pretty selfish guy who only really cares about fighting (though he adds that he can't ignore people in danger, showing that he does have some heroic traits). On the other hand, this actually caused a backlash against the character, with some viewers declaring that Super turned him into a Jerkass.
The anime makes Chi-Chi more of a bossy, short-tempered Education Mama compared to the manga, to the point where she literally considers Gohan's schooling more important than saving the world.
In the case of Android 16, the anime plays up his Friend to All Living Things trait, which was more an Informed Attribute in the manga. An example of character exaggeration done right.
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In the books, Basil of Baker Street is a bit eccentric and prone to sudden bursts of energy. The Great Mouse Detective turns this Up to Eleven, while also changing him from a perfect gentleman to rude and socially inept... basically more like Sherlock Holmes himself than Basil.
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Sonic's quirkiness and energy level is ramped up in Sonic the Hedgehog (2020). He's depicted as barely keeping still in the film, while his game counterpart is more laidback.
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The Dark Knight Rises is faithful in presenting a Genius Bruiser Bane, with plenty of emphasis on the Genius part of the equation. It somewhat fits the "doing away with moral ambiguity" aspect though.
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Almost every adaptation or parody of Moby-Dick shows an albino whale, different from Melville's description (that says that it only has a white forehead and a white hump).
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Similar to the Japanese examples above, the classic Chinese pseudo-historical novel Romance of the Three Kingdoms flanderizes many, many of its characters into over-the-top superheroes, while others are portrayed as moustache-twirling villains.
The "three brothers" of the Shu kingdom (Liu Bei, Guan Yu, and Zhang Fei) are the closest thing the story has to protagonists, and thus can do no wrong (with a couple of notable, even fatal, exceptions), while the Wei kingdom are flanderized into the Bad Guys and the Wu kingdom are mostly ineffectual in the long term, despite possessing many excellent generals. Perhaps the most notable flanderizing going on other than the Brothers' is as follows;
Lu Bu's combat prowess is exaggerated to the point of near invincibility, and entire armies flee from the sight of him. Seems to fade as the story goes on though, and his death is as anticlimactic as it comes; both Cao Cao and Liu Bei agree that the captured Lu Bu is too treacherous to be allowed to live, and he's simply hanged after begging for his life. The wuss.
Zhuge Liang's tactical genius, to the point that he comes off as somewhere between a wizard and a saint, performs several acts that are only plausible if one considers him to have magical powers (besides his practical omniscience), and even manages to humiliate and terrify his Wei rival posthumously.
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The anime of Excel Saga severely plays up the comic aspects of the manga, to the point of inverting the character dynamics (The manga version of Excel is substantially more competent, and thus slightly more useful, than her oft-demoted anime counterpart).
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The Brady Bunch movies exaggerated the characters' personalities a bit such as Jan's jealousy towards Marcia and Cindy's tattling, but true to the show. Family patriarch Mike's lessons are also parodied to the point of exaggeration, such as when he tries to teach Cindy that it's not right to tattle, even after she tells all that she witnessed their neighbor, Mr. Dettemeyer, steal the family's mail. They were the characters from the later seasons stuck in the 1990s. The TV movie The Brady Bunch in the White House made them unloveable parodies, such as Marcia complaining when she got captain of the cheerleading squad because the vote wasn't unanimous.
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Shakespeare used this to great effect in Troilus and Cressida, basing his version of The Trojan War around Chaucer's in-between-scenes story about the titular characters. Ulysses is a deceitful blowhard who talks too much and is obsessed with his own cleverness; Ajax (the one who didn't offend the gods) is a musclebound dolt; Achilles is even more of a jerk than his Homer-penned counterpart; and Cressida's uncle Pandarus is so flamboyant that modern performances often portray him as a drag queen. A lot of these exaggerations make the play far more entertaining, as it is essentially a cynical deconstruction of the tired ground of the Trojan War.
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In the book Coraline, Mr. Bobo simply happens to be Slavic (Russia isn't even mentioned, actually); it's not even implied that he has an accent until Misses Spink and Forcible happen to talk about him near the end of the book. However, the movie makes Bobinsky extremely weird and extremely Russian. Even though the flag outside his door is from Montenegro.
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In Final Fantasy VII spinoffs and in fan portrayals, Cloud's brooding tendencies tend to be central to his character. In the original game, he was a man of few words, but he only brooded during a handful of appropriate scenes.
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In Making Fiends, Charlotte is a lot less intelligent and more optimistic in Nickelodeon's TV series than in the web series. For example, in the web series she would have a blank expression on her face and sometimes say "Huh?" if she heard or saw something strange or frightening. She would try to change the topic, find something positive about it, or just ignore it. In the TV series, she responds "Yippee!" to Vendetta's death threats and has absolutely no sense of logic.
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Wicked: The musical puts more emphasis on Glinda being a Dumb Blonde early in the series compared to the original book.
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Galaxy Angel was also victim of this, due to the game it was supposed to be based on being repeatedly delayed until it came out only shortly before the first season ended — they didn't have much to go on other than a basic outline because of these problems, and decided to exaggerate all the character personalities for comedy and turn it into a parody to deal with the problem.
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Star Trek (2009):
James Kirk bears much more resemblance to the pop-culture idea of Captain Kirk than the actual original series character. The original Kirk was a brave, levelheaded starship captain who was occasionally forced to hasty decisions on the job, and had a tendency to attract the attentions of beautiful women — which he very rarely reciprocated. The new Kirk is a hotheaded, womanizing maverick who openly rebels against authority at every opportunity, and gets into bar brawls when he's not wearing a Starfleet uniform.
Several other characters are exaggerated as well, and in ways which are harder to explain away as immaturity. For example, Chekov went from simply being the youngest person on the bridge crew to a genius child prodigy who is assigned to the bridge while still a minor, and his accent is more ridiculous than ever. Instead of just having fencing as a hobby, Sulu now has a fancy collapsible space katana which he apparently regularly takes along with him on dangerous away missions. Instead of just being the token girl on the bridge crew, Uhura is Kirk's old crush from the Academy, and she ends up sleeping with Spock. Instead of just a hyper-competent engineer with a cheery, laid-back personality, Scotty is a kooky genius inventor who develops a revolutionary warp system and does experiments on beagles. Spock's half-human half-Vulcan dual nature manifests in a nearly bipolar tendency to flit between detached intellectual coldness and intense emotional outbursts.
All of this is in theory justified. Due to time travel shenanigans that resulted in the destruction of the Kelvin, these characters all lived very different lives and became different people. A lot of this Kirk's acting out is the result of his being raised without a father. Nonetheless, by the time of Star Trek Beyond, we appear to have reached the Close-Enough Timeline, as everyone's characters have more or less developed to be more in line with their familiar portrayal.
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The trope flies both ways in Who Framed Roger Rabbit, the film adaptation of Gary Wolf's Urban Fantasy novel Who Censored Roger Rabbit?.
The title character went from being cunning if somewhat self-obsessed, with only a select few cartoony quirks, to being a full-blown wacky Cloud Cuckoo Lander. Roger Rabbit being changed from a comic strip character who can only "talk" via text balloons in the book into an animated cartoon character in the film also has a lot to do with the wackier persona.
Eddie Valiant went from being an extremely over-the-top parody of the Film Noir Private Detective to being a fairly normal guy, given the circumstances.
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Ultimate Marvel:
Ultimate Spider-Man: This continuity's incarnation of Flash Thompson is missing all of his sympathetic traits and admiration for Spider-Man, resulting in his character being reduced to a one-note Jerk Jock. In addition, unlike his mainstream counterpart, who eventually develops into a Jerk with a Heart of Gold, he never undergoes any kind of Character Development.
Venom and Carnage. They're notable for being some of the most monstrous members of Spider-Man's rogues gallery. In this continuity, Venom was noticeably turned an almost mindless monster when wearing the symbiote, even using Hulk Speak. Carnage, for his part, was reimagined as a truly mindless monster that doesn't speak and has no human identity, with Cletus Kasady having been Adapted Out.
The Ultimates sees Iron Man's struggles with alcoholism and Hank Pym striking The Wasp while in the midst of a psychological breakdown (something mainline!Hank deeply regrets) blown up to the point that Ultimate!Tony is frequently seen drinking and Ultimate!Hank is an outright domestic abuser.
Magneto. His mainstream incarnation is a morally complex, ambiguous figure. In the Ultimate universe, he's nothing more than a repugnant mutant supremacist and genocidal maniac. In fact, he's such a monster, that he has eaten human flesh in the past, and plans to turn humanity into literal livestock for mutants.
