History Main / EnforcedTrope

* The [[TheMoralSubstitute heavily moralistic angle]] of ''VideoGame/UltimaIV'' and its successors came from complaints from MoralGuardians about how previous games [[CrueltyIsTheOnlyOption incentivized the player to do evil things, like steal and murder, to get ahead in the game]]. Horrified by the response, creator Richard Garriot shifted the focus of his games from simple (in his words) [[BlackAndWhiteMorality "go kill the evil bad guy"]] stories into complex analyses of morality. This is also what led to the KarmaMeter the series would [[TropeCodifier codify]], and why the "Thief" class was replaced by the less morally-questionable "[[TheBard Bard]] class.

* The [[TheMoralSubstitute heavily moralistic angle]] of ''VideoGame/UltimaIV'' and its successors came from complaints from MoralGuardians about how previous games [[CrueltyIsTheOnlyOption incentivized the player to do evil things, like steal and murder, to get ahead in the game]]. Horrified by the response, Creator/RichardGarriot shifted the focus of his games from simple (in his words) [[BlackAndWhiteMorality "go kill the evil bad guy"]] stories into complex analyses of morality. This is also what led to the KarmaMeter the series would [[TropeCodifier codify]], and why the "Thief" class was replaced by the less morally-questionable "[[TheBard Bard]] class.

** Take the film adaptation of ''Literature/TheReader''. Michael Kross legally couldn't shoot his sex scenes with Creator/KateWinslet until he had turned 18.

* {{Flynning}} :

* {{Nephewism}}: To avoid the implications that certain characters (especially family-friendly ones, i.e. from the ClassicDisneyShorts) had sex for those children to come to existence.

* {{Nephewism}}: So that audiences [[FridgeHorror don't think too hard]] about how the children came to be.

* During development of the original ''VideoGame/SuperMarioBros1'', the TropeNamer for TheGoomba came about when play testers commented on the Koopas being too tricky to defeat. With what little space was left in the game at that point in development, the designers implemented the square-height enemy with a basic movement pattern and completely vulnerability to any viable attacks, so that less-experiences players could have something to overcome before they face off against more difficult enemies.

* During development of the original ''VideoGame/SuperMarioBros1'', the TropeNamer for TheGoomba came about when play testers commented on the Koopas being too tricky to defeat. With what little space was left in the game at that point in development, the designers implemented the square-height enemy with a basic movement pattern and completely vulnerability to any of the player's attacks, so that less-experiences players could have something to overcome before they face off against more difficult enemies.

* During development of ''VideoGame/SuperMarioBros1'', the TropeNamer for TheGoomba came about when play testers commented on the Koopas being too tricky to defeat. With what little space was left in the game at that point in development, the designers implemented the square-height enemy with a basic movement pattern and completely vulnerability to any of the player's attacks, so that less-experiences players could have something to overcome before they face off against more difficult enemies.

* During development of the original ''VideoGame/SuperMarioBros'', the TropeNamer for TheGoomba came about when play testers commented on the Koopas being too tricky to defeat. With what little space was left in the game at that point in development, the designers implemented the square-height enemy with a basic movement pattern and completely vulnerability to any of the player's attacks, so that less-experiences players could have something to overcome before they face off against more difficult enemies.

* SecondaryCharacterTitle: It shows up in plays around the time of Creator/WilliamShakespeare, specifically those that dealt with historical monarchs and rulers. Because of the Elizabethan era's rigid social hierarchy, characters of higher social status had to set themselves apart from the commoners by speaking in verse, and plays always had to be named for the character of the highest social ranking--even if they weren't actually the protagonist.
** ''Theatre/JuliusCaesar'', the protagonist is Brutus.
** ''Theatre/{{Cymbeline}}'', the protagonist is Cymbeline's daughter Imogen.
** ''Theatre/HenryIV'', the protagonist is the young Prince Hal (who is later the protagonist in ''Theatre/HenryV'').
** ''Theatre/HenryVI'', Part 1 is really about John Talbot's conflict with Joan of Arc, while the remaining two parts are really about the various nobles vying for power around King Henry VI.
** ''Theatre/{{Hamlet}}'', though fictional, might have had to follow that convention, had Claudius not been clearly a murderer, and thus not a rightful king.

