The art of storytelling is not a modern invention, nor is adaptation. Despite their century-old traditions, they are both relevant and evolving. Reading the same stories over and over again would get boring pretty quickly, but transcoding them into different mediums such as movies or video games gives them new meanings, thus keeping them interesting. Adaptation opens up new dimensions for both creators and consumers of adaptations. However, when the same story – or element of the story – is used in different media, it will inevitably spark debates about the superiority of one of them. Adaptations are often frowned upon because they appropriate and exploit their adapted texts. There are many questions and doubts around adaptation, such as what can be adapted and why certain works are easier to adapt. Linda Hutcheon's book, A Theory of Adaptation examines these questions and attempts to theorize the adaptation process. Using an impressive array of sources, the author aims to explore the theme of adaptation without excluding neglected areas or more recent developments. His methodology for this involves "[identifying] a text-based question that spans across a variety of media, [finding] ways to study it comparatively, and then [untangling] the theoretical implications of multiple textual examples ". According to the preface, the aim of the book is to challenge the idea that adaptations are only secondary and derivative works compared to their adapted texts. Hutcheon also emphasizes the analysis of intertextuality and confronting the negative perception of adaptations so common in our society. The author states that the examples provided in this book help readers become familiar with the subject and identify with the issues... middle of article......more attention. Leitch's review indicates that this updated volume could have been improved by discussing interactive media in more detail. Apparently, the purpose of this book was to develop a theory of adaptation. By bombarding readers with irrelevant names and titles, Hutcheon has made it very difficult to distinguish between actual theory and the abundance of examples used in each of these chapters. Nonetheless, I would recommend this book to anyone who is genuinely interested in adaptation studies and wants to get a broader perspective on the subject. However, because the author has been careful not to express strong opinions, this book will hardly spark productive discussions in classrooms. Works Cited William Whittington, Comparative Literature Studies, 45, no. 3 (2008): 404-406Thomas Leitch, "New! Expanded! Not improved!," Literature Film Quarterly: 157-160