That cloud of stars is our galaxy, the Milky Way. Our solar system is on the edge of it. We hurl through an incomprehensible darkness. In cosmic terms, we are subatomic particles in a grain of sand on an infinite beach.... at least for those we can prove. There are non-human writers we know of, by the way. These include a few computers, and most likely a few non-human primates (writing very simple works, granted, and probably dictating). People prefer characters they can relate to. This is why most fictional characters are H. sapiens instead of, say, T. rex or A. oryzae. Besides the large number of stories concerning humans on Earth, this manifests in five major ways:
I wonder what's on TV now.
I wonder what's on TV now.
— Calvin, Calvin and Hobbes
- For one species on one planet, humanity sure gets around in the fictional multi-verse. Countless Speculative Fiction settings without Earth include humans, usually just like the ones we're used to.
- Non-human characters, particularly in a story without humans, tend to act just like humans; while degrees of anthropomorphism vary, human-like intelligence, behavior, and psychological quirks and a fully developed verbal language are almost guaranteed.
- When compared to non-human characters, humans are almost always the Jack-of-All-Stats (unless someone is trying to make a point). The Five Races or sapient aliens, taken as a whole, will be different from humans in ways that balance each other out. This is odd, since it would be more likely that humans deviate from the average in some way or another.
- When animals, monsters, aliens, or any other form of nonhumans creates a society, they will be exactly the same as a human society; more specifically, they will be the same as wherever the author comes from. Exceptions might be made for cases where such a thing is blatantly impossible, for instance, an underwater society not having controlled fire even if it is otherwise 20th-century advancement.
- Where the story falls along the Sliding Scale of Idealism vs. Cynicism depends on how good, valuable, or justified the human condition is evaluated to be. In idealistic stories, a Transhuman, Cyborg, Deity of Human Origin, God in Human Form, Human Alien or Ridiculously Human Robot will invariably Pick Your Human Half. They will find that having human emotions is good and human systems of morality work equally well or better than their own. Some of them may even yield to basic human drives/instincts, such as sexual relations with humans.
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- Even though Space Dandy takes place in a universe where countless aliens live with other aliens, somehow a large chunk of the shows prominent characters end up being humans, or look just like humans anyway.
- The characters in Wolf's Rain are wolves who can make themselves look human. They appear human when around humans but otherwise look like wolves... In theory at least. There are a lot of scenes where there are no humans in sight, except for their Artificial Human friend, but they still appear as humans. Part of this can be fanservice, or that humans are easier for the artists to draw, but a large part probably comes from humans being more able to relate to humans than animals.
- There is an entire sub-culture of this trope in My Little Pony: Friendship Is Magic. It's called HiE, or "Human in Equestria". Even though FIM takes place in a vehemently human-less setting (not counting the traditionally human characters of past or later generations), it usually features humans as protagonists, or at least as deuteragonists, as they get confronted with the MLP-verse. Interestingly, this plot structure is much more commonly used than the other way around, proving that this trope is in full effect, with authors bringing their own experiences in direct comparison with the show's continuity.
Films — Animation
- In all the preview ads for Monsters vs. Aliens, the focus was on the monstrous-type monsters. Then the movie itself came out... and our viewpoint character is a normal human woman who was turned 49-feet 11-inches tall by a meteorite. Apparently they didn't think we could focus on a really monstrous monster, so they gave us a dressed-up human.
- Pixar is praised for humanizing things that are not human. So far, they have only had a few movies where humans were the main characters (The Incredibles, Up, and Brave). In the commentary for Toy Story 3, the directors noted that they deliberately averted this trope, stating that they wanted the toys to deal with "toy problems, not people problems".
- This trope was most likely the reason why Ralph from Wreck-It Ralph was made a human for his final design. Before this, he went through dozens of designs, from anthropomorphic animals, monstrous beast-men to even a steamroller. The artists then chose the one animal that's the most sympathetic for his situation (going through a mid-life crisis): A Human.