* In ''Film/WhoFramedRogerRabbit'', WesternAnimation/BugsBunny and WesternAnimation/MickeyMouse, and WesternAnimation/DonaldDuck and WesternAnimation/DaffyDuck, are Enforced examples of ThoseTwoGuys. When the production staff at Touchstone Pictures (an alternate label for Creator/{{Disney}}) went to Creator/WarnerBrothers for permission to use ''WesternAnimation/LooneyTunes'' characters in their film, Warner Brothers only agreed to let them use the A-listers Bugs and Daffy on the condition that they both receive ''exactly'' as much screentime as Mickey and Donald, respectively. The surefire way to honor that agreement was to have both characters share every scene with their {{Alternate Company Equivalent}}s, with neither character appearing without the other. [[spoiler:Although Bugs does briefly appear by himself early on if you know exactly where to look.]]

** For family and children's media, Flynning is necessary for depicting exciting swordplay [[FamilyUnfriendlyViolence in a way that's appropriate for]] [[WhatDoYouMeanItsForKids its target audience]]. Realistic swordplay is not only violent, but also detached from the audience's expectations of RuleOfCool; therefore, it's only used in works where the context would be appropriate, such as ''RobinAndMarian'' and ''TheDuellists''.

* {{Flynning}} for theatrical productions, as realistic swordplay would not only be too dangerous, but also remove the audience's WillingSuspensionOfDisbelief in having them worry about the actors.

* In ''Film/WhoFramedRogerRabbit'', WesternAnimation/BugsBunny and WesternAnimation/MickeyMouse and WesternAnimation/DonaldDuck and WesternAnimation/DaffyDuck are Enforced examples of ThoseTwoGuys. When the production staff at Touchstone Pictures (an alternate label for Creator/{{Disney}}) went to Creator/WarnerBrothers for permission to use ''WesternAnimation/LooneyTunes'' characters in their film, Warner Brothers only agreed to let them use the A-listers Bugs and Daffy on the condition that they both receive ''exactly'' as much screentime as Mickey and Donald, respectively. The surefire way to honor that agreement was to have both characters share every scene with their {{Alternate Company Equivalent}}s, with neither character appearing without the other.

'''Keep in mind that since this is behind the scenes, any InUniverse examples must be about a behind the scenes thing, such as BreakingTheFourthWall or dealing with a ShowWithinAShow.'''

** ''Theatre/HenryIV'', the protagonist is the young Prince Hal (who was the protagonist in ''Theatre/HenryV'').

** ''Theatre/{{Hamlet}}'', though fictional, might have had to follow that convention, had Claudius not been clearly a murder, and thus not a rightful king.

** Other times a writer gets an idea for a multi-part story, they usually can't get the later installments greenlit unless the first one turns out to be successful, which necessitates writing a first installment that can stand on its own.

'''Also keep in mind that since this is behind the scenes, any InUniverse examples must be about a behind the scenes thing, such as BreakingTheFourthWall or dealing with a ShowWithinAShow.'''

[[AC:Western Animation]]
* ''WesternAnimation/TheAmazingWorldOfGumball'' enforces GentleGiant with Hector. Hector's mother always makes sure that he's extremely calm, gentle, and almost devoid of emotion (his diary reads "I must not laugh, I must not get overexcited, I must not shout, I must not sneeze.") As she explains, she does so to protect everyone else from him, because he's strong enough to effortlessly destroy all of Elmore and ''will'' do so if he has a fit.

** ''Theatre/HenryVI'' is really about the various nobles vying for power around Henry VI.

** ''Theatre/HenryVI'' is about the feuding English nobility in the Wars of the Roses.

* Systematic ExecutiveMeddling

* A CensorshipBureau

* Constraints of the medium, which can lead to a PragmaticAdaptation.
* [[MediaWatchdog Government regulations]]

'''Also keep in mind that since this is behind the scenes, and InUniverse examples must be about a behind the scenes thing, such as BreakingTheFourthWall or dealing with a ShowWithinAShow.'''

* MoralGuardians[=/=]PoliticalCorrectnessGoneMad

May lead to WriterRevolt in extreme cases. Clever writers may attempt GettingCrapPastTheRadar.

* CensorshipTropes: You can't ignore the censors without consequences.

