History Main / GenreDeconstruction

17th Nov '17 8:13:48 PM CaptainColdCutCliche
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** GenreDeconstruction/AlanMoore
12th Oct '16 4:37:40 AM anti7
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Whilst deconstructing a genre well will change a genre forever (and in extreme cases, [[GenreKiller discredit it entirely]]), please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in suspending their disbelief.

to:

Whilst deconstructing a genre well will change a genre forever (and in extreme cases, [[GenreKiller discredit it entirely]]), please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in [[WillingSuspensionOfDisbelief suspending their disbelief.
disbelief]].
3rd Aug '15 6:32:50 PM samanato
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Whilst deconstructing a genre well will change a genre forever (and in extreme cases, [[GenreKiller discredit it entirely]])), please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in suspending their disbelief.

to:

Whilst deconstructing a genre well will change a genre forever (and in extreme cases, [[GenreKiller discredit it entirely]])), entirely]]), please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in suspending their disbelief.
3rd Aug '15 6:32:41 PM samanato
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Whilst deconstructing a genre (and doing it well) will change a genre forever, please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in suspending their disbelief.

to:

Whilst deconstructing a genre (and doing it well) well will change a genre forever, forever (and in extreme cases, [[GenreKiller discredit it entirely]])), please note that [[TropesAreNotBad deconstruction of a genre is not a bad thing]] (Your Mileage May Vary on this of course, despite the given facts). Many famous works credited with revolutionizing their media and genres have been Genre Deconstructions. This is because deconstruction is one of the ways genres can change themselves; flaws are hunted down in the deconstruction and corrected in the following {{reconstruction}}. Deconstruction can also add depth and enhance realism, which in turn assists audiences in suspending their disbelief.
16th Jul '14 9:32:34 PM bt8257
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->''"If ''Franchise/StarWars'' is humanist, ''Film/StarshipTroopers'' is totalitarian."''

to:

->''"If ->"If ''Franchise/StarWars'' is humanist, ''Film/StarshipTroopers'' is totalitarian."''"
15th Apr '13 1:23:31 PM XFllo
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15th Apr '13 1:20:58 PM XFllo
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* GenreDeconstruction/TabletopGames



* GenreDeconstruction/WebComics
* GenreDeconstruction/WebOriginal



* GenreDeconstruction/{{Other}}




[[foldercontrol]]