- Probably the strangest example: Why are there lemurs in Disney's Dinosaur? Seems the writers thought us selfish primates wouldn't like the movie unless there was something cute and furry to relate to. Actually, there were lemur-like creatures living during the time of the dinosaurs, however they would have looked more like shrews or rats than what we would recognize as lemurs and evolutionary-wise more closely related to modern marsupials and monotremes.
Films — Live-Action
- This trope was actually a fairly major factor in the writing of Transformers, with the human characters taking a somewhat larger role than is traditional for the franchise. (This was also for pragmatic reasons; every single frame of one Transformer or more that appears on screen took twenty-four hours to render.) According to the Powers That Be, the main reason was the expense of the detailed robots. In the second film, however, there are many more non-humanoid Transformers, of all shapes and sizes, from insects to tiny spheres that roll through small spaces and assemble into one robot when it's gotten where it's going. One character is even a trio of motorcycles, whose robot forms are all oddly-shaped beings who have one wheel instead of legs. These three bikes together make the new Arcee. They can combine into one in the comics, but they don't in the movie proper. There's also more robot screentime than in the previous film. The entire Transformers franchise is prone to this trope. For a race of inorganic mechanical lifeforms with lifespans hundreds if not thousands of years old, more often than not they'll behave no differently than humans do.
- The Dark Crystal is set on an alien world with several different sentient species. Some are humanoid, if odd-looking (they're like elves or dwarves and some have wings), others are much less so. Guess which ones are the heroes?
- In Labyrinth, the two central roles of Sarah and Jareth are occupied by humans, while muppets are relegated to supporting roles. This was done deliberately to make the roles more relatable, due to the poor commercial reception of The Dark Crystal.
- Lampshaded in Martian Child, which is about a sci-fi writer who becomes an adoptive father. When talking about a book of his he talks about how humans are always present in a sci-fi story so that they serve as a stand-in for the reader and allow the reader to identify with the major characters. He goes on to note that he doesn't actually identify most with the human characters himself, but rather with an alien.
- TRON, where computer programs are shown looking like humans. Their appearances are even modeled after their programmers. This is true to the point that everyone thinks Flynn (the human transported into the computer) is a program whose User is Flynn.
- All the major protagonists in Star Wars are human. The only alien who plays a major role is Yoda, and he is treated just like a very short, elderly human. R2-D2 is less humanlike, but he's more of a functional Team Pet than a character. Chewbacca is a main character, but had essentially zero personal effect on the plot.
- James Cameron invoked this trope in his Word of God interview to explain why the Na'vi of Avatar look so human, published in the December 2010 issue of Discover magazine. Word-for-word, he says "...science fiction is not made for a galactic audience. It’s made by human beings for human beings." Which, considering who the bad guys are in the film, raises a few interesting points.
- Parodied to hell and back in a scene in Mostly Harmless where Arthur is looking for a planet of humanoids and must seek advice from a very alien Alien.
- Piers Anthony:
- His Cluster series is a complete aversion. Anthony takes great delight in describing some Starfish Aliens, including a species that rolls around on giant ball-bearings (which also play a part in their reproductive cycle), one that rides on magnetic force lines and communicates using biologically-generated laser beams, and one that eats gasses and gets around by jet propulsion.
- His Virtual Mode series introduced a creature from a reality based on the Burgess Shale.
- David Brin's Uplift series delights in mixing the viewpoint characters between humans, Uplifted Earth animals, and aliens ranging from humanoid-but-doesn't-think-like-humans to Starfish Aliens.
- The often-reprinted short story "The Dance of the Changer and the Three" by author Terry Carr (not Terri Garr) both applies and subverts this trope. It is narrated by a human but concerns a race of pure-energy beings whose very motives are unclear even to the narrator as well as the reader.
- Weirdly applied in Dinotopia. We're assured that only about ten percent of the population is human; everyone else is an Intellectual Animal. Funny, the illustrations suggest otherwise...
- Bolo novels are often done from the point of view of the large sentient battle fortresses. The biggest trouble is making it relate to an AI that is usually identified as 'smarter' than human. So many plot devices to either limit their out of combat AI or to have them damaged is the norm, with full Battle Reflex Mode having them figure out how to kill the enemy in .02 seconds and spend the rest of time in Battle Reflex Mode analyzing Music while carrying out the plans. It's also presented that it's a good thing that they are hard wired to be Knights in Shining Armour, because humans are often the villains of the piece as well as the Bolo-aligned protagonists.
