"In a world full of cartoon characters and action figures you loved, spend more time with these human characters you don't, like Keno, an obnoxious little twerp, this boring science guy, and this completely random lady who calls herself April O'Neil."So a Live-Action Adaptation of your favorite childhood Funny Animal cartoon is coming out. You go to see it, and... what's this? Who's this guy? Where's the cartoon character? Why should we care about this guy? Can you move it along and get to the cartoon character now? Oh, there he is! And now they're back to that guy again. Looks like it's gonna be another Human Focused Adaptation. Family movies that are live action (and sometimes even animated) adaptations of cartoons that otherwise probably wouldn't work as a live action blockbuster, or actually would, normally seem to focus more on a newer human character and his love life, rather than the character from the series the movie is adapting. More often than not, the plot has an Unlucky Everydude with a crappy job and a crush on his hot co-worker, having a run-in with the cartoon character of the day, or having said cartoon character as a pet. Hilarity Ensues, and the cartoon character's hijinks somehow bring Everydude and his love interest together, and they live Happily Ever After. These subplots mostly, if not always seem to do with the unlucky new guy in love. This even applies to already existing human characters who never had a love interest, and are either given a completely new one, or they take an existing character and pair them up, accuracy be damned. This is probably caused by a combination of the costs (both time and money) of CGI and the beliefs that a human character might be more relatable or that people want to see a love story—no matter how much it has to be shoehorned in. This trope, while common to live action, is not exclusively a live action trope. There are many examples within anime, comics, and Western animation itself. If any adaptation reduces the importance of major non-human characters to focus on more humanistic or traditional characters, it should count as being this trope, regardless of the medium. Note that this doesn't always mean "non-human characters are barely in it" but that the ratio is shifted considerably. The amount of human importance may shift from 10% original to 60% adaptation, it still leaves 40% of the movie to the non-human characters. It isn't always about "making it relatable" but being a Pragmatic Adaptation if you are going to make something in a different medium. Related to Adaptation Decay, Most Writers Are Human, Developing Doomed Characters, Romantic Plot Tumour, Just Here for Godzilla, Spotlight-Stealing Squad, Demoted to Extra, Adapted Out.
Examples by Medium Adapted Into:
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Anime and Manga
- Sonic X:
- The first two seasons have Chris Thorndyke taking the spotlight and filling roles which, in the actual game versions of the stories Sonic X was adapted from, were filled by Tails and Amy. This turned off quite a few fans as a result. But Season 3 inverts this trope by having Chris in Sonic's world as a side character.
- The pitch trailer shows that the series originally took place completely on a World of Funny Animals, which inverts this as the source games actually do take place on Earth and feature humans.
- Kirby of the Stars gave a lot of focus and screentime to humanoid looking Fumu and Bun (Tiff and Tuff in the dub), though since Kirby was basically a baby in this continuity, pretty much everyone at some point got more focus over him. Kirby sometimes didn't even do anything until the climax of the episode.
- The mainline Pokémon games had the problem of having the Pokemon themselves not getting more internal development than being Attack Animals for the Featureless Protagonist and other humans, who may or may not get any characterization themselves. The adaptations, in general, give characterizations to more humans than the games do, and thus more focus, but the way they treat the Pokemon varies:
- Several Truer to the Text adaptations, like Pokémon Origins and Pokémon Zensho, give focus to few if any Pokemon, focusing on the human-related plots.note
- Only a few Pokemon in Pokémon Adventures are given much characterization.
- Pokemon Reburst almost outright ignores Pokemon all together, effectively reducing them to Transformation Trinkets.
- The classic Anime, however, is a bit better about this, with several of the party's Pokemon, as well as a few non-Party Recurring Pokemon, getting as much characterization as the party's humans; and with that, several focus episodes in their own right.
- Jewelpet focuses more on humans in the first season, Twinkle and Lady.
- Take any franchise focusing mainly on mons, whether it be Pokémon or Digimon. Chances are, at least half of its fics are Human romances in which no Pokemon or Digimon are even mentioned whatsoever. Many Pokémon fanfics also invert this and focus on wild Pokemon.