[[folder:Film]]
* Though it portrays Jesus in a favorable light, ''Film/MontyPythonsLifeOfBrian'' is a pretty harsh deconstruction of society's romanticized view of life in the time of Christ, and of biblical stories in general. As it points out, the Romans weren't just cruel oppressors with ZeroPercentApprovalRating -- they did more to improve the Judean people's lives than anyone before them. Conversely, "God's chosen people" had criminal justice that could be just as brutal and unfair as the Romans', and they were never a noble LaResistance -- they spent more time getting involved in petty squabbling amongst themselves than they did resisting the Romans. And in any case, having a cult of devoted followers who expect you to solve all of their problems isn't nearly as cool as you would think. And getting betrayed by your friends and "sacrificing" yourself on the cross? It's only inspiring '''''when it's not happening to you!'''''
* JidaiGeki films underwent an increasingly cynical Deconstructionist phase during the 1960s that arguably led to the genre going out of vogue for a good deal of the 1970s:
** ''Film/{{Yojimbo}}''
** ''Sanjuro''
** ''Samurai Assassin''
** ''The Sword of Doom''
** ''Hari-kiri''
* Similarly, {{Western}}s in the 1960s went through [[SpaghettiWestern a deconstructionist phase]]:
** ''Film/AFistfulOfDollars'' -- a remake of ''Film/{{Yojimbo}}'', although ''Yojimbo'' was an adaptation of Creator/DashiellHammett's ''Literature/RedHarvest''
** ''Film/ForAFewDollarsMore''
** According to WordOfGod, ''Film/TheGoodTheBadAndTheUgly'' was intended as a swipe at classic {{Western}} movies. Its violence was, for the time, gratuitous; and while stylish, was uncomplicatedly so -- an attempt by [[SergioLeone Leone]] to remind the viewer of what kind of men really were in the Wild West. The torture sequence is legitimately brutal, and accompanied by SoundtrackDissonance. As for the character of Blondie (The Good), he's both significantly more fleshed out (and, as a result, less invincible) than he was in the previous two ''[[DollarsTrilogy Dollars]]'' movies, showing tenderness, affection and pain; and yet the title 'The Good' draws attention to what a bastard he is (performing the kind of actions that were [[ProtagonistCenteredMorality fairly standard in Westerns at the time]]). The two times his title pops up on screen, it's after he's been a particularly MagnificentBastard (delivering a BondOneLiner to someone he's abandoning in the desert, and pretending to hang someone for his own personal amusement). Of course, [[MisaimedFandom it's considered the archetypical Western nowadays]], probably because it's just so good.
*** [[WhyDontYouJustShootHim "If you're gonna shoot, shoot.]] [[TalkingIsAFreeAction Don't talk."]]
** ''Hang 'Em High''
** ''TheWildBunch'' -- JohnWayne is said to have complained that this film "killed the Western".
*** Even though it kinda started with ''TheSearchers'', in which Wayne's hero is unabashedly racist towards Native Americans - even toward his own adopted nephew, who is one-eighth Cherokee.
**** He's still the hero in that movie, however, while his Comanche counterpart dies shamefully. And he's really no more racist than many of the other characters. What really makes him frightening is that he's both racist ''and'' insane.
** ''HighPlainsDrifter''
** ''ElTopo''
** ''Django''
** Worthwhile deconstructions later on include RobertAltman's ''McCabeAndMrsMiller'' and Jim Jarmusch's ''Film/DeadMan''.
** ''RustlersRhapsody'' is a parody and deconstruction of the singing cowboy westerns such as those with Roy Rogers.
** ''Film/{{Unforgiven}}'' is a particularly sharp deconstruction of American westerns, but also of the {{spaghetti western}}s that Clint Eastwood himself starred in. In particular, the portrayal of the main character shows how an [[TheAce ace gunfighter]] might have lived out his later years. His character progression also goes in reverse, unraveling into his former state to undo the character development he's acquired. Many standard conventions of westerns are also subverted, including the quickdraw contest, the hooker with the heart of gold, and the triumphant ride into the sunset. The scenes with the dime novel author are dedicated to exposing the falsehoods of the folklore surrounding the "wild west".
* ''Film/TheTrumanShow'' is a deconstruction of RealityTV. Oddly enough, ''before'' (1998) the huge proliferation of Reality TV in the 2000s took place, although they had certainly existed for some time by then.
* ''LawAbidingCitizen'' is basically a movie about a SuperVillain, including [[spoiler:his EvilPlan failing because of what, in most comics, would be an entirely mundane detail, probably not even mentioned.]]
* ''FunnyGames'' is intended as a [[PostModernism Post Modernist]] deconstruction of {{Gorn}} and horror films by presenting it in the most bare-bones and [[{{Squick}} disturbing]] way possible. The whole film forces the viewer to examine ''why'' they are watching the film and being entertained by it. A number of scenes play with audience expectations, flatly telling the audience what they want to see and either giving it to them or denying it to them based on the whim of the author. One particularly taunting scene features [[spoiler:the female victim managing to gun down one of the attackers, only for this triumphantly cathartic moment to be snatched away as the other attacker ''rewinds'' the film and undoes it.]]
* ''TheGunsOfNavarone'' deconstructs the "crack military team sent behind enemy lines" genre, what with the characters questioning the morality of the means they use to complete the mission or even the mission's relevance.
** Mallory is perfectly aware that the steps he takes to complete the mission are often immoral.
** Miller's deadpan snarking is his only defense to the madness of war.
** "Butcher" Brown has post-traumatic stress and is unable to kill enemy soldiers, putting the entire team at risk.
* ''TheElementOfCrime'' deconstructs FilmNoir (a genre already quite dark and cynical) by pushing some of the tropes to their limits, and by turning the others on their head (thus, the PrivateEyeMonologue becomes a dialogue between the detective and his therapist, and the DeliberatelyMonochrome is achieved by lighting all the sets with only street lamps), and yet ''still'' manages to be a {{Homage}} rather than a {{Parody}}.
** ''NightMoves'' (1975) is another noir deconstruction. Gene Hackman plays Harry Moseby, a pro football player-turned-private investigator. He asks a lot of questions, but rarely gets straight or complete answers. He sees a lot of things, but they're usually obscured by distance or obstacles (such as windows or screen doors) or seen only on an incomplete filmstrip. He both literally and figuratively spins in circles during the movie, and ends (as does the audience) knowing who the bad guys were but not why any of it happened. On another level the film is a deconstruction of the entire idea of American masculinity in the post-Watergate, post-Vietnam era; Harry's glory days are behind him, and he does what he does not because he's any good at it, or because he particularly enjoys it, but because he simply doesn't know what else to do.
* Creator/MNightShyamalan presented a deconstruction of SuperHero stories with ''Film/{{Unbreakable}}''. The main character [[HowDoIShotWeb has no idea about the nature of his powers or about how he should use them]]. Even better, [[VillainsActHeroesReact the one who teach him how to use them is the]] [[spoiler: {{Villain}} ]].
* To a certain extent, the 2006 Film/JamesBond film ''Film/CasinoRoyale'' deconstructs earlier Bond films, and Martini-style SpyFiction in general, through features such as a conversation mocking the DoubleEntendre names of previous Bond girls, [=LeChiffre's=] comment about preferring simpler methods of torture to the {{Death Trap}}s endemic to the series, having Bond respond "Do I look like I give a damn?" when asked how he wants his martini, and generally treating his profession as an assassin more literally. At least some of these features were present in the original novels, making the film something of a Reconstruction as well.