- The Xenofiction novel Raptor Red has a weird variant on this; most of the story is about a female Utahraptor's adventures, but for two chapters in the middle of the novel the story swerves into a random subplot about an insectivorous little mammal, mainly because he's one of humanity's ancestors. It isn't a bad subplot, just out of left field.
- Literally averted (sort of) in a segment of Gödel, Escher, Bach: An Eternal Golden Braid; a student of the author once designed a computer program to produce artificial Zen koans, and one early result is part of the book. Amusing, as a programming error caused the computer to print out a bit of code instead of an English word in one place.
- Also literally averted by Atlanta Nights, where chapter 34 was produced by the Bonsai Story Generator. It fits as well in the story as any other 2 chapters not named 4 and 17 (which are exactly the same).
- In Warrior Cats the cat have such human-like qualities and intelligence that they can do dexterous actions like splinting a broken leg. The cats also live in Clans (unlike real cats) and the bad guys are racist. The author even says she doesn't think about cats when coming up with ideas, giving them more humanity-based themes.
- Poppy seeds are used in the series as a sedative/painkiller. While poppy is sometimes used in painkillers for humans, it's actually poisonous to cats.
- A more obvious example: Firestar's most distinguishing feature is his red pelt and an entire prophecy revolves around it. In Real Life, cats can't see red.
- Nearly every novel in the Star Wars Expanded Universe puts humans - and humans from the movies, at that - in all of the important positions. The same two human women switch back and forth as President of the New Republic. Humans are the important Jedi, the major heroes, the minor characters, and quite often the major villains. Nonhumans are relatively rarely in prominent positive roles; they're typically the minor villains, the Non Human Sidekicks, in supporting roles at best, though sometimes they do manage to be Scary Dogmatic Aliens. Some books try to justify this by saying that when the New Republic was the Rebel Alliance it was humans who founded it and those who survived stayed in power, and that humans are probably the most populous species out there.
- The major exception is Timothy Zahn's books. Nonhumans are in a great many of the human roles, and it's not really remarked on. In the Hand of Thrawn duology, the President of the New Republic is a male Calibop, for example. Minor villains tend to be humans and aliens both. Aliens in prominent roles often do explicitly think differently than humans do, and design different settings. When any specific group is homogeneous or nearly so, Zahn gives a reason. Imperial doctrine favors humans. Chiss are isolationist. So on.
- Exceptions like Admiral Ackbar and Borsk Fey'lya tend to be either from the movies or made by Zahn. Zahn actually gave a sort of vague nod to this trope by making an Imperial human head out away from Imperial Center, and think in disgust about how other humans are so few outside of, well, human-controlled territory.
- Also lampshaded in the Coruscant Nights series, where a particular alien characters spends a while musing over how humans are so ridiculously common in the galaxy, and how because of this, everything is built or designed to their standards. That series had a few more alien leads then usual, but the humans were still much more common.
- Not to mention the underrated Alien Chronicles series, written by Deborah Chester and commissioned by LucasFilm, which thoroughly subvert this trope by taking place in a universe populated exclusively by various alien species (left over from the Star Wars character design bins, as a matter of fact).
- J. R. R. Tolkien invoked this in one of his letters regarding Middle-Earth. The gist was that such fantastic stories should be centred on humans, since when you get down to it, a human writer won't be able to portray an elf as anything but a man in a funny suit. And yet, The Hobbit has no human main characters (unless you count the hobbit himselfnote — Gandalf isn't a human at all), instead featuring dwarves; and The Lord of the Rings only has two major human characters out of nine, one of which dies (again, unless you count hobbits). Though Aragorn plays some important roles early on, and Boromir has the memorable death scene in book two, the first large-scale plot involving regular humans is Rohan. In Book Three.