- My Little Pony: Friendship Is Magic: The "human in Equestria" genre is widely disliked for this, and because it focuses on some self-insert Mary Sue. The "Displaced" sub-genre (wherein the human also gains the abilities of a character from a completely unrelated other show or franchise) also counts.
Films — Animated
- A fully animated example is the Tom and Jerry: The Movie, whose title characters take a backseat to a little orphan girl, in a plot that seems like they were trying to remake The Rescuers as a musical with Tom and Jerry thrown in as an afterthought. Averted with the Direct-to-Video Tom and Jerry and the Wizard of Oz where they and other MGM animated characters are Off to See the Wizard.
Films — Live-Action
- Underdog: The main characters in the original cartoon, with the exception of some villains, were Funny Animal characters. The movie turns Underdog into a non-anthropomorphic beagle and gives him a human owner.
- Alvin and the Chipmunks: Though the Chipmunks get a fair enough amount of screentime and focus, it still follows the "unlucky guy in love has cartoon characters as pets" formula. At least the human in question, Dave, was a part of the franchise to begin with. The "Squeakquel" introduced some reason why he couldn't be there and then replaced him with some completely random loser.
- The Rocky and Bullwinkle movie gave less screen time to the cartoon moose and squirrel than their traditional human villains and new human characters. Rocky and Bullwinkle are on a very small part of the DVD cover (pictured above) while the human characters are front and center.
- Two Looney Tunes live action movies.
- Space Jam puts its focus on bringing Michael Jordan into the Looney Tunes' world to save them from aliens by playing basketball. The first part of the movie plays like a Biopic of Jordan before the Looney Tunes show up.
- Looney Tunes: Back in Action introduces two human characters to team up with Bugs and Daffy and even gives them a romantic subplot.
- Additionally, a cancelled Marvin the Martian film would have followed this, teaming Marvin up with a young boy.
- Masters of the Universe: In the film this trope is done with Human Aliens taking a backseat to Earthlings. The first act of the movie focuses on the eponymous heroes, but once they journey to Earth, the story becomes more about the mundane Earthlings Julie and Kevin up until the final climatic battle, and then afterward returns to them for the conclusion.
- Two Dr. Seuss live action adaptations plus one animated one:
- How the Grinch Stole Christmas!, while still mainly focused on The Grinch, has more focus put on the Whos (who are more or less Rubber-Forehead Aliens) than in the original, especially Cindy Lou, who gets half the movie to herself and has far less makeup than the other Whos, making her look even more human than the rest of them. Partly explainable as an attempt to stretch a short children's book into a feature length movie.
- The Cat in the Hat in its film adaptation, again, due to the source being a short children's book.
- The Lorax focuses its "past" timeline on the interactions between the titular nonhuman and the Once-ler, but the former barely appears at all in the "present" timeline, which constitutes the first third and last third of the movie. (Also, the Once-ler is now clearly human rather than Ambiguously Human.)
- The Smurfs Live-Action Adaptation has the Smurfs taking refuge with a husband and wife in New York after being teleported there. Pretty much follows this trope to the letter.
- The title character of Yogi Bear takes a backseat to Ranger Smith, of all people. Yogi and Boo-Boo are all but reduced to walking, talking plot devices, while most of the story focuses on Smith's efforts to save Jellystone Park from being demolished and turned into farmland. At least here the human was actually in the original series.
- The 1932 film adaptation of The Call of the Wild focuses on the character of Jack Thornton, played by Clark Gable, over Buck the dog. In the book, he only factors into perhaps a third of the plot.
- Although the original is also about a human, the first Mr. Bean movie, Bean: The Ultimate Disaster Movie did something like this. The original series is simply about a near-mute, accident prone-fellow causing chaos and havoc wherever he goes, which tends to lend itself best to brief vignettes. The movie, of course, had to flesh this out, so it centred mainly on some American art expert who Bean stays with and his troubled relationship with his family.