** His CowboyCop attitude is scrutinized more ruthlessly and his interactions with his allies sometimes prove fatal for them.
** Bond movies have always had a tension in the character of Bond, between "flashy guy with clever lines, cool toys, and beautiful women", and "he's an assassin." ''Film/CasinoRoyale'' and its sequel, ''Film/QuantumOfSolace'', push the dial almost all the way towards the "assassin" element, but it was present in most of the earlier Bond films (particularly the Timothy Dalton films).
* ''Film/BattlesWithoutHonorAndHumanity'' (Jingi Naki Tatakai) is a deconstruction of the {{Yakuza}} films popular in Japan around the same time, which tended to portray the Yakuza as a chivalrous, honorable organization of BloodBrothers. In the film, besides the main character, they're money-grubbing, backstabbing, treacherous, and vicious. Every vow of brotherhood or loyalty has been violated and the time-honored traditions of the Yakuza seem ludicrous, outmoded, or just plain crazy. The name of the film demonstrates this -- "Jingi" is the term for the Yakuza code of honor.
* ''TheWrestler'' is a deconstruction of sports movies in which the fallen and ailing sporting hero's RedemptionQuest is to triumph against physical adversity and win a big bout against an old rival, which thus asolves his current problems and allows him to move on with their lives with renewed success and appreciation from the fans. Here, what would be the subject of such a quest in such movies -- a big reunion bout with his main rival in the past -- in fact isn't; Randy's ''real'' RedemptionQuest is to build a new life for himself outside of the ring by fixing things with his estranged daughter and find love with Cassidy, the stripper with whom he has fallen in love. [[spoiler: He ultimately fails at both, and the fact that he enters the big bout is in fact a symbol of his failure in this; although he wins the bout, it's strongly implied that his heart problems means that the effort killed him in the process. In addition, his victory was inevitable, as all wrestling duels are shown to be [[{{Kayfabe}} scripted]], and Randy is a still-beloved AllAmericanFace who just can't lose.]]
** Not only that, but there is no real animosity between Randy and his old rival, The Ayatollah. The people he has real problems with are those outside the ring. In fact, [[spoiler: The Ayatollah tries to help Randy when he realizes that something is wrong with him.]]
* ''EternalSunshineOfTheSpotlessMind'' deconstructs Romance movies by having nearly the entire movie take place after the honeymoon period of a new relationship when things start to fall apart. In fact, the thesis of the movie is effectively "romance can be so horrible that you will want to have your memory erased [[spoiler: but when you add it all up, they're probably worth the angst]]".
* Park Chan-Wook's "Vengeance" trilogy, which includes ''Film/SympathyForMrVengeance'', ''Film/{{Oldboy}}'', and ''Film/SympathyForLadyVengeance'' is very much a deconstruction of the revenge film. This is most true in the first film, in which all the violence committed only leads to further despair.
* ''{{Pleasantville}}'' deconstructs the stereotypical 1950s ''LeaveItToBeaver'' style sitcom, and with it the whole phenomenon of 1950s nostalgia; it starts off as a typically wholesome, innocent and carefree place (especially when contrasted to the 1990s, a lengthy opening montage reeling out all the social problems seemingly endemic since the 1950s), but the introduction of colour into the black-and-white environment gradually peels things back to reveal the stifling and repressed attitudes towards race, gender and sexuality seething under the surface, and the social problems of the decade that such nostalgia frequently overlooks.
** The movement to stop the spread of color in Pleasantville is analogous to [=McCarthyism=].
*** The movie is a double deconstruction as the 90's free spirit girl is shown to be just as one dimensional, in that she never really cares for anything, and only when she does can she be part of a fully realised world.
* Both ''Film/TheLongGoodbye'' and ''Film/TheBigLebowski'' are deconstructions of film noir, specifically Creator/RaymondChandler's Literature/PhilipMarlowe stories, although ''Lebowski'' is also [[DeconstructiveParody played for laughs]]. In both films, the protagonist is more or less a loser who lives by himself and comes to the wrong conclusion at the end of the case, but it's not a big deal since it never really mattered in the first place.
* The film ''ShinKamenRiderPrologue'' is arguably one for the ''Franchise/KamenRider'' series, showing a much more realistic and gruesome look at the themes of forced genetic engineering, {{Phlebotinum Rebel}}lion, and giant bug people that were present through the franchise's Showa era.
* Whereas ''Film/{{Unforgiven}}'' was ClintEastwood's deconstruction of westerns, ''GranTorino'', which came out about a decade and a half later, is his deconstruction of his other big genre, the [[VigilanteMan urban vigilante film]].
* ''Film/{{Gamer}}'' is a particularly nasty deconstruction of {{First Person Shooter}}s and [[SimulationGame social simulators]] like ''VideoGame/TheSims'', with ''actual people'' being [[AndIMustScream controlled by players as avatars for the games]].
** The "Society" game is a very sickening take on {{Rule 34}} and ''SecondLife'' due to the above reason.
* ''TheFinal'', a 2010 indie horror film, kills two birds with one stone by deconstructing both the "nerds get revenge on the bullies" plot and the "psycho classmate" plot. The outcasts don't want the simple comical revenge that so many such teen movie protagonists desire -- they actually want the bullies to suffer ([[ColdBloodedTorture through torture]]) [[PayEvilUntoEvil the way they've been made to suffer throughout their school years]]. The "psycho classmates" are not simple outcasts with your average FreudianExcuse -- it's implied they were generally good people whose crappy home lives, coupled with years of abuse from the bullies, turned them into the dark characters they are in the film. Indeed, they try to make sure that Kurtis, a friend who was nice to them, doesn't go their "[[NastyParty party]]," and they don't torture people who didn't actively abuse them. The film then takes another deconstruction of the bullies themselves -- Bridget, the AlphaBitch's best friend, tries to reach out to one of the outcasts, and gets offered a chance to save herself if she tortures one of her classmates. [[spoiler:The stereotypical Libby would've gladly taken up the offer, but she refuses and is punished for it.]] The film cleverly shows that [[BlackAndGrayMorality neither the bullies nor the outcasts are all that good]].
* RebelWithoutACause deconstructs TeensAreMonsters films so prevalent in the 50's.
* "''Stahlnetz''" ("Steel Net") , a German series of MadeForTV crime movies, deconstructs PoliceProcedural. The officers. are people with their own problems and shortcomings, far from being neatly divided into squeaky clean and corrupt bastards. The criminals are also realistic, many being bullied, pushed or outright coerced into crime while still being definitely bad people, whereas other are {{Complete Monster}}s, despite looking like ordinary people on the outside. Victims also come with their share of problems, some being an AssholeVictim, others being [[NoGoodDeedGoesUnpunished punished for being nice]]. The police solves cases through hard work, including setbacks, rather than beating half the underworld. And despite each film finishing with the crime resolve and criminals caught, the realistic portrayal of both the criminals and victims means most films have a BittersweetEnding, if not a [[DownerEnding Downer]]. (Ironically the only story with (relatively) HappyEnding is also the most brutal of all).
* ''Film/{{Heathers}}'' is a rather bitter deconstruction of the popular John Hughes style teen movies at the time. The bad boy the heroine lusts after is actually a disturbed psycho who lures the heroine into his scheme to murder the popular kids and he even tries to [[spoiler: blow up the school and pass it off as a group suicide.]] She isn't happy to be part of the popular kids and it's actually that which makes her want to murder them. Also the GirlPosse aren't the cookie cutter bad guys with one of them being bulimic and sick of being a butt monkey while another genuinely contemplates suicide.
* ''MightyJoeYoung'' (at least the 1998 version) deconstructs ''Film/KingKong''. The ape isn't an island-dwelling monster, but an otherwise normal African gorilla with extreme giantism. The female lead has more in common with Dian Fossey then the screaming damsel in distress of ''Kong''. And when Joe finally does go on his "rampage" it's because he's confronted with the poacher that killed his mother.