The hobbits definitely count. They're basically small humans, psychologically as well as biologically. Elves, dwarves, ents, orcs, and so on are almost never focus characters in either The Hobbit or The Lord of the Rings. The elves do get quite a run in The Silmarillion, which is much more mythic and less familiar and homey; their relatability is probably highest when they're dealing with adversity (war, exile, futile attempts at revenge, and so on)...
- Subverted and played straight in the Vernor Vinge novel, A Fire Upon the Deep. Humans are only one of a vast multitude of advanced aliens in the galaxy, and the main cast of characters includes aliens that are essentially mini- Hive Minds or sentient plants. Several times we see messages sent by aliens that are so inhuman that even the Super Advanced Translation Technology this universe contains can't keep up. However, the book is still mostly about humans; humans play the deciding role in whether or not the galaxy will get eaten by the Blight; and most of what we see of the interstellar internet is a posting group called "Homo Sapiens Interest Group." Which contains all humans as well as a number of alien races that just think humans are cool. Lampshaded in prequel, A Deepness in the Sky.
- Averted in Black Beauty, which is written from the first horse — not first person — perspective.
- Purposely invoked in the Isaac Asimov short story (and later novel) "Nightfall"; the aliens are made as human as possible so that their plight resonates with the reader.
- Asimov purposefully avoided aliens in most of his books, precisely because he was frustrated with this trope. "Aliens" created by other authors never felt realistically alien to him, and his own efforts impressed him no better. As a result, most of his aliens are unabashedly humans-from-other-planets, caused by the plot requiring a species from another planet to work ("Nightfall" can't take place on Earth, or really involve someone with knowledge of the larger universe, for example). His most notable effort at creating truly alien aliens would be for The Gods Themselves, but while they are quite alien biologically, they still sound a lot like humans in character.
- Asimov himself was very aware he wasn't particularly good at writing aliens "thinking as well as a man, but not like a man", and as a result his magnum opus ... the Foundation series ... features a humans-only galactic empire mainly so he didn't have to have any aliens.
- Averted by Peter Watts in his uber-hard novel Blindsight where the alien is truly alien and even the human characters are alien.
- Arthur C. Clarke nicely averts this trope in his Rama series. The few times any aliens interact with humans, great lengths must be gone to for an exchange of ideas to even become possible.
- Embassytown somewhat averts this trope, as well as justifying it: the Hosts are very much not human, but become more human in their thinking (although still remaining Starfish Aliens) by the end of the book because of the actions of their human neighbors—and even then they are markedly different from the human characters. Humans make up the entirety of the main cast however, and it takes a long time for important Host characters to show up, of which there really are only three in the whole book.
- From the title of The Horse and His Boy, you might expect that Bree, the Talking Animal, was the protagonist. Nope—it's the boy, Shasta, and arguably the deuteragonist is Aravis, a human girl. Arguably, all the The Chronicles of Narnia are examples of this trope, as Narnia can only have a human as a King, and the humans always show up to save the day.
- Somewhat averted in The Iron Teeth web serial as the protagonist is a goblin, who doesn't act and think quite human. Most characters are human though.
- The various Star Trek series: for all the non-human races around, the captain of each ship is always human and the crew is always primarily human. Getting more multicultural, but almost all human cultures. There have been a good number of on-screen portrayals of Vulcan Starfleet captains, but Vulcans are so hugely humanoid that may or may not count. Economical effects are a fairly recent thing, so you will only see very alien non-humanoid races in the films, comic books, and more recent series. (Which sets up one heck of a Continuity Snarl in Star Trek: Enterprise.)
- Lampshaded in the Star Trek Expanded Universe Titan novels, in which a nonhumanoid crew member takes bets on whether the ship's motto will be a human proverb despite the extreme diversity of the ship's crew, and loses when the Vulcan saying "Infinite diversity in infinite combinations" is chosen. He asks whether Vulcans count as human, as they're far more humanlike than a cybernetically-enhanced featherless ostrich with a prehensile tail..
- Unintentional lampshading in the Pilot of Star Trek: The Next Generation, when Deanna explains "I'm only half-Betazoid, my father was a Starfleet officer." Yep, "Starfleet officer" = "human" according to a half-Betazoid Starfleet officer.
