Adaptational Comic Relief
This is when a character is turned into Fun Personified
or a Plucky Comic Relief
in an adaptation. May be a sign of Flanderization
or Character Exaggeration
This trope is often found in Derivative Works
that are Lighter and Softer
or Denser and Wackier
than their source.
Sometimes this new characterization becomes more popular and is later adapted into the original work.
See also Adaptational Heroism
. Contrast Adaptational Angst Upgrade
Anime and Manga
Film - Animation
- Sailor Moon
- In the manga, while Chibi-Usa/Sailor Chibimoon does become a source of a few humorous moments, she is a legitimate semi-powerful Guardian, with an attack capable of destroying low-level enemies, which can also be combined with Sailor Moon's or Tuxedo Mask's powers for more damage. In the first anime, and specially in the third season, she is turned into a borderline Joke Character, with powers that are only strong enough to annoy monsters and are prone to failing altogether. Part of the reason for that was the anime deliberately sticking to a certain episode structure, so Chibimoon's antics quickly became a regular occurence. (This led to her ongoing Character Development from the manga barely happening in that version, so when the next season abruptly promoted her to the protagonist status due to her being a Kid-Appeal Character, the results were not pretty.)
- Eudial from the Witches 5 group is an Adaptational Badass and Ascended Extra in the third season... but on the other hand, she is more prone to comedic moments when off-battle (and sometimes during it) and being the Butt Monkey of many situations.
- In the Fruits Basket manga, although Shigure was often a comic relief character in the beginning, he has a dark side that's evident even in the first volume, and eventually he becomes pretty menacing. In the anime, he's pure comic relief.
- Grelle Sutcliffe of Black Butler is a truly menacing villain in the manga, and also has only appeared twice over the course of eighty chapters. In the anime, her flirtation and flamboyance are Played for Laughs and she's a much more major character, resulting in both an Ascended Extra and severe Villain Decay.
- Bianca is portrayed as a less competent trainer in the Pokémon anime and is more of a Plucky Girl, while her game counterpart is more subdued and shy.
- Rhi'a becomes incredibly childish and silly in the manga adaptation of Sands of Destruction. In the game and anime, she was more serious. While she did show a sense of humor in the game at times, it wasn't a constant thing, and she never seemed particularly naive; the anime just made her Trigger Happy and dispensed with any joking aside from the occasional snide remark or quip.
- The dog Taromaru in the School-Live! anime is presented this way. Taromaru was a Oneshot Character in the manga who didn't do much besides look cute for a few panels before becoming a a zombie. In the anime he is the frequent source of comic relief.
- While Jonouchi was used for comedy in the manga, he nevertheless was pretty damn competent as well being a damn good fighter. While Jonouchi's anime counterpart still has much of this behavior, he's also made butt of many more jokes, with his friends even making some about him at his expense.
- Bobassa, a serious and intelligent character in the manga who guides Yugi and his friends through the Pharaoh's memories in the Millennium World arc, becomes a goofy, simple-minded character who spends most of his time thinking of his appetite. This is due to him being a Decomposite Character in the anime.
Film - Live Action
- In The Secret of NIMH, Jeremy was a comical, clumsy character while his counterpart in the original book had more of a 'young and inexperienced' role. The film made several characters darker, which may have influenced this change. Jeremy is also an example of Ret Canon since his more whimsical characterization was adapted into the book's sequels.
- Ralph Bakshi's animated film of The Lord of the Rings turned Samwise into a goofy, incompetent oddball of a hobbit, but in the books, he is brave and loyal. He was meant to become more serious in the second film, which was never made.
- The Jungle Book was intended to be Lighter and Softer than the book it was based on. Baloo became a fun-loving character who has a scatting duel with an orangutan, rather than a serious law teacher. Most of the other characters underwent a similar evolution (with the possible exception of Shere Khan).