* ''{{Scanners}}'' sets up a fairly standard [[TheHerosJourney Hero's Journey]], as [[TheHero Cameron Vale]], blessed with PsychicPowers, is sent by wise old [[{{Mentor}} Dr. Paul Ruth]] to defeat Ruth's former pupil, [[BigBad Darryl Revok]], who also has PsychicPowers. Vale befriends a WhiteHairedPrettyGirl, Kim Obrist, who can help him infiltrate Revok's organization. Not unsurprisingly, it is revealed that both Cameron and Darryl are the two sons of Paul. With us so far? And then Darryl [[LampshadeHanging points out]] what kind of father would abandon his sons like that, and weaponize one against the other, and, indeed, [[GuineaPigFamily would test a potentially dangerous new drug on his pregnant wife]], thus making Cameron and Darryl psychic in the first place. "[[CallingTheOldManOut That was Daddy.]]" Also, the psychic stuff is [[BlessedWithSuck disgusting and creepy]]: scanning is presented not as a graceful and mystical power, but as a painful and unpleasant "[[BodyHorror merging of two nervous systems]]". The process is as unpleasant for the the person being scanned (who suffer from headaches and nosebleeds at best, and can have their hearts stopped and heads exploded at worst) and the scanners themselves who suffer severe social and psychological side effects from hearing other peoples thoughts (the main character starts the movie homeless, and another scanner murdered his family when he was a child). Ruth's dream of a scanner utopia turn out to be NotSoDifferent from Revok's scanner-supremacy idea, as observed by Vale. Meanwhile, Cam and Kim never fall in love, as would be expected, because they're too scared for their lives.
* The 1991 film ''TheDarkBackward'' contains an animated sequence that deconstructs the ''WesternAnimation/TomAndJerry'' cartoons: Tom's CaptainErsatz gleefully pursues Jerry's, hatchet in hand, and then cuts him in half with it (guts spill); then Spike's CaptainErsatz appears and blows the cat's brains out (literally) with a shotgun. The main character's mother laughs out loudly at this scene.
* The 2008 movie ''{{JCVD}}'' is a deconstruction of Jean-Claude Van Damme himself, as an out-of-luck delusional actor as opposed to the real-life moderately successful actor. [[http://en.wikipedia.org/wiki/JCVD Read the synopsis here.]]
* One could argue that the first live action ''Film/ScoobyDoo'' movie deconstructed the gang's main quirks. In the cartoon, Daphne often became the DesignatedVictim, but took it in stride, even cracking a quip about it occasionally. In the movie, however, she openly despises the fact that she's "always the damsel in distress", and this combined with the fact that she blames it on the "incompetence" of the others makes her the most bitter and reluctant to get the gang back together. Velma was always [[TheSmartGuy the smart girl]], but the movie portrays her as an under-appreciated InsufferableGenius. Fred was the de facto leader of Mystery Inc, and as such was often the voice of reason. The movie shows him as a literal OnlySaneMan who struggles to keep the conflicting personalities of the team from getting out of hand. Surprisingly, Shaggy and Scooby are actually almost identical to their cartoon incarnations but in the second movie, they become deconstructed as well; Their cowardly and clumsy behaviour causes the team to see them as a burden, and when they found it out, they try their hardest to improve themselves. Of course, it ends up bad and when the team is exiled from their hometown, Shaggy's self-esteem is at rockbottom.
** Also the first movie shows how much the gang are willing to tolerate [[TheScrappy Scrappy Doo]]. Not one bit.
* The Milla Jovovich version of ''JoanOfArc'' plays out the way the true story went until she is captured by the English, at which point it deconstructs the entire mythology surrounding Joan of Arc.
* ''SaturdayNightFever'' harshly deconstruct America's hedonistic take on life in TheSeventies. Sure, there were beautiful clothes, music, and lots of dancing, but there was a dark side to the life led by such people Tony and his friends. For example, Tony, who turns to hedonism as a way to cope with his own life as a low-class Brooklyn guy with a ''really'' DysfunctionalFamily, has no thought for the future (and the culture as a whole didn't either), and his friends are involved with [[SexDrugsAndRockAndRoll drugs, drinking, and casual sex]] which does cause them huge problems.
* ''Film/{{Scream 1996}}'', of course, was a deconstruction of the slasher horror film genre, with almost all of its characters being GenreSavvy and [[DiscussedTrope talking about what would happen next if this were a slasher film.]] This was done so successfully that "deconstructing the slasher genre" became a genre of its own.
* Before VisualNovel/SchoolDays, ''The Beguiled'' (starring ClintEastwood) showed why taking advantage of a bunch of ready and willing teenage girls is a bad idea.
* The 2003 adaption of ''Film/{{Daredevil}}'' deconstructs a lot of elements found in Comic books adaptions. Due to his vigilante lifestyle, Matt is in extreme pain from fighting, nurses multiple broken bones and nasty scars on his body, munches down painkillers regularly, he is frequently absent from work, he refuses to handle guilty or dishonest clients at his law firm, his super senses make it impossible for him to sleep out of a sensory depravation tank and he is dealing with a wreck of a personal life. Which is to say nothing of the fact that the poor guy is so miserable and downbeaten by life he can barely muster the energy to keep going.
* ''Film/{{Troy}}'' deconstructed the TrojanWar.
* ''SevenSamurai'' deconstructed the samurai mythos. Samurai aren't allowed to change occupations so they sell their services or (like the bandits) resort to crime.
* ''Film/SnowWhiteATaleofTerror'' deconstructs the original fairytale characters and especially the Disney film. Claudia starts out as a loving woman who wants to bond with her new stepdaughter, but Lilli shies away from her and that ends up leading to Claudia's FaceHeelTurn. Also, the miners aren't cheerful dwarves, but outcasts from the kingdom.
* ''Film/TwentyEightDaysLater'' [[NotADeconstruction does not actually deconstruct]] the Zombie Apocalypse genre. The fact that the zombies aren't actually dead but rather infected with a "rage virus" that takes hold instantly (preventing the token Zombie Infectee) and runs don't change the fact that the film follows the typical tropes of a Romero zombie-flick: A small group of survivors trying to adapt to thier new world and other humans being a much more dangerous threat than the zombies.
** Quentin Tarantino critizied director Danny Boyle for claiming to not have been inspired by Romero for those reasons, noting the similarites between the last act of 28 Days Later and Day of the Dead.
* ''Film/{{Cloverfield}}'' deconstruct {{Kaiju}} monsterflicks by instead of focusing on the monster pounding other monsters' faces in or wrecking the military, you're given the perspective from ordinary people trapped in the crossfire... which makes one realize how horrific the bog-standard giant-monster movie plot would be if it really happened.
* One could say that ''Film/{{Brazil}}'' deconstructs {{Dystopia}} sci-fi. The hero is WrongGenreSavvy and his efforts to free himself ends badly.
* The StarWars Prequel Trilogy can be viewed as a Deconstruction of the Original Trilogy. The OT was standard Space Opera with all it's Tropes played straight, but the PT is far more morally complex and ambiguous. In the Episode III every victory the heroes had in the previous 2 films (And for the first part of that one) was in fact the villain's plan all along. And Anakin becomes a near perfect deconstruction of the MessianicArchetype. ObiWon's bold statement of "Only the Sith Speak in Absolutes" is the exactly opposite of what the everything else in the film depicts about the nature of the Sith and Jedi and their worldviews.
* ''Film/EasyRider'' deconstructs the biker genre.
* ''Film/TuckerAndDaleVsEvil'' is one for HillbillyHorrors, featuring the rural hicks as the heroes and the college kids as the villains. However, it's also a partial {{Reconstruction}}, since [[spoiler:Chad, the actual villain of the movie is revealed to actually ''be'' an evil hillbilly who turns into a crazed killer by the end. He just doesn't stereotypically look like one. His origin story, in which his crazy hillbilly father raped his mother (resulting in his conception), is a straight example.]]
[[/folder]]