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Sonic Boom: Dr. Eggman in most continuities is both Affably Evil and Laughably Evil, but still smart and vile enough to be a threat to the heroes. In this show, Eggman's friendly and silly aspects are played up such that he is an Ineffectual Sympathetic Villain whose lack of common sense and his extra standards are often his own undoing, and his goal is changed from world-domination to wanting to open up an amusement park, something the cast points out wouldn't be all that bad (even if he insists that it is diabolical).
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Murder on the Orient Express (2017): Everyone knows that Poirot is described as having a big mustache, but Kenneth Branagh took that a bit to literally.◊ May also be an aversion; Agatha Christie approved of Albert Finney's portrayal of Poirot in the 1974 version, but thought his mustache insufficient.
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DuckTales (2017): In DuckTales (1987), Launchpad was ditzy, but still relatively composed, brave and competent. Here he's... out there, to the point where Mrs. Beakley angrily calls him a Manchild and even the kids can't take him seriously.
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The anime for Higurashi: When They Cry plays up Hanyuu's Immortal Immaturity. It's possibly most noticeable when she's mad at Miyo for talking about Oyashiro-sama (who Hanyuu is) as if they're malicious. In the anime it is Played for Laughs, while the manga and original sound novel have Hanyuu portrayed as genuinely upset and in tears.
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The Roots (2016) remake noticeably exaggerates the level of African cultural knowledge of later generations of the Kinte family relative to their book counterparts:
In the book, Kizzy learns only a handful of Mandinka words from her father Kunta, never really speaks the language, and can later remember only a few words to pass on to her own son George. In the 2016 series, Kizzy is brought up as fluently bilingual in both English and Mandinka, regularly speaks to her father in the latter, and is shown still able to speak it fluently well into her later life (long after she last had anyone else to speak it with).
While in both book and series Kunta remains a devout Muslim and strongly anti-Christian (as he sees Christianity as the masters' religion), in the book Kizzy is raised as a Christian from birth and remains one her entire life. In the series, by contrast, she is shown to inherit her father's anti-Christian sentiment and holds it throughout her life.
In the book, while Kunta does perform a traditional Mandinka baby naming ceremony for Kizzy after her birth, this is never repeated by later generations. In the series, while each generation remembers less and less of the ceremony, they do nevertheless remember it.
In the series, Kunta makes an African-style necklace of beads shortly after his arrival in America, which is passed down the generations. A similar process takes place with a song taught to Kunta by his mother back in Gambia (which is eventually adapted into a popular local folk tune by whites). Neither exists in the book.
With the exception of Tom Lea (who was already a harsh and crudely racist master in the books), all the Kinte family's owners are portrayed as more openly racist and antagonistic than their book counterparts.
Patricia Lea, however, goes in the opposite direction. Her few book appearances show her as more or less indifferent to the slaves' fates, but in the series her role is enhanced and she shows noticeable more care and kindness for Kizzy (who teaches her to read) and George than her husband.
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Exalted has this as a game mechanic. During a Limit Break, a character will suffer from a brief period of insanity where one of their defining characteristics (Valor, Temperance, Conviction, or Compassion) is totally in control of their actions. Your character is a Technical Pacifist who sees one injustice too many? Nothing in your sight can be unjust without spectacularly aggressive intervention! Can't stand to see someone you love get hurt? Heroic BSoD! Were you a Knight Templar to start with? Well now you're all out Ax-Crazy!
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YouTube Poop is all about this. For example, the King from The Legend Of Zelda CDI Games is always portrayed as an always-hungry glutton for dinner solely for saying "I wonder what's for dinner" in Zelda: The Wand of Gamelon.
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Neon Genesis Evangelion:
In the Anime First series Neon Genesis Evangelion, we have Gendo Ikari. In the anime, he's morally ambiguous. In the manga, he's just plain evil.
Then there's Kaworu Nagisa, a conflicted and nuanced character in the original series. Elsewhere he's portrayed as villainous or, in other instances, unambiguously saintly.
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Inspector Gadget went from a bumbling but somewhat effective agent with the occasional help of Penny and Brain in the original pilot to an Inspector Oblivious that is almost completely reliant on his Hyper Competent Sidekicks doing all the work for him. In spin offs such as Gadget and the Gadgetinis this is exaggerated to the point of being excessively Too Dumb to Live.
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In The Last Days of FOXHOUND, (about the lives of the Quirky Mini Boss Squad from Metal Gear Solid) the personalities of virtually all the characters are moderate flanderizations of the originals. At first this is played for laughs, later it mixes with real Character Development.
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Pokémon Adventures:
Sabrina is Creepy Good in the games. She's actually benevolent and rather pacifistic despite her intimidating appearance. In Adventures she's given the Adaptational Villainy route and starts off as a sadistic member of Team Rocket.
Ill Boy Wally has an unspecified illness that gets better in clear air. In Adventures he's so ill that he has to carry around a machine and gets strained easily.
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Total DramaRama: Between the various Adaptation Personality Changes, several characters are put through this. Gwen's Goth and loner qualities are exaggerated to the point where she transforms from a Perky Goth to a Creepy Child; Bridgette's very kind and sweet Nice Girl personality is cranked to unimaginable levels; Leshawna's proud and feisty attitude gets to the point of her being a straight-up jerkass; and Cody's childish tendencies are amped Up to Eleven.
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The Harry Potter movies:
In the movies, Snape is suavely and delicately malicious. The Snape of the books can be snarky at times, but he's just as likely to be loud-mouthed and unsubtle. You couldn't picture Alan Rickman's Snape throwing the fit the character throws at the end of the book version of Prisoner of Azkaban. While they probably did this because a lot of shouting doesn't translate well to the screen, the change has certainly helped to increase the character's popularity.
In the sixth movie, Jessie Cave took the Sickening Sweetheart part of Lavender's character and played it to the hilt.
Miranda Richardson on playing Rita Skeeter: "Rita reads rather differently than how I played her. She reads more, to me, like Dame Edna. And there's no way I'm going to do Dame Edna. So it's a different twist on the character."
Happens rather dramatically to the Crouches in the fourth movie. Barty Crouch Sr., the one on the "good" side, went from being a kind of wizarding Senator McCarthy in the book to being a completely sympathetic character in the movie. Barty Crouch Jr., on the other hand, became a little psycho, never bothering with his Innocent Bystander act and basically screaming "Hi, I'm evil!" in every scene he appeared in as himself. And the change in his father's characterization eliminated his potential Freudian Excuse. The change is most clearly seen by the fact that in the book, Crouch Sr. sends his son to Azkaban out of pure spite, but in the film it's stated, "He had no choice." Crouch Jr. is crying and begging him not to do it in the book. In the movie, he's twitching his eyes, licking his lips, and cackling. Yeeeah...
Helena Bonham-Carter takes Bellatrix's insanity and plays it up to make her childishly thrilled by such things as getting to torture and murder people.
In the books, Ginny is a Fiery Redhead, but in the movies she comes off more as a Girl Next Door. This may not really sound like an exaggeration per se, but it does play up an aspect of her book self's personality.
Ron is a lot more cowardly and much more of a Sidekick than he was in the books. His Deadpan Snarker tendencies get quite a downgrade in the films, too, though that might be more Rupert Grint's take on the character than an adaptation change.
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Is It Wrong to Try to Pick Up Girls in a Dungeon?: In the novels, Hestia knew a good deal more about the world then she lets on, and Hephaestus notes that she had matured since she had last saw her. Hestia tries to seem mature around Bell, at least, and it ends up working. In fact, the fight that led to a War Game between the Hestia and Apollo Familias started because a table of Apollo Familia members were bad mouthing Hestia. The anime plays up the fact that she is a Clingy Jealous Girl and downplays these elements, making the scene where she gives her blessing to an adventuring party who would go out to save Bell even though said adventuring party was the one who endangered them seem out of character.
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Inverted in Yakuza 0, where the Ax-Crazy Blood Knight Goro Majima is suddenly far more proper and subdued, even wearing a fancy suit. The rest of the game chronicles his Start of Darkness as the Mad Dog of Shimano starts to leak through more and more.
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In the manga of Welcome to the N.H.K. the main characters get overtaken more and more by their mental instabilities, turning them into psychiatric caricatures. This is especially poignant in the case of Satou and Misaki, who change from very disturbed but interesting and amusing personalities into lumbering, suicidal and psychotic wrecks. The anime (in case you're wondering, they're both based off a novel) has a more balanced characterization, making for a more relatable story.