* SecondaryCharacterTitle notably shows up in many of Creator/WilliamShakespeare's plays that deal with historical monarchs and rulers. Because of the Elizabethan era's rigid social hierarchy, characters of higher social status had to set themselves apart from the commoners by speaking in verse, and plays always had to be named for the character of the highest social ranking--even if they weren't actually the protagonist. Examples include ''Theatre/JuliusCaesar'' (where the protagonist is Brutus), ''Theatre/{{Cymbeline}}'' (where the protagonist is Cymbeline's daughter Imogen), ''Theatre/HenryIV'' (where the protagonist is the young Prince Hal), and ''Theatre/HenryVI'' (which is about the feuding English nobility in the Wars of the Roses). [[note]] The only reason his most famous tragedy is called ''Theatre/{{Hamlet}}'' instead of ''Claudius'' is that Claudius isn't the ''legitimate'' King of Denmark.[[/note]]
* AdaptationalModesty is practically mandatory in movie adaptations that strive to reach a general audience. Even if an actor is comfortable with appearing naked onscreen, extended scenes of full-frontal nudity pretty much ''guarantee'' a film an "R" rating, which makes a film much harder to market. Especially mandatory if a character is underage; while putting naked underaged characters in a novel or comic book might fly, it most definitely ''doesn't'' in a movie or television series, where ([[DawsonCasting with a few exceptions]]) they have to be played by real underaged actors.
* TwoPartTrilogy: When a work turns out to be particularly successful, executives often demand two or more followups [[CashCowFranchise to cash in on the success of the original]], which necessitates writing one story that can be stretched over multiple installments. Conversely, when a writer gets an idea for a multi-part story, they usually can't get the later installments greenlit unless the first one turns out to be successful, which necessitates writing a first installment that can stand on its own.
* In ''Film/WhoFramedRogerRabbit'', WesternAnimation/BugsBunny and WesternAnimation/MickeyMouse and WesternAnimation/DonaldDuck and WesternAnimation/DaffyDuck are Enforced examples of ThoseTwoGuys. When the production staff at Touchstone Pictures (an alternate label for Creator/{{Disney}}) went to Creator/WarnerBrothers for permission to use ''WesternAnimation/LooneyTunes'' characters in their film, Warner Brothers only agreed to let them use the A-listers Bugs and Daffy on the condition that they both receive ''exactly'' as much screentime as Mickey and Donald, respectively. The only surefire way to honor that agreement was to have both characters share every scene with their {{Alternate Company Equivalent}}s, with neither character appearing without the other.
* ''Disney/AladdinTheReturnOfJafar'' enforces TechnicalPacifist throughout; as a genie, Jafar ''can't'' [[ThouShaltNotKill kill anyone]], even though his entire plan revolves around killing Aladdin for revenge... but [[LoopholeAbuse he's able to find ways around it]] by [[MurderByInaction relying on proxies and indirect assassination attempts where he technically doesn't lay a finger on Aladdin]]. Also, as he makes clear, just because he can't ''kill'' someone doesn't mean he can't ''hurt'' them.
-->'''Jafar''': You'd be surprised what you can live through...

* Surprisingly, ''WebVideo/VinesauceTomodachiLife'' enforces WritingByTheSeatOfYourPants. Since ''VideoGame/TomodachiLife'' leaves many events and outcomes to the RandomNumberGod, any number of plot twists and character traits are established with no real foreshadowing (for the most part). Since [[WebVideo/{{Vinesauce}} Vinny]] is livestreaming the game and can't save scum his way out of certain events, he ends up being just as surprised as the viewers are by them. Essentially, the series writes itself on the fly.
** Actually, this holds for almost ''any'' work where the author relies on the RandomNumberGod, from [[Creator/ItaloCalvino Il castello dei destini incrociati]] to WebOriginal/{{Inglip}}.
* {{Flynning}} for theatrical productions, as realistic swordplay would not only be too dangerous, but also remove the audience's WillingSuspensionOfDisbelief in having them worry about the actors.

Tropes that are there because the writer had to include them--especially when a sharp-eyed viewer can tell the creator would have preferred to leave them out.

* [[PragmaticAdaptation Constraints of the medium]]

!!General examples:
* ActionGirl: At least when a show is action/adventure-oriented and has a prominent female role. Otherwise, the whole thing just looks plain discriminatory.