- Big Hero 6 has three examples:
- The Lord of the Rings:
- In Peter Jackson's The Lord of the Rings, Merry and Pippin are given funnier moments than the books, particularly in Pippin's case, such as getting into Gandalf's fireworks. After the Fellowship splits up, one character breaks out into comic relief for each group. For instance, Gimli provides physical comedy and gruff one-liners in contrast to Straight Man and Elf Aragorn and Legolas. His book counterpart is a much more dignified, well-respected character. Some of his funny moments in the films did come from the books, such as his Orc-slaying competition with Legolas, although even that one was altered to his detriment. Word of God confirms that they heightened this role for Gimli, a Dwarf (stereotyped as being crude), to accomodate Merry and Pippin's Coming of Age.
- Of all the characters, Gollum becomes quite funny compared to his book counterpart (only Smeagol, however). See his over-the-top misery and occasional moments of Ugly Cute.
- J. R. R. Tolkien described Radagast as a down-to-earth character, but never wrote very much about his personality. In Peter Jackson's The Hobbit, he is an eccentric Cloud Cuckoolander. Similarly, the dwarf Bofur was one of the least-described characters in the book and only had a few lines, but was given the role of a cheerful, wisecracking dwarf in the film.
- Whatney Smith in Outlaw of Gor is roughly equivalent to Harrison Smith in the book of the same name, but Harrison doesn't go to Gor and isn't a comic relief character. Whatney is supposed to be funny - opinion varies as to whether he is or not.
- Scotty in the recent Star Trek reboot movies.
- In the Harry Potter films, Ron suffered some Character Exaggeration into outright comic relief. While Ron is a big source of comic relief in the books, it's usually thanks to his snarky one-liners. The movies tended to make Ron the butt of jokes, specifically his incompetence and Rupert Grint's astonishing array of terrified faces.
- Ian Malcolm in Jurassic Park and its sequel The Lost World: Jurassic Park is a Deadpan Snarker who provides most of the laughs. In the novel, he mainly serves the role of explaining chaos theory and is a relatively serious character, although he still has some funny moments. An especially prominent one is found in the second book, which was written to hold some similarities with the original film.
- In the Sherlock Holmes films:
- Nigel Bruce as John Watson, who is a bumbling oaf compared to the original books where he was dignified and professional.
- Reversed by Basil Rathbone as Sherlock Holmes, who was very witty and showy in the stories but became increasingly a straightlaced hero-type throughout the films (although he did have some moments of hilarity, like impersonating a music hall performer singing "I Do Like To Be Beside the Seaside.")
- While he's the main character in most of the movies he appears in, the film version of Iron Man is much funnier than the comic version who tended to be a little more grim (although after the movies, writers have been giving him a little snark lately).
- Both Hannibal King and Hal Jordan in their respective film appearances end up like this, thanks to the writers of both trying to take advantage of Ryan Reynolds comedic talents. Despite Reynolds proving himself a capable serious actor and action star, both instead rewrote the characters to be goofy Deadpan Snarker types, with King almost resembling Deadpool, a character that Reynolds was, at the time, working with the developers of the Blade franchise to bring to film with him playing the role.
- Inverted with The Last Airbender—Sokka hardly makes a single joke, despite being both Plucky Comic Relief and The Snark Knight in the original show.
- In Karl May's novels Old Surhehand I and III, Old Wabble is a tragic figure and one of May's most three-dimensional characters: a former ally of Old Shatterhand and Winnetou who became evil and eventually dies at age 90. In the movies Unter Geiern, Der Ölprinz and Old Surehand he is given an Age Lift and is merely Old Surehand's Bumbling Sidekick.
- In A Song of Ice and Fire, Samwell Tarly is characterized by his extremely low self-esteem due to abusive treatment by his father and continual cruel mockery for his weight, and this never really improves, even after he makes some friendships. In the adaptation Game of Thrones, once he makes some friendships early on, Samwell plays the role of Plucky Comic Relief and even responds in kind to (good natured) mockery by his friends. However, after some of them abandon him during the second season's Bolivian Army Cliffhanger, he is more like his book counterpart during the third season.
- Inverted in the 1980s Casablanca TV series. In the original film, Sascha is pure Plucky Comic Relief; in the series, he has a much more reserved demeanor and is never used for comedy at all.
- The Thénardiers in Les Misérables, while still villains, were made into the main comic relief because the play was already very dramatic.