[[folder:Tabletop Games]]
* {{Exalted}} deconstructs a lot of typical fantasy tropes. You are not the beloved chosen of an [[TheOmnipotent omnipotent]] [[TopGod sky-father god]], you are an autonomous hunter-killer weapon built to kill the creators of the world and left to run amok. You are not in charge because it is your divine right to rule or because good always prevails, but because you're the most badass autonomous hunter-killer weapon around and you killed/dominated/enslaved/subverted all the competition. You win not because you're morally right, or because you believe with all your heart, you win because you have power, you use it intelligently and you're awesome: you can always define yourself as morally right afterwards, when you gain your own personal OmniscientMoralityLicense and propaganda machine set up.
* TabletopGame/UnknownArmies is this for UrbanFantasy, by pointing out the various issues with human nature that would come up if the supernatural really existed in the modern day world. Violence, insanity, tragedy and anti-social behaviour is common in the occult underground.
** By the one of the same authors, John Tynes, [[http://johntynes.com/revland2000/rl_powerkill.html Power Kill]] is a brutal takedown of ''the entire medium'' of Tabletop RPGs.
[[/folder]]

[[folder:Theater]]
* StephenSondheim's ''IntoTheWoods'' spends its first act as simply a retelling of the stories of "JackAndTheBeanstalk", "Literature/LittleRedRidingHood", "Literature/{{Rapunzel}}", and "Literature/{{Cinderella}}", all tied together with the story of a baker and his wife who are cursed with infertility unless they can procure certain items from all four. In the end it looks like everyone's gotten what they want and is happy, but suddenly the narrator announces "To be continued!" Act two begins with the idea that the giant was just minding his own business when Jack came up the beanstalk and killed him, and just builds from there into an incredibly brutal AnyoneCanDie deconstruction of fairy tales.
* ''{{Hamlet}}'' has been read as a massive deconstruction of Elizabethan revenge dramas (although most of them end in tears for everyone). ''Measure for Measure'' might do the same for comedies. The whole thing is a source of much debate.
** ''RomeoAndJuliet'' can be read as a deconstruction of the idea that "LoveAtFirstSight" can exist, since Romeo and Juliet's attraction is implied to be purely superficial, more to do with lust than love, and brings nothing but tragedy to everyone around them (and, of course, themselves). Again, [[TakeItToTheForums it's debatable]].
* ''The Yeomen of the Guard'' plays much like any of GilbertAndSullivan's other operas, except the DeusExMachina never shows up, so everybody gets married to the wrong person.
* ''MButterfly'' is a deconstruction of the Western fantasy of [[MightyWhiteyAndMellowYellow getting with an Asian chick]] in general, and Puccini's opera ''MadameButterfly'' in particular.
* ''AStreetcarNamedDesire'' did not deconstruct any genre in particular, but it did deconstruct gender roles, physical relationships, and the American system of social classes in a rather harsh way.
* OlderThanFeudalism: {{Euripides}}' ''Trojan Women'' and ''Hecuba'' portrayed TheTrojanWar as a human tragedy rather than a sweeping epic tale of martial valor in the Homeric tradition. In general, his tragedies are regarded as more "modern" than those of his predecessors because of their morally ambiguous protagonists, pervasive sense of [[{{Wangst}} anxiety and despair]], religious skepticism and overall portrayal of mythologycal subjects and characters as real people.
* The musical ''{{Urinetown}}'' has the downtrodden people fighting to overthrow the oppressive system that heavily taxes and regulates their bathroom usage during a worldwide massive drought. They succeed, but [[spoiler: they are so caught up in the "freedom" that they don't control themselves at all and end up effectively squandering all the remaining water.]]
[[/folder]]