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Everyone in Dissidia Final Fantasy is exaggerated to some degree from their original appearances to make individuals stand out from a mass of main heroes and main villains (...and Jecht). For example, much of Kuja's dialogue and attacks are based around a theatre motif because he showed a loving to stage arts once or twice in his game of origin. The prequel generally fixes this, with Kuja being the most obvious. Instead of a theatre-based brat obsessed with Zidane for whatever reason, his personality is based off his own at the end of the game he's in.
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Fullmetal Alchemist, the 2003 anime adaptation of the Fullmetal Alchemist manga:
Armstrong's character was exaggerated for the sake of humor, leading to him losing his shirt and showing off his muscles in almost every episode he appeared.
Edward's tendency to brood became far more prominent.
The writers also took a rather Out-of-Character Moment for Alphonse in the manga, wherein he has a Freak Out after his encounter with Barry The Chopper, and made naivete and bouts of irrationality a consistent part of the anime version of Alphonse' characterization.
In the manga and Brotherhood, Solf J. Kimblee weaves a happy line between monster and Manipulative Bastard, managing to pull his fair share of both awesome and horrible moments that leaves the reader/watcher unsure what to really think of him. In the 2003 anime version, much of this background had yet to be revealed so he was reduced to a stereotypical Mad Bomber obviously meant to be hated.
Basque Grand was originally an unknown due to dying before his introduction. The 2003 anime cast him as a Colonel Kilgore character who everyone was happy to see die. The manga later depicted Basque as being one of the more reasonable officers during the Ishvalan Massacre, willing to kill a superior officer in order to avert unnecessary bloodshed.
Much of Roy Mustang's character was expanded just after the point where the anime Overtook the Manga. The anime team decided to use what they had but in doing so overplayed his Chivalrous Pervert personality into being him being more of a Handsome Lech. In the original manga, Roy's Chivalrous Pervert is actually a cover for his spying skills and he is more straightlaced about the subject then the 2003 anime would let you believe.
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One episode of Star Trek: Deep Space Nine features a Department of Temporal Investigations agent name Lucsly, who makes an offhand remark about Captain Kirk's frequent Time Travel and dubs him a menace. This single line is referenced in just about every novel or short story featuring him. By the time the Department of Temporal Investigations have their own series, the Department in general and Lucsly in particular are portrayed as having an obsessive bordering on irrational hatred of Kirk, regarding him as the worst temporal criminal ever and comparing him to Adolf Hitler.
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RWBY:
The RWBY: Official Manga Anthology Red Like Roses exaggerates Ruby's personality all over the place compared to RWBY. She's more emotional and cries easily. Her childlike spirit is both downplayed and ramped up depending on the scene.
In RWBY: The Official Manga, Ruby's pre-Characterization Marches On shyness and awkwardness from the first episode is turned into a core element of her character.
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Arthur's nephew Gawain in the earliest literature is seen as the best Knight. In Robert Wace's Brut, very closely adapted from Historia Regum Britanniae, Gawain mentions that peace can be useful because among other things it enables the love of ladies. In Chrétien De Troyes' work Gawain is portrayed as overly interested in the ladies, having a few affairs, but still a fairly decent Knight. Gawain sleeping around is maintained in most adaptations. However in the Post-Vulgate Cycle Gawain is turned into a rapist and treacherous scumbag. In Sir Gawain and the Green Knight this is possibly played with, as the plot largely involves a Lady trying to seduce Gawain assuming that he'll sleep with her due to the stories she's heard about him and Gawain courteously refusing her advances.
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Character Exaggeration
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One of the many complaints you'll hear from fans of the Chrono Crusade manga about the anime adaptation. Aion goes from being unsettling and manipulative to the anti-Christ and a rapist; Joshua goes from being insane, glib and somewhat immature to so childlike he doesn't even realize he's aged beyond eleven years old; Shader goes from a energetic scientist that nevertheless cares about her comrades and the children she watches to a practically sociopathic Perky Female Minion who only cares to see more blood shed...nearly all of the characters get at least a little bit of this, but those are some of the worst. And that's not even covering how fanfic exaggerates the characters even more...
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Dr. Martin Ellingham of Doc Martin is a case of this in respect to his original incarnations as a character in the movie Saving Grace, in which he originated, as well as the original specials of which he was the protagonist (in both, he is called Dr. Martin Bamford). In the movie and specials, Doc Martin is a pretty normal, friendly guy who happens to be a Fish out of Water. In contrast, the series character is an abrasive Doctor Jerk. Perhaps explained in part by another case of Character Exaggeration in which the Quirky Town in which Martin lives is considerably quirkier in the tv series.
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Character Exaggeration
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Batman as portrayed in The LEGO Movie and its sequel The LEGO Batman Movie is more egotistical and brooding than his comic book self.
 Character Exaggeration / int_8125b468
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Sagara Sousuke has this happen to him in the manga Full Metal Panic! Overload. Originally, he's shown being stern, a bit emotionless, rather socially inept, and taking certain extreme measures to protect Kaname. In this manga, he's made out to be a complete robotic sociopath that sees nothing wrong in mass-murdering people by misinterpreting Kaname's wishes. Many times, he's even shown blowing things up and causing damage to Kaname herself without so much as a blink of the eye - something his original self would never do. In fact, Kaname and Sousuke's roles are, in a way, reversed in this, where people will feel extremely sorry for her and wonder why she puts up with the insane physical abuse Sousuke deals out to her. Sure, it's all played out for laughs, but the Character Exaggeration is incredible. His psychopathy is extreme to the point where he's shown getting withdrawal symptoms when he doesn't use his gun for a day. Seriously, in that adaptation, he could give Gauron a run for his money in being Ax-Crazy.
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Akiha started with 'You don't mind that I have small breasts... do you?' and nothing more. But the fans and the sort-of sequels Kagetsu Tohya and Melty Blood ran with it until she went from Saber's breast size and a little insecure to completely flat and willing to turn you over to Kohaku over comments made about her chest. Which is, of course, much funnier.
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Character Exaggeration
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Zoisite is an especially interesting example going through adaptations: Originally, in the manga he was just an attractive if somewhat effeminate-looking man. In the first anime, he is given more effeminate and catty traits and a romantic relationship with Kunzite. His DiC English dub counterpart exaggerates this further, along with making him into an actual woman.
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 Sailor Moon (Manga)
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Character Exaggeration / int_8dd8ec81
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Character Exaggeration
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In several other interpretations such as A Pup Named Scooby-Doo and What's New, Scooby-Doo? he is also more ditzy and oblivious; in the original series he was bumbling but only as much as the others in Mystery Inc. (if somewhat ineffective as a leader).
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Character Exaggeration
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The various adaptations of Mahou Sensei Negima! have done this to better pronounce certain (i.e, important) characters' notability from the rest of the (very large) cast. For example, the first anime adaptation played up Nodoka's shyness for Moe purposes while trying to make her more recognizable. The second adaptation Negima!? took the alternative in trying to make her more calm and outgoing. The manga sits somewhere between the two extremes.
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Revolutionary Girl Utena lead character initially was described as simply acting like a boy. Later she would speak like one, and by the time The Movie rolls around, she actually looks like one.
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In the original book Mrs. Frisby and the Rats of NIMH, Jeremy was a naive young crow if otherwise lucid. In The Secret of NIMH he is a klutzy Cloud Cuckoo Lander that serves as the film's comic relief. This change seemed to prove popular with O'Brien's daughter, Jane Leslie Conly, who adapted Jeremy's more whimsical film persona when writing the novel's sequel.
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Ben 10: Ben Tennyson, as portrayed on the original show, is mischevious, immature, impulsive, and a generally justified case of Idiot Hero — he is 10 years old, after all. In Alien Force, he is now fifteen, and becomes smarter and more serious and while not without a sense of humor is not very humorous at all. After the fans complained about him not having any personality, writers did all they could to bring back his original personality, gradually flanderizing him. By Ben 10: Omniverse, he pretty much Took a Level in Dumbass, even though he is 16 years old at this point and has several years of experience with being a hero. He also becomes an overly clumsy Destructive Savior and an immature Leeroy Jenkins with a major ego problem.
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All-Star Batman & Robin, the Boy Wonder contains a Batman that is explicitly a hyper-exaggeration of Batman's well-known aggressive crimefighting tactics and grim personality. The degree to which it is an exaggeration is divisive as whether or not it's a grand cockup or hilarious self-parody. Either way... He's the goddamn BATMAN.◊
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The Witch cartoon exaggerates Taranee's Cowardly Lion tendencies from the comic.