- Some of the Muppet productions fall under this trope:
- Played with in The Muppets where the trailer makes it look like a human-focused romantic comedy, only for Kermit the Frog to show up and reveal the real nature of the film. It still technically qualifies for this trope, though; most of the screentime is given to Jason Segel, Amy Adams and new character Walter (who is a Muppet but not in-universenote until the final act of the movie), although the humans' subplot takes a backseat to the main plot for most of the movie. That said, a concerted effort was made to give the Muppets enough screen time and have them qualify as main characters.
- Referenced when Jason Segel hosted Saturday Night Live, and The Muppets were upset that they weren't asked to host.
- The literature adaptations are bad for this. The Muppet Christmas Carol is all about Michael Caine's Scrooge, although Kermit and Gonzo get major roles as Bob Cratchit and Dickens. In Muppet Treasure Island, the main focus is on Jim Hawkins and Long John Silver, played by Tim Curry. Originally the "Jim Hawkins" part was going to be played by Rizzo and Gonzo (being named Jim and Hawkins as two characters), before it was decided to make it into a Coming-of-Age Story with an actual human kid as Jim. And in The Muppets' Wizard of Oz Ashanti's amount of focus makes The Muppets themselves feel like an afterthought. In this case all three are based on stories where the main characters were humans, and the trope is just a side-effect of staying faithful to the story.
- The original Muppet outings tend to avert the trope by including major human characters but keeping the focus on Kermit and the gang. In The Muppet Movie and The Great Muppet Caper, said humans are antagonists or connected to them in some way, and The Muppets Take Manhattan doesn't even have a major antagonist, with Kermit getting amnesia the problem that the climax hinges upon. Other human characters are there for the Muppets to play off of and/or to provide cameos for name performers. Muppets Most Wanted takes a similar tack, but takes it even further: not only is the primary human character (Dominic Badguy) a villain, he's not even the main villain.
- The Thomas the Tank Engine film, Thomas and the Magic Railroad, contains a large amount of focus on a human man played by Peter Fonda and his granddaughter played by Mara Wilson, as well as the Conductor played by Alec Baldwin. While Thomas and the other engines are in the film, this can largely be blamed on it also being an adaptation of Shining Time Station, which was a framing device for the series.
- While the original Curious George stories were about a mischievous monkey getting into stuff, the 2006 movie was more about Ted Shackleford's life, love, dreams, and career. Case in point, up until this adaptation George's human friend didn't even have a name, and was only known as "the man in the yellow hat". The television series based on the movie shifts the focus back to George for the most part.
- In Grumpy Cat's Worst Christmas Ever, the plot is about a girl trying to stop a couple of burglars from stealing an expensive dog from a pet shop, which was going to be used to keep the store from closing down. Grumpy spends most of the time being towed around and making wisecracks. Lampshaded though, as Grumpy keeps trying to remind the audience that this is her movie.
- Among other things, this trope is the primary reason why most Alien and Predator fans hate AVP: Alien vs. Predator and its sequel Aliens vs. Predator: Requiem. Both films try to seem like more than just sci-fi flicks about monsters battling each other by throwing in human characters trying to survive so as to break up the action and add some meaning or emotional significance to the plot and events. Ironically, this does even more damage to the films than it likely would otherwise, as nearly all the characters are boring and uninteresting, not to mention the weak storylines. Both films ultimately have much less "Alien vs Predator" action than the fans would like, and do not really explore or utilize the Alien and Predator lore at all (not in a satisfying way, at least).
- The same is said about Freddy vs. Jason, where said "vs" action only takes place during one brief dream sequence and then the finale. The rest of the movie is either Freddy killing people or Jason killing people in the same town, which was satisfying to fans of both but a letdown all the same to fans who went in hoping it focused on the two beating the crap out of each other.
- Teenage Mutant Ninja Turtles (2014) still centers around the turtles but there's a heavy emphasis on April. Apparently its sequel is better about this.