[[folder:Theme Parks]]
* When it opened in 1967, the ''Pirates of the Caribbean'' boat ride at [[DisneyThemeParks Disneyland]] was intended to be a deconstruction of the romanticized, swashbuckling [[{{Pirate}} Type 2 Pirate]] that was popular during TheGoldenAgeOfHollywood. While still pretty lighthearted as far as deconstructions go, it does feature a pirate ship attacking a small Caribbean town, pirates dunking the mayor in the well in order to get information out of him, pirates auctioning off women, pirates chasing women, and pirates getting drunk and burning down the town... all of which is PlayedForLaughs. The final show scene in the attraction shows a few pirates in an armory drunkenly firing at gunpowder barrels, which they mistake for rum barrels. "Dead men tell no tales", indeed.
** Conversely, the ''Franchise/PiratesOfTheCaribbean'' movies (which were loosely based on the ride) serve as a {{Reconstruction}} to the romanticized, swashbuckling Type 2 Pirate that the original attraction had denounced.
[[/folder]]

[[folder:Video Games]]
* VideoGame/ChronoCross deconstructs time travel by going into detail about [[FridgeHorror what happens]] [[AFateWorseThanDeath to the people who live in erased timelines]], as a result of the actions of the characters from ''VideoGame/ChronoTrigger'' and Serge's death [[spoiler: or rather, survival. The alternate timeline is the one in which he lives, Home]].
* While the first two ''Franchise/MetalGear'' games played everything fairly straight, the ''VideoGame/MetalGearSolid'' series is intended as a deconstruction of action movies (and, to a lesser extent, video games), twisting tropes common to them around in extremely horrible ways to establish how damaged everything and everyone would have to be for an action movie scenario to work in the real world. By the second game it's way out into the nastiest parts of the DeconstructorFleet territory, shamelessly attacking fandom, the video game industry, the expectations of fans and even its own prequel and characters. Some would argue it goes a bit too far, to the point where it feels very painful to play a game which clearly hates you so much.
** The setup of the first ''VideoGame/MetalGearSolid'' is simple; a terrorist attack on a government nuclear warhead disposal facility occurs and a legendary mercenary is brought back to stop it. However, all the characters are unbelievably screwed up, ''precisely by the character traits that they'd plausibly need in order to do what they do'', and the plot gets very complicated very quickly. Unfortunately, [[MisaimedFandom not all members of the fandom saw the deconstruction; they instead thought the game was the ultimate action film and wanted to be Solid Snake.]]
---> '''Snake, [[spoiler: in the ending where Meryl dies]]:''' I'm a loser. I'm not the hero you thought I was! I'm nothing!
** The aforementioned MisaimedFandom [[BeCarefulWhatYouWishFor got precisely what it wanted]] with ''VideoGame/MetalGearSolid2'', which deconstructed the way people related to the first game. So, [[IJustWantToBeBadass you want to be just like Solid Snake, huh?]] You get to play as a [[ThisLoserIsYou player proxy character]] that, like Snake, is an emotionally crippled BadAss with buckets of blood on his hands and [[BloodKnight a killer instinct]]. Unfortunately, your girlfriend is an [[NeverLiveItDown exceedingly whiny bitch that calls you in the middle of your mission to discuss your lack of emotional warmth]], the only way you could've acquired these oh-so-BadAss skills is TrainingFromHell that you have repressed the memory of, and indeed your desire to be just like Snake is going to be granted [[spoiler: via a mind-control experiment that the entire game's sequence of events is]].
** ''VideoGame/MetalGearSolid3SnakeEater'' applied the same approach (if much less viciously than in [=MGS2=]) to [[SpyFiction spy]] films such as JamesBond and (to a lesser extent) action films like ''{{Rambo}}''. Most of the usual tropes are there -- beautiful BondGirl [[spoiler:[[DoubleAgent who is actually a spy for the enemy]]]], the FakeDefector, the Soviet scientist defecting to the U.S. and so on. Most are unexpected plot twists, all are horribly tragic, and all combine to make the protagonist into the biggest villain in the series.
*** It should be noted that, except for ''Metal Gear Solid 2'', the series was somewhat affectionate in its dismantling of said tropes. At the end of the day, the heroes find a reason to justify their personal suffering and the battles they just fought.
** Finally, ''VideoGame/MetalGearSolid4'' raises the question of what exactly happens to {{action hero}}es after the action movie ends. The choices that are presented are dying in a blaze of glory, suicide, or falling into obscurity.
** [=MGS4=] explores the concept of the BadassGrandpa. Snake's willingness to fight in spite of his advanced physical age isn't solely depicted as being admirable but also as being foolish and suicidal, people who idolized Snake back in the day patronize him and treat him as a burden, and in general Snake's age is the subject of cruel jokes. In fact, Snake's lifebar is changed to ''Old Snake'' to emphasize this.
* If Metal Gear Solid and later games in the series dealt with action and spy movies, then {{Policenauts}} tackled fiction that involved space travel and space colonization such as {{Gundam}}. It is shown, said, or suggested in the game that there are issues with overcrowding, assorted denizens are on medications that are of dubious legality, said denizens need to be careful when it comes to their calcium intake, and that humans born and raised on Beyond Coast are taught to act differently from earth born humans to the point there are accents for both of them. And there's even more than all of that, such as how living in a space colony affects sex working. Ultimately, the {{Big Bad}} basically says in the {{Motive Rant}} that humanity in the universe of Policenauts was not ready to leave Earth, especially seeing as how the Earth's problems still hadn't been properly dealt with, and the player might very well agree with that. As an article on {{Hardcore Gaming 101}} [[http://www.hardcoregaming101.net/policenauts/policenauts.htm puts it]]:
-->"Of course, just as ''Metal Gear Solid'' was screaming "[[NuclearWeaponsTaboo NUKES ARE BAD]]" at the top of its lungs, the prevailing theme in ''Policenauts'' is "[[{{Anvilicious}} SPACE IS BAD]]", which is pounded into your head on several occasions."
* It is quite plausible to read ''HalfLife'' as a deconstruction of the [[TropeCodifier archetypal]] FirstPersonShooter ''VideoGame/{{Doom}}''. The basic premise is essentially the same; an experiment into teleportation technology [[GoneHorriblyWrong goes horribly wrong]] and creates a dimensional rift through which monstrosities invade our world. Additionally, there is very little plot exposition (just like the original ''Doom''!). But whereas ''Doom'' played this incident as [[IJustWantToBeBadass a wonderful way to demonstrate one's masculine virility by filling demons full of lead]], ''HalfLife'' shows you exactly how frightening this kind of situation would be in the real world. You must scramble to stay alive, think and ''not'' act like a stereotypical SpaceMarine in order to remain breathing. Additionally, while ''Doom'' had almost no plot exposition whatsoever, ''HalfLife'' frustrates the player with its ''lack'' of explicit exposition, demonstrating just how terrifying it would be to be stuck in a life-threatening situation with absolutely no information about it.
* ''VideoGame/{{BioShock|1}}'' deconstructs the more cerebral, RPGElements-gifted and EmergentGameplay style of FirstPersonShooter games (such as ''VideoGame/DeusEx'' and ''VideoGame/SystemShock'') by showing you exactly how much choice you actually have. [[spoiler:None. During the entire game you are essentially on the leash of MissionControl and the ButThouMust demands it makes of you, and all the choices you can make (ammo types, plasmid loadout, etc) are (with one specific exemption) basically meaningless in terms of the game's plot.]] It's especially heavy on deconstructing the idea of how players blindly follow the orders they're given, even by someone they've never met, without considering the consequences. In addition, [[DeconstructedTrope several other tropes unrelated to the genre are deconstructed as well]], most famously the concept of "Galt's Gulch" from Creator/AynRand's novel ''AtlasShrugged''.