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Hyperdimension Neptunia Re;Birth1:
Actually inverted: after the depiction of many characters got... contentious in Victory, many of them had their more extreme quirks toned down for the remake, making them more likable while maintaining their iconic personalities.
Invoked to hilarious effect with the fake CPUs that appear late in the game, which are exaggerated... to the point of incompetence. The fake Purple Heart searches for her objective in completely the wrong place, the fake Green Heart is so focused on video games it's completely harmless, and the fake White Heart is so much like her mild-mannered human form it blows its cover when the original start swearing. Only the fake Black Heart completes its stated object, by accident, in a failed attempt to outdo the original's ego.
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James Kirk bears much more resemblance to the pop-culture idea of Captain Kirk than the actual original series character. The original Kirk was a brave, levelheaded starship captain who was occasionally forced to hasty decisions on the job, and had a tendency to attract the attentions of beautiful women — which he very rarely reciprocated. The new Kirk is a hotheaded, womanizing maverick who openly rebels against authority at every opportunity, and gets into bar brawls when he's not wearing a Starfleet uniform.
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 Star Trek: The Original Series
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Les Misérables as compared to the original Les Misérables
It exaggerates the degree to which Inspector Javert is single-mindedly obsessed with capturing Jean Valjean (as opposed to single-mindedly obsessed with enforcing the law generally). This is in part due to a case of Pragmatic Adaptation. In the novel, after Valjean has to reveal himself to prevent the wrongful conviction of an Identical Stranger, he asks to be allowed to bring Cosette to Fantine before she dies, which is refused, at which time he allows himself to be arrested. He then escapes, only to be quickly recaptured and confined to a ship, wherein he is believed to have drowned following his rescue of a sailor. It is only after this, that he goes to rescue Cosette. The musical simplifies this by having it that when Valjean's request to fetch Cosette is refused, he simply knocks Javert out and flees, which means that unlike in the novel, in the intervening years, Javert knows Valjean is alive, and is thus obsessed with capturing him.
The musical also amps up Eponine's unrequited love for Marius and tends not to highlight everything else about her character, although the numbers "Castle on a Cloud" (where she has no lines, but is shown as a well dressed little girl) and "The Robbery" (where her older self is introduced as a rag-clad street urchin helping her parents steal to survive) do provide a contrast between her pampered childhood life and her poor teenage life.
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Ultimate Spider-Man: This continuity's incarnation of Flash Thompson is missing all of his sympathetic traits and admiration for Spider-Man, resulting in his character being reduced to a one-note Jerk Jock. In addition, unlike his mainstream counterpart, who eventually develops into a Jerk with a Heart of Gold, he never undergoes any kind of Character Development.
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Flonne of the Disgaea series is a nice, flaky, adorable and optimistic Otaku angel whose dream is to spread love to every corner of the galaxy. In the novels she gets possessive Clingy Jealous Girl tendencies added to her personality, when a girl gets close to Laharl Flonne almost enters the border of Bitch in Sheep's Clothing.
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While Stannis Baratheon is not one of the worst examples, the series makes him more brutal and villainous then in the books. An example is him burning one of his wife's family for not giving up their worship of the Seven. In the books, he does this when they try to make peace with the Tyrells behind his back. He is also more ready to burn his brother's bastard son as a sacrifice to the Lord of Light in the series while being very conflicted in the books.
In the books, there is relatively little detail on Shireen Baratheon's relationship to her parents. However, Selyse's few comments about her are usually negative in tone (namely her despair at her only child being a deformed daughter) whereas Stannis' are more protective (though he appears more concerned with her noble rights and dignity than her as a person). The show exaggerates this, making Selyse an openly disdainful mother and Stannis, below his tough guy exterior, a clearly loving father.
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Part of the failure of the Devil May Cry anime may be due to applying this to Dante's personality. In the games, Dante is playfully smug and very showy, but rarely does he cause collateral damage. In the anime, he seems to have a pathological "Need For Cool" that has to be satisfied regardless of what it costs him. For example, in the second episode, while chasing a demon, he demolishes a bridge along the way with his guns. The resulting repair costs cut severely from the fees he receives.
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Charlie and the Chocolate Factory: Johnny Depp takes Willy Wonka's most readily apparent traits (and some not-so-obvious ones as well) and turns them Up to Eleven.
 Character Exaggeration / int_a0262740
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In Justice League: Doom, Bane is presented as a reasonably intelligent guy, although his actions toward Batman are very much Stupid Evil. This version also has him as slender absent Venom.
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This is the main source of humor in Twisted Toyfare Theatre. Spider-Man's role as Unlucky Everydude turns him into a couch potato Deadpan Snarker, Reed Richards' Insufferable Genius tendencies get taken Up to Eleven, Northstar is a Camp Gay, and Doctor Doom is such a Large Ham that he makes his in-continuity counterpart look underplayed in comparison.
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Teenage Mutant Ninja Turtles
Turtles Forever: The 1987 turtles were undeniably goofy, due to the tone of the show (and cartoons in that era in general), but here they're all wisecracking goofballs with no sense of urgency who regularly break the fourth wall, are totally obsessed with pizza, and give inappropriate noogies. The Prime turtles also heavily exaggerate the grim and gritty tone of the Mirage comics. Both downplay the individual characterizations of each turtle, as well. Of course, three identical sets of turtles just wouldn't be the same, would it?
Teenage Mutant Ninja Turtles (2012): One of the Shredder's primary motivations was always revenge on Hamato Yoshi no matter what continuity, but this one takes it Up to Eleven. Shredder is utterly obsessed with getting revenge on Yoshi/Splinter, to the extent that he's perfectly willing to help bring about The End of the World as We Know It as long as he can achieve it.
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Teatime, in Hogfather, is a notable example. In the book his eyes, actions, and the content of his dialogue is what makes the character disconcerting, at times terrifying, as it directly contrasts with his boyish charm, manner and appearance. In the adaptation, however, Marc Warren emphasizes the character's way of speaking, in order to make his evil-ness just that bit more obvious, as well as losing the trademark "ever-present grin", which gave the original character a misplaced sense of childlike innocence. In a matter of fact, many people just think that the over-hamming of the character has meant the subtle, deep-seated sense of "there's something not quite right" seen in the book has been lost.
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The main four characters of Kim's Convenience suffer from this in the transition from stage to small screen, particularly Mrs. Kim and Janet. This is likely a side effect of the storyline and character expansion needed for adapting a one-act play.
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Scooby-Doo:
Scooby-Doo! Mystery Incorporated: Fred was always the one to build the traps for the Monster of the Week; this incarnation of Fred is literally obsessed with traps. He reads Traps Illustrated magazine, has said "For trap's sake!" at least once, and can't think of anything beyond making new traps.
In several other interpretations such as A Pup Named Scooby-Doo and What's New, Scooby-Doo? he is also more ditzy and oblivious; in the original series he was bumbling but only as much as the others in Mystery Inc. (if somewhat ineffective as a leader).
All three of the other members of Mystery Inc. tend to undergo this in revival medias, since the original series revolved the formula more around Scooby and Shaggy's comic relief, the others were left with little to behold outside trying to solve the mystery normally, thus they had what few quirks they had originally amped up so as to allow stories to give them more key focus.
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In the very first episodes after The Fairly OddParents became its own series, after just being one feature of an anthology series, Cosmo turned from being a bit dense and bumbling, but largely intelligent and reliable, to being a complete idiot. To parallel the change, his voice drastically went from suave and somewhat charming to high-pitched and prone to squealing. Strangely, even that level of idiocy apparently wasn't enough, and the later Flanderization made him even dumber.
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Starfire in Teen Titans was modeled after Foreign Exchange Student stereotypes. Unlike in the comics, she speaks in broken English due to not fully grasping the language or slang. Alas, some writers (including fans) don't seem to understand how to write her way of speaking like the original cartoon did. For example, in both Teen Titans Go! and DC Super Hero Girls she inappropriately overuses "the" a lot more than she did in the 2003 cartoon, to the point where it's a Verbal Tic.
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Rosario + Vampire:
The anime plays up the Horny Devils aspect of Kurumu's personality while downplaying her more kindhearted side.
In the original manga, Kokoa was a Tsundere, and while she preferred Inner Moka over Outer Moka, she was far more tolerant of Outer and didn't actually hate her. Capu2 exaggerated said Tsundere tendencies to make her a borderline Jerkass, and turned her preference for Inner Moka into full-blown hatred for Outer Moka to the extent that Kokoa flat-out refuses to acknowledge Outer Moka as her sister.