- A common criticism of Thor and Thor: The Dark World is the amount of time spent on Earth as opposed to Asgard, as well as the emphasis placed on Jane and her coworkers. This is especially pronounced in the sequel, where Jane and her buddies get even larger roles, while characters like Sif, Fandral and Hogun end up either Out of Focus or Put on a Bus for most of the movie.
- The Transformers Film Series got no end of complaints that the humans took up more of the story than the title robots, but the truth is the franchise in general has a long history of it. The movies were just highly visible and not a lesser known show airing on a major cable channel. For more specific examples:
- TV Shows:
- The original The Transformers set a precedence by quickly establishing a group of important human characters and having the entire conflict set on modern day Earth, the Autobots were learning Earth culture through their human friends and exploration. Also, very few plots were because the Autobots stumbled upon a Decepticon plot, and Teletraan-1 intercepted human communications for possible Decepticon involvement. So the perceived Xenofiction was not nearly as dominant as often claimed.
- The first half of Transformers Armada was almost more about the humans than about the robots, and Transformers: Super-God Masterforce takes it Up to Eleven, gradually morphing into a Henshin Hero series as the actual Autobots are displaced by an increasing number of humans in Powered Armor.
- Mostly averted with American made shows like Transformers Animated and Transformers Prime, in fact they actually set a precedence for having human characters fans actually liked. On the other hand, Animated had various human villains fans greatly disliked and Prime had (admittedly minor) complaints that the one human villain, Silas, was almost a Villain Sue note . Beast Machines is the only show in the franchise to lack human characters or Earth (barring a brief flashback).
- The very concept of a Live-Action Adaptation means making the robots the only important characters a self-defeating endeavor, you might as well go all CG. Plus costs of the expensive CGI meant at some point you need to have more practical characters on screen (the movie set records to rendering time, every frame with a Cybertronian in it took about twenty-four hours to render and Devastator melted a computer), so it would be pretty much impossible to be more robocentric without setting parts of Hollywood on fire. This is in addition to just not being sure if audiences would accept them as characters and not fancy CGI a la Gollum.
- Some issues were improved in Transformers: Revenge of the Fallen, with a better grasp of how to film the (non-existent) robots on set, there are longer scenes of dialogue and more complex action set pieces. But a lot of the movie still focused on the human love lives and goofy antics.
- It improved again in Transformers: Dark of the Moon, where (apart from Sam's role in the first act) the Transformers are treated as actual characters rather than plot devices to help Sam get the girl and satisfy his sex drive. Although human characters still get a lot of screentime (mostly in subplots that surround the main story), the main plot definitely focuses on the Transformers and their history, rivalry and emotions.
- It's improved upon almost to the point of being averted with Transformers: Age of Extinction, since the human story intersects with the Transformers story, and they stick together because their fates intertwine. The Autobots, Optimus Prime especially, get almost as much screentime as the human leads, and much of the story involves long bits of interaction between Autobots and humans.
- This trope was lampshaded in the first panel of this VG Cats comic.
Starring a cast of two-dimensional characters no one cares about! With special guest stars the Transformers.
- TV Shows:
- By default, every Digimon adaptation with the sole exception of Digimon X-Evolution - though the existence of human Tamers for the mons was part of the original fluff for the virtual pets, said fluff didn't mention any specific human characters, and the majority of adaptations - most prominently the various anime - tend to focus much more on the interactions and struggles of the humans, relegating their Digimon partners to more of a support role. This is also averted by Digimon Xros Wars where Digimons actually managed to end up being more developed than some of the human cast. A rare Tropes Are Not Bad example.
- Defied by BIONICLE. Greg Farshtey has stated this as the main reason why LEGO never allowed a theatrical movie to be made. They received several pitches for it, and all of them involved human kids somehow ending up in the BIONICLE universe - which is supposed to be a Constructed World in which humans do not and never will exist.
- Inverted with most Sonic the Hedgehog adaptations. The games take place in a world where anthropomorphic animals coexist with humans however most adaptations remove all humans except for Eggman and put them in a World of Funny Animals. The most notable exception, Sonic X, is detailed above (and even then Sonic apparently comes from a planet without humans). The anime narrowly avoided inverting it as the initial pilot showed Funny Animal character instead of humans.