- Star Trek: Deep Space Nine came closest to averting this. Less than half of the main characters are human, and the supporting/recurring cast is overwhelmingly alien. It's implied that, despite the Federation being one body, Federation ships tend to be made up of primarily one race. There are a couple instances where we meet all-Vulcan Federation ships, or of new crew members coming aboard who are only used to dealing with their own race. In the Expanded Universe, there is a Starfleet vessel with an all-Horta crew.
- Despite the fact that the show stars a Human Alien called the Doctor, Doctor Who usually tends to take place on Earth or on Earth colonies or generally to involve humans in some way. The Doctor has almost always had human companions.
- Russell T Davies is a well-known practitioner of this trope in his Doctor Who work. He has opined more than once that people don't want to see "Zog Monsters" on the "planet Zog" and only gradually introduced alien planets into the series. In the first three whole seasons of his Doctor Who, more than half of the episodes happened on Earth. The others visited human-made satellites, other human-settled worlds, and even human colonies in deep space... but only one locations visited in those 41 episodes was not dominated by humans (and even then, the most important guest star was, wait for it, a human - although barely recognizable as such)
- The entire first season never left Earth (or a satellite around it) until early in season two, Rose said "you promised me a planet, remember?" So we go to... "New New York" on New Earth, and from then on, Earth colonies on non-Earth planets were fair game. Utopia, part one of the three-part season three finale, was the first time they went to another planet that wasn't an Earth colony. The new series has generally focused on time travel over space travel in general, even in non-Davies stories — and even after Davies left.
- The bit people tend to overlook is that the old show took the same attitude — for most of its run, 90% or more of its stories feature Earth, Earth colonies, Earth astronauts in space, et cetera et cetera. The only exception? The late seventies and early eighties — right after this little thing called "Star Wars" happens...
- It was more justified due to the smaller budget. In a case of Real Life Writes the Plot for most of the Third Doctor's era he was trapped on Earth.
- One Doctor Who story that averts this is Season 2's "The Web Planet," where every character, aside from the regulars, is either an alien insect, or the evil force (the Animus) that controls some of them.
- Quite a few of the oldest stories have no humans save the main cast, the second story "The Daleks", "The Space Museum", "The Dominators"... Though the characters still mostly look human.
- The speculative documentary series Life After People suffers a mild version of this in that, despite the title, more emphasis is given to the nonliving artifacts of human civilization than what happens to actual living animals. However, the show still covers possible evolutionary paths for the animals that we've domesticated or kept in zoos.
- Despite Muppets being the stars of the show, Sesame Street commonly leaves it up to the humans to give advice and guidance to Big Bird or Elmo. Probably justified, as a child audience is more likely to recognize that adult humans are adults, and therefore authority figures, than puppets.
- It isn't helped that the main Muppet cast, including Big Bird, Elmo, Grover, Prairie Dawn, Abby, and Cookie Monster are explicitly children. To compare, the adult Muppets: Oscar, Bert, Ernie, and the host of minor Muppets over the years, tend to be the ones giving advice instead of taking it.
- Ernie and Bert are clearly intended to be preteen boys. They're frequently shown playing with child-appropriate toys. One episode even focuses on Bert's attempt to learn to ride his bike without training wheels. The fact that they don't live with adults doesn't disprove this position. Neither does Big Bird, who is perpetually six years old.
- Subverted on The Muppet Show, in which the only humans are guest stars who take their cues from Kermit and the gang.
- Less subverted in that some of the muppets are clearly supposed to be human. Examples are Statler, Waldorf, and the Swedish Chef. There are also some who are less obviously human in appearance (having unusual coloration, for instance) but aren't recognizably anything else either and are probably supposed to be human, like most of the Electric Mayhem: Dr. Teeth, Floyd, Janice and Zoot.
- It isn't helped that the main Muppet cast, including Big Bird, Elmo, Grover, Prairie Dawn, Abby, and Cookie Monster are explicitly children. To compare, the adult Muppets: Oscar, Bert, Ernie, and the host of minor Muppets over the years, tend to be the ones giving advice instead of taking it.