Kurumu and Mizore's respective parents, Ageha and Tsurara, had a bit of a Friendly Enemy relationship. Capu2 turns them into lifelong rivals since at least their days at Yokai Academy, and has them use their daughters' respective crushes on Tsukune to wage a proxy war against one another.
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A lot of parodies and retellings of A Christmas Carol do this with Scrooge. His main character flaws aren't that he hates Christmas or he's a miser. But he let himself become so broken by his traumas that he stopped caring about anyone but himself.
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In Batman & Robin Bane is reduced to Dumb Muscle henchman who never even speaks, and his muscles practically deflate when the drug-supplying tubes are knocked away.
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In most continuities, Knuckles isn't the brightest of the bunch, and is certainly pretty gullible, but he's not an idiot. In the Sonic Boom video game, however, Knuckles gets exaggerated to Dumb Muscle status, to the point where he can't tell the difference between left and right without looking at his hands. This is downplayed a bit in the TV show, where he's more of an oaf than an outright idiot. Shadow also gets hit with this in the same video game - in the original, although he is The Stoic and somewhat of a gruff loner, he still maintains friendships with Rouge and Omega and is not adverse to working with Sonic and co. when it suits his own ends. In Sonic Boom, he is a petty thug who openly derides friendship to the point of believing Sonic to be a weakling because of his friends and outright attacking him over it.
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Spyro Reignited Trilogy:
Elora's implied crush on Spyro is given more emphasis in the remakes.
Hunter was always a bit of a Totally Radical fella but the remakes amp up this part of his character. His voice and personality are more "comedic skater dude" than before.
Bianca is made shyer and more awkward than she was in the original Spyro: Year of the Dragon. She was insecure in the original game, but it was less apparent early on.
The Sorceress' campy behavior is ramped up, making her less intimidating but more like an abusive Parental Substitute to Bianca.
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Game of Thrones:
While Stannis Baratheon is not one of the worst examples, the series makes him more brutal and villainous then in the books. An example is him burning one of his wife's family for not giving up their worship of the Seven. In the books, he does this when they try to make peace with the Tyrells behind his back. He is also more ready to burn his brother's bastard son as a sacrifice to the Lord of Light in the series while being very conflicted in the books.
In the books, there is relatively little detail on Shireen Baratheon's relationship to her parents. However, Selyse's few comments about her are usually negative in tone (namely her despair at her only child being a deformed daughter) whereas Stannis' are more protective (though he appears more concerned with her noble rights and dignity than her as a person). The show exaggerates this, making Selyse an openly disdainful mother and Stannis, below his tough guy exterior, a clearly loving father.
Actually this becomes a major part of the show, often playing more straight Character Tropes that the book versions were deconstructions off. The vain, greedy and amoral Renly who was basically a Villain with Good Publicity is portrayed as a straight example of The Good King. This is ironic considering Stannis and Renly are respectively based on Richard III and George, duke of Clarence (see below).
Similarly the Tyrells who convey a good image but are really Sleazy Politicians who were quite happy to starve hundreds of thousands of people into submission to help Renly usurp the Iron Throne are presented as much nicer characters who show more care towards people. For example, in the novels they immediately ostracize Sansa once she's engaged to Tyrion rather than consoling her. Other aspects of House Tyrell's collective character is also exaggerated from the source material as part of their Adaptation Expansion.
The family's Women Are Wiser aspects are played up on account of the two most competent Tyrell sons (Willas and Garlan) being Adapted Out, Loras' character arc stalling in Season 3 and 4, and Mace's fecklessness being exaggerated from a blustering but tenacious man into an ineffectual and sycophantic Momma's Boy.
Margaery's sex appeal and cunning are also exaggerated. In the books, her power comes from her persona as a Princess Classic, not The Vamp, but on the show her Stripperific outfits and open ambitions make her more sympathetic to viewers as more liberal than the conservative Lannisters she contends with.
Book Loras Tyrell shows no sign of attraction to anyone, male or female, other than Renly Baratheon. After Renly's death, he joins the celibate Kingsguard, and openly implies to Jaime that he has no interest in ever having another relationship. His show counterpart, by contrast, is stereotypically gay, and routinely flirts and sleeps with other men after Renly.
Brienne of Tarth is a warrior woman in the books but is unsettled by killing. In the four books she has appeared in she only kills people in "A Feast for Crows", and all four were monstrous war criminals who were trying to kill her. In the series Brienne is a much more violent character, remorselessly cutting down people even murdering the wounded Stannis Baratheon while deliberately speaking to him spitefully. The series also makes Brienne more bad-tempered, cynical and rude, rather then the rather naive but ultimately kind-hearted character in the books.
In A Clash of Kings, the handful of warriors who capture Winterfell under Theon's command openly show their disagreement with what they see as Theon's bad ideas, and don't hide that they don't like him much. However, they always loyally follow him, even choosing to stay and fight to the death with him after he offers them the opportunity to flee. Their counterparts in Season 2 of the show, however, mock and ridicule Theon, blatantly ignore his orders, and betray him the first chance they get.
In the same book, the initial mission given to Theon by his father (which Theon deviates from in order to capture Winterfell) as part of the Ironborn invasion of the North is still a pretty significant one - Theon merely feels marginalised from the operation because it is a less important mission than that given to his sister Asha. In the show, Theon really is given a pointless and irrelevant mission largely to get him out of the way.
In the books, Oberyn Martell's bisexuality is an unconfirmed rumour, albeit a very likely one - there is no hard evidence of him showing romantic or sexual interest in men. In the show, Oberyn is completely open about being bisexual, and his interest in men is widely acknowledged.
Tyrion Lannister gets a Sympathetic P.O.V. and has quite a few Pet the Dog moments but is still a rather sleazy hedonist who performs very morally questionable acts (such as having a singer murdered to cover up his affair). The series gives him a lot of Adaptational Heroism, playing up his nicer aspects such as care towards those who are looked down on in society, and make his actions less morally ambiguous, along with removing other unpleasant qualities such as his sexism and classism, Tyrion's use of whores being played more sympathetically and often in a more amusing sense. As a direct result it becomes much more frequent and casual, and is presented as something he does for fun instead of self-loathing necessity. An example is when in a Volantis brothel in the TV Show a whore offers Tyrion free sex after he is nice to her, but he turns it down because he feels it isn't right. In the books Tyrion in the Volantis brothel has sex with a miserable, down-beaten whore, even though he knows she doesn't have any choice in the matter, and even thinks how horrible what he's doing is.
Ramsay Bolton in the books is a sadistic thug who has a rightly earned reputation as a terrifying monster, but is rather inexperienced and incompetent in political and military matters. In the show, Ramsay is the main Northern antagonist, and so he becomes reasonably adept at political maneuvering and military command, which becomes rather implausible as the series continues with Ramsay despite being openly psychotic still commanding immense loyalty.
In the books, Ramsay's father says that Ramsay doesn't really know how to wield a sword, but just randomly and viciously hacks about in combat. In the show, Ramsay can defeat a gang of armed Ironborn warriors while not even wearing a shirt.
Edmure Tully's General Failure and Glory Hound tendencies are played up compared to the books, and few of his positive traits are even touched upon. Most notably, his victory at Stone Mill is turned into a Pyrrhic skirmish instead of part of defeating Tywin Lannister and Gregor Clegane in open battle.
Littlefinger is a prime example regarding his love for Sansa. In the books, Sansa is more of a tool for his goal of acquiring power, and any love he might have for her is more of Loving a Shadow (Littlefinger loved Catelyn, so with her not an option, her daughter is the best choice to roll with). The show turns it into one of his primary motivations instead, turning him into a power seeker who is motivated by some element of love instead of a Wild Card like the books.
Theon in the books is a character who is good at a long of things but his ego leads him to believe that he's great at them. His greatest delusions are not so much his abilities but actually be the justifications for his various evil acts, his culpability for them, and downplays how people around him would perceive his actions. In the show, he's got obvious delusions of grandeur even though the script treats him as a Butt-Monkey.
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Sonic the Hedgehog:
Sonic tends to undergo this frequently in different ways in alternative medias. In early video games Sonic wasn't really able to develop much of a personality outside cocky expressions and poses via his gameplay sprites. As such his ego and brashness is often a defining point of his character in many early cartoons and comics, sometimes to borderline Jerk Jock levels (Sonic the Comic, Sonic the Hedgehog: The Movie, and Sonic the Hedgehog (SatAM) are key examples). Some later medias such as Sonic X tend to go the opposite way with this, making his confidence give him a very laid back and mellow demeanor.