** WordOfGod is that they weren't trying to deconstruct Objectivism ''per se'', more that they where trying to deconstruct the idea of Utopian fiction (showing that human nature always gets in the way of any so-called "perfect society") as well as the idea of the {{Ubermensch}} with the antagonists Andrew Ryan and Sofia Lamb (who runs a collectivist society in ''VideoGame/{{Bioshock 2}}'').
* ''VideoGame/{{Portal}}'' starts with a fairly common [[ExcusePlot paper-thin puzzle game plot]] -- make it through all nineteen Test Chambers of [[DeathCourse the Enrichment Center]], and ThereWillBeCake. However, as the danger level climbs, the explanations you're given for why you're facing such dangers go from slightly unusual to downright insane -- then stop altogether. The entire set looks like you're a subject in a deranged Skinner Box experiment. And you start seeing evidence that previous test subjects have suffered nervous breakdowns, been driven to madness, or tried to break out of the test chambers. And then comes TheReveal at the end of Test Chamber 19. You've got an ExcusePlot played for horror. And [[PlayedForLaughs for]] [[BlackComedy laughs.]]
* ''Franchise/StarWars: [[VideoGame/KnightsOfTheOldRepublic Knights of the Old Republic 2]]'' has all of the standard RPG conventions; you recruit party members who follow you forevermore, an [[TheObiWan Obi-Wan]] equivalent who explains everything, and you gain XP, levels and new abilities through combat. [[spoiler: And then several important characters ''call you out on all of this,'' saying, "Have you ever stopped to ''think'' about how you get stronger by killing everything? Don't you ''wonder'' why these people follow you without question? Has it ''occurred'' to you that your [[TheObiWan Obi-Wan]] only knows so much about both us and the villains because she's ''worked for both?''" It turns out that these standard RPG conventions aren't GameplayAndStorySegregation at all, but rather, things that actually happen in the plot, caused by the plot's AwfulTruth. The standard aspects of the genre we as the player take for granted are seen by the people involved not because [[BreakingtheFourthWall they can see through the fourth wall,]] but because any sane person would look at this behavior and realize that it's not the way reality should work, even the reality of StarWars.]] Light or darksided, it says something about the Exile that s/he doesn't even notice it.
** Not to mention the way it subverts the KarmaMeter, by making what seems like the right thing to do end up being exactly the wrong thing to do, as is often the case in real life. For example giving to a beggar could lead to a worse outcome than if you had left him alone, as it makes him a target for armed robbery, and thus getting him killed. This example is the most obvious one in the game, as Kreia will bitch out the Exile ''regardless'' of the player's choice, not because she disagrees with the morality involved, but because the Exile (and very likely the player) does not consider the fact that following one's moral code does not exempt decisions from having consequences.
** This includes deconstructing the idea of the RPG party and battle system, and at one point a companion tells you it frightens her how she follows you unthinkingly into battle, shoots when you say to shoot, kills when you say to kill etc. [[spoiler:As in the above XP Point example, this is framed as a disturbing and unique characteristic of the main character, and treated as a plot point.]]
** It also deconstructs the Jedi and the Sith -- Force users in general can often be compared to deities, able to accomplish great feats that a mere mortal would declare impossible. A recurring theme in the game is that there are often times where a {{Muggle}} can do things that a Jedi would never be able to do.
** Finally, it deconstructs Lucas's presentation of the Force, in that the BigBad, having sampled from both the Jedi and Sith wells, ultimately rejects both because they're completely opposed ''yet they both work''. Obviously the Force is far greater than they realized and the BigBad is hoping to destroy the Force itself using the PC, freeing life from its influence.
** ObsidianEntertainment then went and did much the same thing with ''VideoGame/NeverwinterNights2'', which deconstructs D&D and heroic fantasy in general. Only difference is, they took the DeconstructiveParody route this time.
* [[http://www.cracked.com/article_15660_ultimate-war-simulation-game.html This article]] from ''{{Website/Cracked}}'' proposes an ultra-realistic war game. That is, you spend two hours pushing across a map to destroy a nuke silo only to find out later it was an orphanage, complete with celebrities decrying the attack. Public Support rises and falls depending on entirely arbitrary factors, mission objectives change frequently and without warning, the cool superweapons kill 100 of ''your'' soldiers because the contractors cut corners, etc.
* Even though ''VideoGame/HalfMinuteHero''[='s=] role-playing-game parts mostly ridicule many cliches found in role-playing games, it deconstructs RPG [[DepartmentOfRedundancyDepartment game]] concept as a whole. Makes you wonder why almost all other role-playing games include hours of ForcedLevelGrinding and other tedious activities.
* The ''Franchise/ShinMegamiTensei'' franchise often plays around with tropes and expectations, but one of the main thrusts of the recent ''VideoGame/DevilSurvivor'' title is an ''unrelentingly vicious'' deconstruction of "{{Mons}}" games in the vein of ''Pokémon''. During the course of the game, many people obtain small handheld devices that allow them to summon various kinds of demons which essentially work like the Mons do in other games. Needless to say, it doesn't take very long before many start using them for power, or "justice", or the like, resulting in chaos and death on the streets of a locked-down Tokyo.
** One event in particular even plays out just like a Pokémon fight -- the two combatants face each other, their Mons in between them, verbal orders and all... and then one Mon is beaten, and its "Demon Tamer" is ''graphically murdered'' by the other's demon, by order of that very tamer. [[NightmareFuel Yes, kids, this is how most of the situations Ash finds himself in would]] ''[[NightmareFuel really]]'' [[NightmareFuel end.]]
* ''VideoGame/HauntingGround'' could be considered as a deconstruction of the more typical SurvivalHorror games where the main character is given all sorts of weapons and ammunition to cut down a near endless stream of monsters. The most Fiona can do herself is kick the enemy, and she relies on her pet dog to keep the enemy at bay as long as she can. The game also has a feature where the main character panics and gets harder to control the more she's hurt, like most real people would do if they were being chased around by psychopaths.
** ''VideoGame/HauntingGround'' uses very similar gameplay -- and was originally intended as a sequel -- to the ''VideoGame/ClockTower'' series, the first part of which was [[OlderThanTheyThink published for SNES in 1995]], before survival horror had [[UnbuiltTrope established itself as the genre it is today]]. Perhaps a better example of a survival horror deconstruction would be the original ''VideoGame/{{Siren}}'', which takes what at first glance seems to be a fairly typical zombie scenario, but instead of handing you lots and lots of guns and a character with a visible health bar, you get a cast of very average people who are clumsy in combat, have a very limited access to weapons (and no access to healing items whatsoever), and die very easily. Instead of fighting everything with wild abandon, you need to be stealthy and avoid close encounters, much like the average joe would have to do in such a situation. The sequels have been gradually slipping into a more conventional, combat-oriented style of gameplay.
* The ExpandedUniverse of ''EveOnline'' tends to do this to {{MMORPG}}s. It thoroughly explores the consequences of [[AGodAmI law-unto-themselves immortal demigods]] waging perpetual war both between themselves and with the [[{{NPC}} other, less gifted denizens of the universe]]. The mere existence of the player capsuleers ups the average daily death rate in New Eden by many thousands, and contributes in large part to the CrapsackWorld New Eden now is.
* ''VisualNovel/UminekoNoNakuKoroNi'' is a deconstruction of literally the whole [[MysteryFiction Murder Mystery]] genre. [[spoiler:Despite that, it's supposed to be FairPlayWhodunnit, though one could argue about the amount of fair.]]