- Farscape somewhat averts this and somewhat doesn't—technically there is only one human character in the entire show (if you exclude Jack, who is usually either a memory of John's or an insectoid Starfish Alien in A Form You Are Comfortable With), many of the aliens who are encountered are Human Aliens (especially Sebaceans, who basically ARE humans), and most other aliens are Humanoid Aliens who behave like humans for instance Delvians(despite being Plant Aliens), and Luxans. There are a few aliens who either look (Hynerians, Pilots, Scarrans) and/or behave (Leviathans, Ancients, Drak) quite different from humans, however.
- Nebari are an interesting example: they're Humanoid Aliens but their mindset is markedly different from humanity's. Of course, Chiana, the Nebari we see the most of, is a nonconformist rebel who actively rejects her species' values.
- Power Rangers has this problem often. Despite the general premise of a group of humans saving Earth from alien invaders, they're always very humanoid alien invaders. There's also a recurring problem of the dialogue of the Monster of the Week. Most often, the aliens invaders spend little to no time on Earth, and the monsters are often created during the episode. Despite being only minutes or hours old, they still have enough of a grasp of Earth culture to snark to the Rangers (such as one monster calling the morphed rangers "The Jellybean Patrol.")
- Warhammer 40,000 has this happening a lot. Humans are the main focus in most of the stories. In fact there has only been one series focusing on the Eldar and two books and a video game (Shadowsun and the FPS Fire Warrior and its novelization) for the Tau. Even the novel Fire Caste isn't actually about the Tau Fire Caste, but rather more Imperial Guard characters (although this turns out to be a plot point).
- Somewhat justified though, as an Ork book would probably at best be a comedy with a simple plot, a Necron story would probably be mostly about sleeping (unless it is set during the creation of the Necrons, which would be interesting), and a Tyranid book would be all about how hungry the hive mind is, though it could be used in an interesting Xenofiction way.
- Although sometimes, this is averted. The alien Tau get quite a bit of representation in stories, mostly because they're the most human-like of all of them. There's also, as mentioned previously, a book series dedicated to the Craftworld Eldar. Perhaps most interestingly, though, is another book series currently which focuses on the Dark Eldar as Villain Protagonists. One book also took the standpoint from an Ork Warboss and an Eldar Harlequin. Also, the alien races are generally viewed as more interesting by the game's large and very vocal fandom.
- Averted in the Lorwyn/Shadowmoor setting in Magic: The Gathering. You've got elves, halflings, merfolk, giants, trolls, duergars, hags, and angry donkey-men (noggles), but no humans. The development team deliberately went out of their way to create a setting where none of the characters or races could be played by a human in makeup or a suit. But seen in a rather straightforward fashion before, when there were no new merfolk for years apparently simply because 'they wouldn't be any good fighting on dry land'. (It could also be argued that the trope does shine through in the Lorwyn/Shadowmoor blocks by virtue of omission — after all, why should a setting without humans be any more 'special' than one without dwarves or rat-people otherwise?) Comments from the Magic Creative team have suggested that the presence of humans is more enforced than anything else.
Doug Beyer: ...our surveys show that we have a lot of human beings among our consumers...
- In the great majority of fantasy settings (and science fiction too, for that matter), humans are always the dominant and major race.
- GURPS invokes this trope and all but refers to it by name. All customization is done by adding or subtracting features from a human template. The GURPS-based Discworld Roleplaying Game briefly invokes Humans Are Special to explain why humanity dominates the Disc instead of trolls, dwarfs or banshees, before acknowledging the real reason...
At this point, it's traditional to explain at length how, despite the fact that humans are smaller, squidgier, less magical, or poorer at mining than other races, we have some kind of crucial edge – perhaps a willingness to kill, or willpower, or the ability to cooperate, or the favour of the gods, or just the capacity to out-breed everyone else. But the important point is that these stories and games are created by and for human beings.
- The rulebook of Nobilis specifies that Nobles (usually) start off as humans, in order to ground its rather strange and abstract concept into something approaching the human experience. Therefore players generally portray former humans (versus former something elses).