In most continuities, Knuckles isn't the brightest of the bunch, and is certainly pretty gullible, but he's not an idiot. In the Sonic Boom video game, however, Knuckles gets exaggerated to Dumb Muscle status, to the point where he can't tell the difference between left and right without looking at his hands. This is downplayed a bit in the TV show, where he's more of an oaf than an outright idiot. Shadow also gets hit with this in the same video game - in the original, although he is The Stoic and somewhat of a gruff loner, he still maintains friendships with Rouge and Omega and is not adverse to working with Sonic and co. when it suits his own ends. In Sonic Boom, he is a petty thug who openly derides friendship to the point of believing Sonic to be a weakling because of his friends and outright attacking him over it.
Amy in the games started off as a plucky girl with a Precocious Crush on Sonic, which can be seen in media such as the early Sonic the Comic issues before Characterization Marches On. She started this way in Sonic X as well, but flanderization emphasised her Loony Fan and brattier aspects. It also emphasised how large her crush on Sonic was and how clingy she is. The games later adopted this interpretation, however they later dialed her back again. Sonic Boom goes in a completely different direction and makes Amy's crush on Sonic a secret, making her a much milder character and putting more focus on her sweet personality.
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Peter Parquah's characterization emphasizes his role as the kindhearted, idealistic young rookie, while largely discarding the Deadpan Snarker and Sad Clown aspects of Peter Parker's personality.
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Learning with Manga! FGO: Artoria/Altria Pendragon in most Fate media has a cool and composed nature, albeit with times where her composure shatters. This manga portrays her as a Perpetual Frowner completely uninterested in everything around her to the point where she never speaks.
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The Fairy Tail anime has done this with some characters:
Juvia. In the manga when she first sees Lucy after joining Fairy Tail, she gives a chipper "Oh hey, love rival." to which Lucy responds "I'm really not." In the anime, Juvia glares at her instead, and shouts "LOVE RIVAL!" while blasting Lucy with dark vibes.
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Love Hina: The anime made Naru's simple reprimandings start becoming physically ridiculous. Her Tsundere side was, basically, even MORE exaggerated than Akane Tendo's, to the point that Love Hina fans sometimes have to warn newbies about her. Certain fans around the internet believe that Naru's anime incarnation actually counts as a "Failed Tsundere", or rather, a failure at trying to be one.
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Saber in Fate/stay night went from someone who enjoyed food a great deal and ate a surprising amount for her size, about five feet tall, and weighing less than 100lbs. That's comparable to Shirou and probably slightly more, but less than Sakura, who eats twice as much as a normal person and tries to hide it. However, in the anime adaptation people stop and stare as she eats as much as any two or three of them and does so with extreme speed. Possibly the best way they could show how important food is to her within the time frame available.
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Louise Francoise Leblanc de La Vallière from The Familiar of Zero. In the novels, she's still overly violent, but she has more good moments and development and actually does get called out on her abuse of Saito when, instead of using her normal whip to "Punish" Saito, she uses an actual bullwhip to knock out an already battle-weary Saito from the night before. As of her anime incarnation, well... It's understandable why many people have been turned off by the Tsundere as a whole due to characters like her, and why many fans of the Tsundere archetype are very put off by her. Interestingly, The Familiar of Zero anime was also directed by the same person as Love Hina... which explains everything, actually.
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Pokémon:
In Pokémon Sun and Moon, Lillie starts out as a timid girl who hates seeing Pokemon battle. In the anime adaptation, Lillie is more extroverted however she is outright afraid of Pokemon themselves. She can't even touch them due to some initially unspecified trauma.
Misty is described as the "tomboyish mermaid" but not much is shown about her character in the original games. The anime ramps up her Tomboy with a Girly Streak attitude and makes her a tsundere as well. This was partially added back into the games in Gold and Silver.
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All of this is in theory justified. Due to time travel shenanigans that resulted in the destruction of the Kelvin, these characters all lived very different lives and became different people. A lot of this Kirk's acting out is the result of his being raised without a father. Nonetheless, by the time of Star Trek Beyond, we appear to have reached the Close-Enough Timeline, as everyone's characters have more or less developed to be more in line with their familiar portrayal.
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Star Trek Expanded Universe:
One episode of Star Trek: Deep Space Nine features a Department of Temporal Investigations agent name Lucsly, who makes an offhand remark about Captain Kirk's frequent Time Travel and dubs him a menace. This single line is referenced in just about every novel or short story featuring him. By the time the Department of Temporal Investigations have their own series, the Department in general and Lucsly in particular are portrayed as having an obsessive bordering on irrational hatred of Kirk, regarding him as the worst temporal criminal ever and comparing him to Adolf Hitler.
Several novels set between Star Trek: Generations and Star Trek: First Contact featured Data still working out his emotion chip issues by having a sobbing breakdown, angry outburst or swearing a lot. This is based on his immediate reaction to having emotions as shown in Generations. First Contact showed that he actually got those emotions under control pretty quickly.
In a few of the novels, Picard is known to break into French profanity when irritated, in particular saying "merde". In the TV series, his French pride was a feature of his character for part of the first season, but even then he never broke into French profanity.
Except in Elementary, Dear Data.
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When Thomas the Tank Engine diverted into original stories, many of the original characters from The Railway Series underwent exaggeration, most of which only elevated as the show went on and Flanderization kicked in:
Gordon and James in particular became exaggeratedly vain and hammy, originally just the arrogant big engines of the main line.
Edward and Toby actually did have odd insecure moments in the original novels, albeit very subtle and rare (eg. Edward being downtrodden by the bullying of the other engines, or Toby being meek towards travelling without Henrietta) with them usually playing the Only Sane Man. Later writers of the TV series seemed to latch onto these for token flaws they could utilize for limelight episodes, and by the time of the CGI transition, Edward is an Extreme Doormat and Toby is a Lovable Coward.
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Matthew Murdoch's characterization emphasizes his fearlessness above all else, to the point that he comes off as an adventure-seeking adrenaline junkie, while discarding his legal education (which would be hard to fit to the period - no braille legal texts), his strong Catholic faith (which very definitely wouldn't), his working-class roots, and his militant hatred of injustice.
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Type Moon has this to the point of being Flanderized in Carnival Phantasm. It's intentional, though, considering this is a Gag Series.
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In the film Jurassic Park, Ian Malcolm was a comical Deadpan Snarker. In the original novel, he was a much more serious character, although he did have some humorous moments — such as dismissing the argument comparing reviving dinosaurs to using cloning to save the California Condor by pointing out the obvious fact that dinosaurs weren't driven extinct by man-made deforestation, and oh, by the way, condors don't eat people. Although, perhaps as a nod to this change, while delirious from drugs and severe injury in the sequel novel, The Lost World (1995), he temporarily takes on a talkative, wisecracking persona similar to his movie one, although much more over-the-top.
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Several novels set between Star Trek: Generations and Star Trek: First Contact featured Data still working out his emotion chip issues by having a sobbing breakdown, angry outburst or swearing a lot. This is based on his immediate reaction to having emotions as shown in Generations. First Contact showed that he actually got those emotions under control pretty quickly.
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Tarzan: Edgar Rice Burroughs original Tarzan was a highly intelligent Genius Bruiser who taught himself to read and write both English and French from books his parents left, was fluent in English and conversant in French by the end of book 1 and quickly developed impeccable manners. Even while living among the apes he displayed an interest in dressing well and a well-developed (though somewhat morbid) sense of humour, which blossomed fully when he came in contact with civilization. It is also established very early on that the only reason he speaks in Hulk Speak is that he has never actually spoken any of the languages he reads and writes. All consequent adaptations completely ignore these facets of the character, preferring to make him a stupid but good-hearted child of nature, to contrast with the evils of the civilized world.
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In Disney's Aladdin films (the first and third one anyway) The Genie is a cartoonish, but highly intelligent and formidable ally. In Aladdin: The Series he is reduced to a playful, silly, and just plain weird well-meaning buffoon who often does as much harm as he does good. This may have been sneakiness/laziness on the part of the writers — if the Genie is magical, smart and free to use his magic to solve problems and fight bad guys, then who needs Aladdin? Also, Genie is a living Deus ex Machina. If he were smart enough to use his powers to just defeat conflict by himself, what would the writers do with the other twenty-nine minutes of the episode?
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In Pokémon Sun and Moon, Lillie starts out as a timid girl who hates seeing Pokemon battle. In the anime adaptation, Lillie is more extroverted however she is outright afraid of Pokemon themselves. She can't even touch them due to some initially unspecified trauma.