* Being forced to {{Bowdlerise}} a work. The enforcers could be MoralGuardians, government requirements, or ExecutiveMeddling.
* When fiction deals with the history of some region, it may sometimes need RoseTintedNarrative to get mainstream success in that region. In worse cases, Rose Tinted Narrative will be required for [[BannedInChina publication]].
** The DeepSouth in the first several decades of film got a lot of rose-tinting.
** Also happens with other works that require the authorization of their subjects--authorized biographies, for instance.
** Under UsefulNotes/TheHaysCode, priests, ministers, and other religious authorities had to be portrayed respectfully without exception. Fittingly, one of the co-authors of the Code's actual text was a Jesuit Catholic priest--and while he acknowledged that not all "ministers of religion" were worthy of respect, mockery of any one of them would (supposedly) encourage sacrilegious attitudes.
* AvoidTheDreadedGRating. It's presumed that any work that ''can'' be seen without moral qualms by anyone, regardless of age, is not worth seeing by adults ("children will watch ''anything''"). Since this would cut into profits by scaring off parts of the potential audience, it needs to be avoided.
* YourPrincessIsInAnotherCastle is all but unavoidable in TV series if they run long enough.
** LeftHanging can easily be forced on a TV series if it gets ScrewedByTheNetwork.
* RatedMForMoney is often caused by ExecutiveMeddling.

* A SpiritualSuccessor may be created because a legal dispute renders a true sequel impossible.
* Any medium that relies on a small amount of people on a hectic time table will occasionally not be able to do the research correctly, and make some mistakes. Especially if they're on a contract.
* Any work that [[MerchandiseDriven exists to promote or sell a product]] (such as a line of toys) will be constrained by product availability, turnover, popularity and gimmicks. {{Transformers}} is probably the most successful example.
* The AudibleSharpness in ''Film/TheLordOfTheRings'' was going to be averted, until [[TheCoconutEffect test audiences had trouble accepting the absence of the trope]].
* DawsonCasting can sometimes be necessary for legal reasons. One example is the film adaptation of ''Literature/TheReader''. Michael Kross legally couldn't shoot his sex scenes with Creator/KateWinslet until he had turned 18. A very common example is to avoid Union regulations and/or actual laws in regards to youth actors.
** ''Series/GameOfThrones'' takes this even further. In [[Literature/ASongOfIceAndFire the books]], Daenerys Targaryen is 13 when she is [[ArrangedMarriage married off]] to [[ProudWarriorRaceGuy Khal Drogo]], and eventually becomes pregnant with his child--just as she turns 14. She was aged up significantly to avoid the MoralGuardians, but as the time of her birth is tied to [[GreatOffscreenWar Robert's Rebellion]], the rest of the cast had to be aged up as well. Of course, this allows a few ''more'' characters to get that delicious high-skin {{Sexposition}} time, so it works out, we guess?
* PacManFever. Using a modern game would involve licensing or ProductPlacement agreements. Generic 80s arcade sounds do not.
* PostScriptSeason: This is almost never something planned by the writers. If a show is renewed, it'll get written for, but the writers then have to work their way out of the constraints of the original story.
* OurLawyersAdvisedThisTrope: Legal disclaimers are necessary to stave off attacks from overzealous lawyers.
* FiveFiveFive: Fictional phone numbers and addresses may need to avoid corresponding to ones in RealLife.
* NoBudget: When the creators are limited by budget constraints.
* WhiteMaleLead is usually employed because the entertainment industry feels (rightly or wrongly) that in order to appeal to whites, they need a white lead because white people won't relate to a minority.
* PrecisionFStrike shows up in many movies whose producers had to fight for "PG-13" ratings, since the MPAA's rules on profanity mean that a movie arbitrarily receives an "R" rating if it uses the word "fuck" more than once.

* ProductPlacement is often the result of ExecutiveMeddling, while some are done with the agreement of the filmmakers. Whatever reason, this trope brings more money to the production, which is often a necessity for covering the costs of filming.

->*Our magnanimous sponsor {{TropeCo}}® requires us to display this word.

* {{Flynnding}} for theatrical productions, as realistic swordplay would not only be too dangerous, but also remove the audience's WillingSuspensionOfDisbelief in having them worry about the actors.