- In the opera Boris Godunov, the second act (as revised) has several lighthearted songs for Feodor and the Nurse to sing, adding comic relief to an otherwise almost entirely serious dramatic work based off real life.
- Shrek The Musical makes Big Bad Lord Farquaad a much more over-the-top and comical character, to the point where he has a big, show stopping musical number about how great he and his kingdom are (which replaces the tournament in the film). He even uses the "Welcome to Duloc" dolls as backup dancers!
- An adaptation of His Dark Materials turned the Gallivespian Lord Roke into this. In the books, Lord Roke (like all his kind) was a completely serious character; his tiny size was played for drama in terms of the dangers to him, but also the danger his venomous stingers posed to humans, and was a proud, competent and courageous man afforded all the respect that would be given to a human of similar personality and skills. In the play he becomes a comedic buffoon who exhausts himself at an inconvenient time running across a room at a snail's pace and is implied to be something of a peeping tom.
- The deadly, cold-blooded Hisoka is portrayed as a hammier, more comical villain in the Hunter × Hunter stage musicals. He still acts as a threat, but in a more mischievous sense rather than a serious one.
- In-Universe example in Girl Genius, where the Heterodyne Boys books portray Punch as The Klutz and Dumb Muscle and Klaus Wulfenbach as a Cowardly Sidekick and The Comically Serious ("Klaus keeps his dignity, or tries to. That's what makes him funny!"). The real Genius Bruiser Punch doesn't like the stories much; the real Anti-Villain Baron Wulfenbach sometimes seems to feel the same way, although he's also been known to say they're Actually Pretty Funny. (The general public don't really seem to make much of a connection between the comedy character they laugh at in the stories and the Baron who rules the continent with an iron fist.)
- Ultimate Spider-Man:
- Peter Parker/Spider-Man is usually funny to begin with as a Deadpan Snarker, but the cartoon makes him a Deadpool style fourth wall breaker and foregoes some darker elements, like how he is usually constantly haunted by the death of his uncle, as well as his massive guilt complex/martyr syndrome, in favor of jokes.
- Another figure of note is Deadpool himself. Though he was always considered a comic relief, this adaptation makes him a great deal Denser and Wackier than his grimmer and occasionally more homicidal self, even though this version is no stranger to killing. In fact, his defeat practically comes about in the Chibi imaginary sequences when Spidey forces Deadpool to face some degree of responsibility for his actions as opposed to avoiding it with humor (which was mentioned in a way in his newer, S.H.I.E.L.D.-related backstory).
- In the original Scooby-Doo, Where Are You!, there was nothing remotely interesting about Fred Jones. Various derivative works remedy this in various ways, where he is generally less intelligent and more of a Cloud Cuckoolander. Some give him more specific quirks; in Scooby-Doo! Mystery Incorporated he's obsessed with traps, and in A Pup Named Scooby-Doo he's quick to blame the latest mystery either on Red Herring or something ridiculous he read in the National Exaggerator. Often zigzagged since these variations of Fred also tend to be more proactive to the story.
- The Super Hero Squad Show does this for most of the Marvel Universe (mostly as a result of being both Lighter and Softer and Denser and Wackier than the comics). Of the bunch, the Silver Surfer probably gets it the worst. He goes from a reflective, serious intergalactic figure to a Totally Radical stereotype of a California Surfer Dude.
- In Teen Titans Go! just about every character from the original Teen Titans cartoon is turned into a more comedic version of themselves.
- Albert the Fifth Musketeer inflicted this on the original four.
- While Knuckles the Echidna often tends to drift into comedic territory in the Sonic the Hedgehog series, he is often first and foremost the powerful guardian of the Master Emerald and a competent ally of Sonic. Sonic Boom turns Knuckles into a completely buffoonish Dumb Muscle as pivotal to the show's humour than it's action scenes.
- My Little Pony:
- In the Golden Films adaptation of The Tale of Peter Rabbit in 1994 (which was an unofficial sequel), Mopsy, Flopsy and Cottontail are portrayed as ditzy sisters while in the original Peter Rabbit stories they were more smart and serious.