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Occurs in the Lufia series. In the first game, Lufia & The Fortress of Doom, the prologue of the game features you playing as your heroic ancestor, Maxim, and his comrades 100 years in the past. These heroes speak much more formally than the main characters. Lufia II: Rise of the Sinistrals was actually a prequel featuring the entirety of Maxim's adventures, eventually ending in the same manner as the first game's prologue. However, in this game the characters who all spoke formally in the flashback sequence speak in much more contemporary language (except Artea, who speaks formally regardless.) This leads to a somewhat bizarre occurrence in the final dungeon where the party enacts a conversation that was fairly ominous in the first game, but actually sounds somewhat silly in the breezier language of the prequel. Given that the events of the prequel are written as a heroic tale in the first game, it's possible that they were written much more seriously by the tale's author
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The Ultimates sees Iron Man's struggles with alcoholism and Hank Pym striking The Wasp while in the midst of a psychological breakdown (something mainline!Hank deeply regrets) blown up to the point that Ultimate!Tony is frequently seen drinking and Ultimate!Hank is an outright domestic abuser.
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The Sands of Destruction manga makes both Rhi'a and Morte more insane than their original game versions. Rhi'a has gone from an occasional Cloud Cuckoo Lander to spending most of her time in crazy-mode, with exaggerated child-like cuteness and naivete. Morte has gone from simply wishing to end the world because of how messed up it is (and because Stuff Blowing Up is fun and Bigger Is Better, so blowing up the whole world would be awesome), fighting only against those who actively oppose her or who are responsible for the state of the world, to actively attacking innocent bystanders.
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The anime of The Irregular at Magic High School simplified the main characters to caricatures of Memetic Badass and Little Sister Heroine, respectively. The most infamous example being the regular screams of "Onii-sama" by Miyuki, who in the original novel is noticeably more quiet. It even turned her into a Scrappy in the west, despite being liked in Japan. Much of this is due to the adaptation cutting out many explanations and internal monologues, leaving Tatsuya and his sister showing only their external side, which is what attracted hatred. As a result, the adaptation only strengthened the reputation of this title among western audiences as epitomising all the worst traits and clichés of light novels.
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Valkyria Chronicles : The anime adaptation is a rather glaring offender. During the transition from the game to anime, many of the characters' traits were exaggerated heavily.
In the game, Alicia would sometimes get frustrated at Welkin's personality quirks, but ultimately understood them. She is converted into the generic Tsundere love interest in the anime.
Welkin is something of a Military Maverick with a few personality quirks, but was turned into a socially inept Genius Ditz.
Faldio was turned from a Colonel Makepeace to a suave ladies man.
Susie is characterized as a Reluctant Warrior who was conscripted despite being a pacifist, but she is still willing to fight to save lives (with a gameplay quirk that stops her from attacking sometimes). She passes out a few times during DLC missions, but not during battles themselves. In the anime, she is so afraid of violence and the prospect of fighting that she would literally just spontaneously pass out and regards Alica as a monster when her Valkyria power awakens.
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In the movies, Snape is suavely and delicately malicious. The Snape of the books can be snarky at times, but he's just as likely to be loud-mouthed and unsubtle. You couldn't picture Alan Rickman's Snape throwing the fit the character throws at the end of the book version of Prisoner of Azkaban. While they probably did this because a lot of shouting doesn't translate well to the screen, the change has certainly helped to increase the character's popularity.
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Tsukihime:
Kohaku is a gigantic woobie who also sets up a pretty damn Batman Gambit against the Tohno family. Kagetsu Tohya and Melty Blood tend to discard the woobie aspect of her character in favor of portraying her as a cheerfully plotting psychopath with a Shiki obsession who doesn't seem to care about masking her goals.
Akiha started with 'You don't mind that I have small breasts... do you?' and nothing more. But the fans and the sort-of sequels Kagetsu Tohya and Melty Blood ran with it until she went from Saber's breast size and a little insecure to completely flat and willing to turn you over to Kohaku over comments made about her chest. Which is, of course, much funnier.
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RWBY Chibi takes a lot of the characteristics of the main characters and turns them up quite a bit. Ruby's a hyperactive child, Weiss' snooty personality reaches Rich in Dollars, Poor in Sense levels, Yang and Blake takes Les Yay to whole new teasing levels, and the villains are card-carrying evil hams.
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In the Korean-American flash animation Pucca, the title character was a naïve pre-teen Cute Bruiser who wanted to steal kisses from her Heroic Mime boyfriend Garu. When a TV series was made, Pucca became even more naïve than before and also a Clingy Jealous Girl with a stalker-like fixation on Garu, and Garu's cooties went from "I like her and she's sweet, but she just doesn't let me train" to a borderline "I HATE THE BITCH I HOPE SHE DIES." Guess the Running Gag got old after the first episode... And the Running Gag was little more than a Gender Flip of the classic Pepe LePew cartoons, with Pucca playing Pepe and Garu playing Penelope the Pussycat.
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Touhou's fandom has a tendency to take a single aspect of a character and run it into the ground. The worst part is that some characters get multiple flanderized versions, depending on which part of Fanon you listen to. For example, Flandre is canonically difficult to communicate with because she's a bit nuts, but depending on where you look, fans portray her as either a walking ball of moe or an extremely psychotic and violent girl.
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Batman: Arkham Origins, done by a different company but still set in the same world, reverts Bane to probably the closest version of his original characterization. The plot of the game sets him up as The Dragon to The Joker, but in such a way it is clear he is the most intelligent and powerful enemy Batman faces that night, arguably even including the Joker. It also offers a justification for later portrayals in the series: for the final battle he uses an experimental modification of Venom which causes him to beef up to the ludicrous proportions seen in Asylum, but has brain-damaging side effects — including wiping his memory of Batman's Secret Identity.
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Creed from Black Cat is made to be even more obsessed and depraved in the anime than in the manga (which is saying a LOT). This makes for an extremely awkward Heel–Face Turn, which makes very little sense, especially since his slightly less perverted manga version didn't even do a Heel–Face Turn.
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Count Otto Von Doom is defined almost entirely by his narcissism and lust for power, while his characterization de-emphasizes the intellectual egotism and lust for knowledge that has long defined the character. Notably, this version of Doom doesn't seem to have known Richard Reed prior to the latter's transformation, largely removing the personal element in their longstanding feud. Doom is also depicted as an alchemist (in contrast to the more traditional scientist Reed), reflecting the original's tendency to occasionally dabble in the mystic arts.
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Dragon Ball Z has an example with Frieza's Bad Boss tendencies. He was a Bad Boss in the manga to be sure, but he wasn't prone to killing subordinates. In the anime, he kills his minions at the drop of a hat, reasons varying from "failing him", to "being no longer useful", to "speaking out of turn", to "just needing a target".
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Bianca is made shyer and more awkward than she was in the original Spyro: Year of the Dragon. She was insecure in the original game, but it was less apparent early on.
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Turtles Forever: The 1987 turtles were undeniably goofy, due to the tone of the show (and cartoons in that era in general), but here they're all wisecracking goofballs with no sense of urgency who regularly break the fourth wall, are totally obsessed with pizza, and give inappropriate noogies. The Prime turtles also heavily exaggerate the grim and gritty tone of the Mirage comics. Both downplay the individual characterizations of each turtle, as well. Of course, three identical sets of turtles just wouldn't be the same, would it?
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The different adaptations of Rurouni Kenshin go different ways on this compared to the original manga when it comes to the title character. Kenshin in the first anime series is more of a genuine doofus and prone to slapstick than in the manga, where this was largely an act that he was quick to drop when things got serious and showed more of Deadpan Snarker attitude. The Shin Kyoto-Hen OVA and live action series go the opposite direction and show him as significantly more ruthless and less emotional, ironically making him more like his previous self during the Revolution.
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Sherlock Holmes
In addition to being Promoted to Love Interest in nearly every adaptation, Irene Adler is often portrayed as a Diabolical Mastermind and famous criminal as well. Her only appearance in the Arthur Conan Doyle canon may be awesome, but her only crime was owning a photograph that an ex-lover (who happened to be foreign royalty) felt could be used to blackmail him... which she ultimately never does. The 2009 movie is particularly guilty of this, in Scandal in Bohemia she was more of a Guile Antivillain, an adventress and an opera singer. In the movie she is more like Catwoman of the 1890's.