- Averted and played straight in Rifts. While the vast majority of D-Bees in the game are humanoid, there are quite a few playable races that qualify as Starfish Aliens. Also, though a large percentage of the settings in the game are ruled by/predominantly human (it is Earth, after all), there are several locations where humans coexist with aliens, are enslaved/dominated by aliens, or humans aren't found in large (or any) numbers.
- Most game systems will reflexively assume that the default player character is human (or at best very nearly so) and allow this assumption to creep into their rules, setting, and suggested campaign styles. For example, nearly any combat system that goes into significant detail will be primarily written for roughly human-sized combatants with two arms, two legs, and one head on top of the body. Descriptions will almost unfailingly assume human-level perceptions with any "super-senses" that player characters might technically also have usually being given short shrift. And so on. At the extreme end, players may only ever be allowed to play humans and very-near-humans even in a setting where dozens or hundreds of other reasonably intelligent species also exist (such as many D&D campaigns).
- Later editions of the Talislanta game have Loads and Loads of Races, but none that are explicitly called "human". The closest approximation to "human" is the designation of several humanoid types as "men", but even the races of "men" include people with weirdly-shaped facial features or skin colors unknown in Real Life.
- Mass Effect:
- Many fans of Mass Effect believe this is the reason why Shepard could engage in a sexual relationship with Liara (an asari, the most human-like alien in the game's universe), but not with Tali, Garrus, or Wrex, all of which are very inhuman physically (especially Wrex!). This is totally averted in Mass Effect 2. Not only does the game allow you to have sex with the quarian, turian, drell or asari members of your crew, but the ship physician will send you notes on the relevant precautions. For example, he prescribes antibiotics to the quarian (to lessen- not eliminate- the aftereffects that out-of-suit exposure will have on her) and warns against "consuming turian tissue" (as it may cause an allergic reaction).
- Also fits in the game's usage of humans as the Jack-of-All-Stats, to an extent. Of the council races, salarians are known for being extremely intelligent, asari are known for their diplomatic talents, and turians are known for their military. The game lampshades this to an extent, by pointing out the talent diversity of humans. In the second game, Mordin even mentions that they have more genetic diversity than any other species, which is presumed to be the reason the collectors chose to target them over other species for the construction of a reaper (though no explanation is given for why humans might have more genetic variance, particularly given that we have an abnormal lack of variance by Earth standards).
- In Dragon Age, this is the reason that humans are the dominant culture in Thedas (or at least in the regions the games let you explore), and why the glimpses into the elf, dwarven, and Qunari cultures are less prevalent. For instance, it's worth noting that the Blight is really only an immediate problem for the people living on the surface, but the dwarves get roped into helping to deal with it, anyway.
- World of Warcraft has been heading in this direction since Cataclysm. The major players of the Alliance are nearly all human in those two expansions, with the exception of a few Night Elves and Dwarves. In Mists, Varian is declared High King of the Alliance (a military rank), despite the Alliance containing individuals with much more experience such as Muradin and Tyrande (in fact, the scenario 'A Little Patience' was written to discredit the idea of Tyrande leading the Alliance's armies and promote Varian. ) while the non-human faction leaders are kept in the background. Warlords of Draenor also seems to be a return to Warcraft 2's of humans vs orcs, though the Draenei have a major role and most of the non-human Alliance characters are Night Elves.
- While the main characters of Super Mario Bros. are human (or at least very human-like), they're often greatly outnumbered by the number of non-human characters, such as Bowser, Yoshi, Donkey Kong, various Mooks, and other characters both friendly and non-friendly, animal-like to having human-level intelligence. In spin-off titles, especially in the sports titles, greater emphasis is placed on the 7 most human-like characters (Mario, Luigi, Peach, Daisy, Wario, Waluigi and Rosalina).
- Hatoful Boyfriend takes place in a future where birds have become uplifted and taken over society, and humanity has declined. In the backstory we see that this decline was catastrophic and this was a hostile takeover, but bird society is almost identical to the human version, down to traffic laws, human-style chairs in classrooms, and Prime Ministers. Five years after the uplift virus started to spread birds wrote a declaration of independence, an act which is clearly based on human culture. Maybe birdkind was helped and taught by a few humans early on.