- Bruce Banner usually gets the majority of the screentime in all the live-action adaptations of The Incredible Hulk, including the classic 70's TV show and his feature film appearancesnote . Beyond narrative reasons like trying to give the audience a character to get invested in, the practical reasons are very similar to the ones mentioned in the Transformers films. It'd be expensive to have a CGI monster onscreen for the entire movie, so having Banner breaks things up and prevents the budget from skyrocketing.
- The official novelisation of Doctor Who's Development Hell episode, "Shada", gives the two helpful human characters, who fulfilled their plot function and were then put Out of Focus in the original, roles about as prominent as that of the Doctor and Romana. Their relationship with each other goes from being Implied Love Interest to explicitly romantic, with Chris's conflict being how he Can Not Spit It Out and admit he loves Clare - Chris even literally hijacks the Doctor during his climactic defeat of the villain to say "I love you" to her. Most of the middle of the book is also rejigged to be from Chris's point of view. Tropes Are Not Bad, of course, as it serves the purpose of allowing outsider perspectives on the Doctor's antics - the Fourth Doctor's character is very much defined by the eccentric ways he moves and goes about doing things, which is easy to represent on television, but in a book his actions have to be relayed through a witness who understands him as little as we do.
- Five Nights at Freddy's: The Silver Eyes largely dismisses the animatronics, focusing more on the human characters, their backstory (and that of the titular pizzaria) and their relationships, and while they do appear, it's not until the last quarter of the book (and an In Medias Res opening) that they act like they do in the games and become true threats to the heroes.
- Kingdom Hearts:
- A rare video game example in Kingdom Hearts. The Disney and Final Fantasy characters seem secondary to the original cast. Part of this is that Disney laid down so much Executive Meddling behind the scenes in the first game that the production team decided that in general, original characters were the only ones they could tell new or interesting stories with, and not have to worry about Disney pitching a fit at characterization or portrayals of their properties.
- Inverted with the Lilo & Stitch portions of the series. They focus exclusively on the aliens despite the film being about Stitch living in Hawaii with Lilo and Nani.
- Inverted with several Pokémon spinoffs. While the main games and most adaptations place a healthy amount of focus on the eponymous pocket monsters, their stories generally center on the adventures of the human trainers. In some spinoff titles such as Pokémon Mystery Dungeon and PokéPark Wii, humans receive a passing mention at best.
- The My Little Pony has an interesting history with this Trope, especially considering its nature:
- The original show had a human girl named Megan who, along with her siblings in the shows, helped the ponies in their fight against whatever apocalypse was threatening them at the moment. Granted, she was very seldom the main character of an episode, but she was still around for most. The unrelated books and comics for the series also frequently included humans, typically either normal people or magical beings like witches.
- Most of the sequel series (My Little Pony Tales, My Little Pony G3, and My Little Pony: Friendship Is Magic) avert this, being Slice of Life series that focus solely on the ponies.
- My Little Pony: Equestria Girls, the first appearance of this Trope since G2, is about an alternate universe where human versions of G4 ponies attend high school. It can be considered Downplayed, however, since the characters have either been transformed or re-imagined as human beings rather than introduced to brand new human characters.
- This was one of the earlier ideas bussed around for the 2017 feature film. Take the Smurfs movie, do a find-and-replace on all names and key terms from that franchise, and you have basically what Sony wanted to make. Fortunately, it appears someone realized this idea would not go over well at all with the show's notoriously vocal fanbase, and this concept was nipped in the bud.
- Pound Puppies has another similar inversion. The show originally focused on an orphan girl named Holly who helped the eponymous talking dogs, while her Wicked Stepmother served as the main villain. The remake now focuses mostly on the dogs.
- While Littlest Pet Shop (2012) does have the human main character of Blythe, the trope is downplayed as she is merely a main character and the pets receive a good amount of focus.
- The animated adaptation of Darkstalkers has Harry Grimore as the main protagonist, next to Felicia.