Many adaptations of the source material have taken Dr. John Watson from simply being Holmes' chronicler who is not nearly as brilliant as his mentor but still an intelligent man and a respected physician, to a blithering idiot played up as the Plucky Comic Relief. The movies with Nigel Bruce are the poster example, although this seems to have ceased in the most recent adaptations. In "Elemetary" she is even takes training from Sherlock enabling her to solve some of the cases herself.
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The Lord of the Rings
Gollum. His somewhat split personality and division between the two equally troublesome sides of it (characterised as Slinker and Stinker by Samwise in the book) is exaggerated into the sweet but obsequious 'Sméagol' and the abusive, addicted 'Gollum'.
Denethor's deteriorating mental state and frosty relationship with his suriving son becomes full blown Large Ham frothing-at-the-mouth madness.
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On the animation front, The Batman depicts Bane as a simple hitman with an average level of intelligence. Venom bulks him up to such proportions that Batman has to use a giant robot suit to defeat him.
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Sailor Moon:
Zoisite is an especially interesting example going through adaptations: Originally, in the manga he was just an attractive if somewhat effeminate-looking man. In the first anime, he is given more effeminate and catty traits and a romantic relationship with Kunzite. His DiC English dub counterpart exaggerates this further, along with making him into an actual woman.
The same thing occurred to Fish Eye in the fourth season. Originally, he was not much different than his strangely dressed and short-lived counterparts. His run in the show was much longer, and was made a clingy, shallow (though ultimately good-hearted) gay crossdresser, and a woman in various dubs in other countries outside of Japan. In fact, it's one of the other members of the Amazon Trio, Hawk's Eye, who crossdresses in the manga. Fish Eye actually tries to seduce Ami!
Usagi herself is rather exaggerated though adaptations. In the manga, she is basically a normal teenager and a surprisingly competent leader of normal intelligence. The anime version dialed up her laziness, her reluctance to fight AND her naivete slightly (for example, see her reluctance to kill anything that isn't a Monster of the Day versus her manga form who basically killed first and asked questions later). The 90's English dub takes this even further by making her a total ditz and a Butt-Monkey when it came to the other senshi. (They didn't tease her NEARLY as much in the Japanese anime.)
As well as Usagi/Serena, Rei/Raye was exaggerated quite a bit from the manga to the anime to the dub. In the manga, she's the Ojou with a bit of a rivalry with Usagi. In the anime, they ramped up her issues with Usagi and made her seem downright mean at times, thought it was still obvious that she cared for Usagi. Dub Raye, on the other hand, loses much of Rei's softer corners and is pretty all-out nasty with very few exceptions.
Haruka crossdressing. In the manga, she actually poses as a male high school student at the start of the Infinity arc, but doesn't seem particularly averse to wearing women's clothing when out of the disguise. In the anime, while she presumably still poses as a male while in the Infinity Academy, her gender is revealed in the same episode where she receives a proper introduction — but she keeps crossdressing throughout the series, even though her being female isn't treated as a secret. Apparently, in that version she likes it a lot. Furthermore, in the manga she even uses different pronouns depending on whether or not she is in disguise — ore and (of all things) atashi. In the anime, it's always the semi-masculine boku, even as Sailor Uranus.
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The LEGO Ninjago Movie does this to the Ninjago characters by updating them into a high-school setting. For example, Jay's underlying insecurity from the television show is played up to make him an Adorkable hipster, while Zane's inability to behave naturally is exaggerated to become a Cloudcuckoolander Extraverted Nerd.
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The cast of Haruhi Suzumiya was already quirky. The Haruhi-chan series turned said quirks up to thirteen!
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Star Trek: The Next Generation:
Data meets Samuel Clemens in "Time's Arrow". His portrayal is about as stereotypical as it gets, including making up actor Jerry Hardin in a fright wig and having him mention his famous characters like Tom Sawyer and Huck Finn almost every other phrase.
For that matter, "Descent" has Data playing cards with Isaac Newton, Albert Einstein and Stephen Hawking (the latter played by the man himself), and both Newton and Einstein are portrayed as stereotypes, with Einstein having the trademark wild hair and thick accent, and Newton referring to the apple being dropped on his head (which didn't actually happen in real life). Still they were holodeck recreations, so maybe they were the Theme Park Version (given that Hawking was acting As Himself, we can assume some accuracy in his portrayal).
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The following is a list of statements referring to the current page from other pages.

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Character Exaggeration
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Character Exaggeration
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Character Exaggeration
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Character Exaggeration
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Character Exaggeration
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Character Exaggeration
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type
Character Exaggeration
 Seitokai Yakuindomo (Manga) / int_9002083e
type
Character Exaggeration
 Trigun (Manga) / int_9002083e
type
Character Exaggeration
 Sabaton (Music) / int_9002083e
type
Character Exaggeration
 Growing Up Cullen (Roleplay) / int_9002083e
type
Character Exaggeration
 LascantiaOfTheHorizon
seeAlso
Character Exaggeration
 House / int_9002083e
type
Character Exaggeration
 KYTV / int_9002083e
type
Character Exaggeration
 Lois & Clark / int_9002083e
type
Character Exaggeration
 Passions / int_9002083e
type
Character Exaggeration
 The Beverly Hillbillies / int_9002083e
type
Character Exaggeration
 Pokémon Live! (Theatre) / int_9002083e
type
Character Exaggeration
 Turnabout Musical (Theatre) / int_9002083e
type
Character Exaggeration
 Conception: Please Give Birth To My Child (Video Game) / int_9002083e
type
Character Exaggeration
 Dawn of War (Video Game) / int_9002083e
type
Character Exaggeration
 Dragon Quest Heroes: The World Tree's Woe and The Blight Below (Video Game) / int_9002083e
type
Character Exaggeration
 Final Fantasy VII Remake (Video Game) / int_9002083e
type
Character Exaggeration
 King's Quest V: Absence Makes the Heart Go Yonder! (Video Game) / int_9002083e
type
Character Exaggeration
 Lufia & The Fortress of Doom (Video Game) / int_9002083e
type
Character Exaggeration
 Super Robot Wars (Video Game) / int_9002083e
type
Character Exaggeration
 Super Robot Wars Z (Video Game) / int_9002083e
type
Character Exaggeration
 Doki Doki Literature Club! (Visual Novel) / int_9002083e
type
Character Exaggeration
 RWBY Chibi (Web Animation) / int_9002083e
type
Character Exaggeration
 Persona 3 FTW (Webcomic) / int_9002083e
type
Character Exaggeration
 Avatar: The Abridged Series (Web Video)
seeAlso
Character Exaggeration
 Confused Matthew (Web Video) / int_9002083e
type
Character Exaggeration
 HellsingAbridged
seeAlso
Character Exaggeration
 Love Hina Abridged (Web Video)
seeAlso
Character Exaggeration
 Saint Seiya Abridged (Web Video)
seeAlso
Character Exaggeration
 sillypplproductions2 (Web Video)
seeAlso
Character Exaggeration
 Sonic the Other Movie (Web Video) / int_9002083e
type
Character Exaggeration
 The Lizzie Bennet Diaries (Web Video) / int_9002083e
type
Character Exaggeration
 The Room Gag Dub (Web Video) / int_9002083e
type
Character Exaggeration
 West Bitches (Web Video) / int_9002083e
type
Character Exaggeration
 Xonic S (Web Video) / int_9002083e
type
Character Exaggeration
 Blazen! (Webcomic)
seeAlso
Character Exaggeration
 RWBY: Cherish (Webcomic) / int_9002083e
type
Character Exaggeration
 A Pup Named Scooby-Doo / int_9002083e
type
Character Exaggeration
 Aladdin: The Series / int_9002083e
type
Character Exaggeration
 Catscratch / int_9002083e
type
Character Exaggeration
 Coraline / int_9002083e
type
Character Exaggeration
 My Little Pony: Equestria Girls / int_9002083e
type
Character Exaggeration
 Quack Pack / int_9002083e
type
Character Exaggeration
 Teen Titans Go! / int_9002083e
type
Character Exaggeration
 The Emperor's New School / int_9002083e
type
Character Exaggeration
 The LEGO Ninjago Movie / int_9002083e
type
Character Exaggeration
 The Looney Tunes Show / int_9002083e
type
Character Exaggeration
 The Prince of Egypt / int_9002083e
type
Character Exaggeration
 Attack of the 100 foot Meg Griffin / Fan Fic / int_9002083e
type
Character Exaggeration
 characterexaggeration
sameAs
Character Exaggeration
 Basilisk (Manga) / int_9002083e
type
Character Exaggeration