- In SERGOM it is shown that while not one of the cast are human, they all act and go through their lives in a completely human manner. In fact, without the glaring visual representation that the crew aren't human, they can be mostly considered to act like humans.
- The aliens in Schlock Mercenary are pretty varied physiologically (a being with two separate radio-linked bodies, a flightless avian with a prehensile tongue, a round...thing with four limbs evenly distributed on it's body, various genetically engineered terran animals, various AIs etc.), but most of them act human to a large degree, generally in the interest of humor.
- In Harkovast there are no humans, but all of the races are very human in their behaviours.
- In Dragon City, the comic is about a race of dragons that live underground unbeknownst to the humans, but due to human culture saturation, the dragons essentially act human.
- The Ambis in Jix are an alien race who act like Ancient Romans in that they move from planet to planet conquering them to build up their Empire. The main character, Jix suffers from the human mental ailment of split-personality, though being an intelligent race, it's possible that this might crop up in other intelligent races.
- folieadonteven literally ALWAYS humanizes her characters when writing and prefers to when drawing. The exception to this is her My Little Pony: Friendship Is Magic fanart, which normally even includes more humanly bodies and faces than most art. All her stories have mostly human characters, and she prefers to watch shows with human protagonists as they are more relatable to her. This got to the point where when she is having trouble reviewing My Little Pony: Friendship Is Magic, she said that she will re-write full episodes of the show, complete with name changes, skin and hair color changes, "species changes", etc just so that she can help understand the episodes better. Ironically, when they finally made a human adaptation, she REALLY didn't like it.
- Wait, shows with E. coli as the main characters? There's always Osmosis Jones, where the cast is made up of red blood cells and fat cells and cold medicine and viruses and.... oh, no, wait, they turned all of the characters into humanoids. Of course, since the show is a "Fantastic Voyage" Plot, most of the characters aren't just human, they're A human. When a dog cell get into Hector's body, it has a canine form and habits. Presumably if Ozzy and Drix had visited the dog's body, it would've been set up like a gargantuan kennel.
- Can result in heaps and heaps of Furry Confusion. Consider the case of the Tibble Twins in Arthur.
- Once Upon a Time... Life features humanoid red blood cells as protagonists. They carry oxygen to cells manned by even smaller humanoids, complete with factories, command centers and vehicles. Given that it's a show about human biology designed for young children, the heavy use of metaphors is justified.
- Could this be why Santo Bugito, which dealt with a town populated entirely by insects, has been almost completely forgotten?
- Unless we find existence of aliens or other sentient beings that can write, this trope is practically a truism.
- Though the Wikipedia article on humanity does feel like it was written by aliens at times...
- Averted in favour of Real Life Writes the Plot until the Stone Age, but played increasingly straight ever since.
- The hypothetical "Dinosauroid," which was a proposed possible evolutionary descendant of the troodon had it not gone extinct. Dale Russell, the guy who thought up the concept, has been criticized by other paleontologists since the 1980s, many of whom point out that Russell's Dinosauroid is overly anthropomorphic. Most paleontologists think that any possible descendant of the troodon would appear more bird-like than human-like. Some of the criticisms went too far the other way — one of them asserted, for instance, that a sapient evolved from a dromaeosaur would pick things up in its mouth, like a bird. Only... birds have wings. Dromaeosaurs have hands, picking things up is sorta what they're for.
- In a case of All Animals Are Humans, consider how many pet food companies boast of how their dog or cat foods contain only "real meat, not animal byproducts". "Animal byproducts" is a less squicky way of saying "ground bone meal, internal organs, and heads". Guess what parts of a kill predators in the wild tend to chow down on first? But no, our pets are just little furry humans, and have to share our dietary preferences. We certainly wouldn't want to give our dogs something made from bones, now would we? Oh, wait... Also, people in many cultures have no problem eating internal organs and heads (see Foreign Queasine), so it's not just human dietary preferences that our furry friends must share, but the preferences of a particular subset of humans (wealthy Westerners). Bone meal, on the other hand...