** [[spoiler:The OPENING SEQUENCE of the second game states quite clearly "No Dine, no Knox, [[CluelessMystery no Fair]]. In other words it is not mystery. But it happens, all it happens, let it happens." The author actually goes out of the way to inform us that he's not following Van Dine or Knox's rules of "fair" detective fiction and that... well, it's not a mystery that can be solved by us.]]
** [[spoiler:And then in the Chiru arcs the writer introudouces first a personification of the Knox rules, and then later a personification of the Van Dine rules.]]
** At the end of the series, the answer becomes clear: [[spoiler: the mysteries that Meta-Beatrice purposely set up (the first four arcs) are quite solvable, and for the most part follow Fair Play. The reason that the author said that he didn't want to give a straight answer is because we are never told what ''[[TheUnreveal really happened]]'' on Rokkenjima. Most people thought that the whole 'not giving a straight answer' referred to the games themselves, which are just [[LiteraryAgentHypothesis stories within the story]], but it referred to the real events on the island]]. [[MindScrew Confused yet]]?
** Umineko also has a brilliant deconstruction of the {{Tsundere}} Moe in the third arc.
* ''VideoGame/MegaManX'' is a deconstruction of the Sentient Robot Heroes genre, if not the franchise. Unlike it's lighter predecessor, there is a major war going on between mavericks and maverick hunters, and many people, reploids and human (who are mainly off-screen) alike die. ''X4'' is probably the biggest deconstruction of the franchise, if not ''X5''. Zero, the main character's friend [[spoiler: is speculated to be created by Wily and was made to destroy X. Also, he kills the brother of his love interest, who in turn, tries to avenge him, only to die as well]], the war between the Maverick Hunters and Repliforce could have been avoided, and, as it turns out, [[spoiler: Zero is the cause of the Maverick Virus and Sigma's StartOfDarkness.]]
** The fact that Zero is the cause of [[spoiler:both the Maverick and Elf Wars]] can be seen as a deconstruction of JokerImmunity and ThouShallNotKill. If Dr. Wily was executed when he was arrested in ''VideoGame/MegaMan6'', Zero would never exist and so ''much'' death and destruction could've been avoided. But he wasn't, and some of his leftover projects came back and screwed things up for everybody.
* ''PlanescapeTorment'' is a deconstruction of [=RPGs=]. Characters in the gameworld comment on how adventurers are unwelcome in Sigil and how bad the main character looks and smells. It features a dungeon that deconstructs and ridicules the concept of dungeon hacking, the side-quests are... unusual to say the least. (Tired of these "Romeo and Juliet" quests that have you uniting annoying lovers? ''PlanescapeTorment'' has a quest where you have to ''destroy'' a relationship.) ProtagonistWithoutAPast is heavily subverted because [=NPCs=] remember your character while you don't (because he has ''[[spoiler: several past lives' worth of]]'' amnesia). Experience is gained by remembering and regaining skills you already had, but forgot. The main quest is mainly about people ''you'' gave quests in the past, rats are powerful enemies, there are none of the typical ''D&D'' races, and an [[LightIsNotGood ANGEL is one of the antagonists!]] Oh, and there are only two swords in the whole game. (Your character can only use one.)
* ''VideoGame/TalesOfTheAbyss'' takes a deconstructor chainsaw to every fantasy story revolving around destiny, [[ScrewDestiny screwing it]] and everything else that falls into the "[[TheChosenOne Chosen One Fantasy]]" genre. Turns out that everyone in the world is assigned some role by a prophecy, but the "Chosen One" is actually [[CloningBlues a clone of the real one]]. This event threw the entire world's fate off-course, starting out with subtle alterations (like the Chosen One not dying like he was supposed to) and eventually winding up with most of the known world sunk beneath a poisonous miasma ''and'' a good portion of the world's population killed off and replicated. Even though the BigBad says that "deviations are as nothing" in the eyes of this prophecy, [[BlatantLies we know better]]. Heck, towards the end of the game, the party actually winds up ''intentionally'' fulfilling part of the prophecy because they realise that there's no other way to save the world, but not long after the whole planet goes to hell. Basically, ''don't mess with fate''.
* The VisualNovel ''CrossChannel'' can be seen as a deconstruction of the numerous charecter archetypes found in anime in general and eroge games in paticular. Sure we have a cast full of tsunderes, cloud cookoolanders, emotionless girls, genki girls and what not. But where to do they all go to school? A special school for young people that cannot function in society.
* VideoGame/FalloutNewVegas features Caesar's Legion as one of the two main powers in the Mojave Wasteland. As the name suggests, they are essentially the Romans [[RecycledINSPACE placed into]] a post-apocalyptic setting. As the progenitor of modern Western civilization, the glory of Rome is often seen through an intense NostalgiaFilter. You get to see some of Roman culture up close in this game, and it is [[DeliberateValuesDissonance ugly]]. There are probably no more {{complete monster}}s in the Legion than most other factions, but the slavery, misogyny, and sheer brutality of the Caesar's Legion makes it the [[BlackAndGreyMorality black to the NCR's grey]].
* ''NoMoreHeroes'', especially the second game, seems to be a deconstruction of the ultra-violent type of game. Travis' rant toward the end of the sequel is basically summed up as "Even if the person is fictional, it's still a death, and you're kind of a bastard for forcing the killings to happen." It was even seemingly aimed at both Sylvia, and [[LeaningOnTheFourthWall the player]].
** Meanwhile, most of the villainism of the series' VillainProtagonist, especially in the first game, comes from what would happen if a stereotypical videogame/anime geek retained their combat ability in the real world and lived life like they play games.
* For one of Gamespot's April Fool's Day jokes, they have announced that Capcom has recently announced a new game called ''VideoGame/MegaMan Deconstructed''. See 7:43 of [[http://www.gamespot.com/shows/today-on-the-spot/?event=today_on_the_spot20100401 this video]].
* ''BaldursGate'' deconstructs the well known idea that most of the world's problems tend to occur just as TheHero arrives on the scene. [[spoiler:Due to CHARNAME's status as a Bhaalspawn, he/she is a ''literal'' DoomMagnet, so the fact that you seem to stumble upon a lot of trouble isn't coincidence, ''you are literally causing it through your own existence''. Furthermore you are not the ''only'' Bhaalspawn out there causing chaos through existance. It doesn't help things that your father is the God of ''Murder''.]]
* A lighter example of Deconstruction would belong to ''SWAT4'', an FPS which objective is not shooting bad guys. Just plain shooting bad guys like in another FPS, in ''SWAT 4'', does not net you a point. This game expects you to be a police officer, not an FPS character. To earn points (which needed to advance in harder difficulties), you must deal with the bad guys with non-lethal methods, and arresting them.
* ''VideoGame/PokemonBlackAndWhite'' deconstructs not just many of the implications of a CrapsaccharineWorld in the series that are hinted at through the Pokédex entries, but also decontructs the idea that everyone in the world of Pokémon thinks that it's a good idea to send kids and teenagers out into the wild to capture Pokémon, with Bianca's father feeling immensly concerned for her. Another part of it is the idea that no one bats an eyelash at Pokémon battles or no one thinks it's too violent with Team Plasma and N. Speaking of Team Plasma, the games also [[TakeThat viciously]] deconstruct the concept of MoralGuardians and the validity of their intentions, as in essence that is what Team Plasma are.
* PhantomBrave viciously deconstructs AllOfTheOtherReindeer. The power of a Chroma (which is what Marona is) is, for all intents and purposes, necromancy, and as such it is widely regarded as a dark, unholy power, and people react accordingly to her. This isn't simply general disdain or mocking of her, this is real, genuine fear and hatred. Hell, listen to that woman who scolds her son for wanting to be friends with Marona in the opening chapter. You can literally feel the pure, unbridled barely contained ''rage'' she has at the mere ''mention'' of her name.
* ''AirPressure'' deconstructs the "do everything you can to build/improve your relationship with a cute girl" RomanceGame plot. The protagonist actually starts out disillusioned about how much he depends on his girlfriend Leigh and wondering if he should break up with her, and having him ignore his doubts in favor of appeasing Leigh results in a deliberately EsotericHappyEnding where [[spoiler:it's all but outright stated that Leigh is actually a metaphor for drug addiction or abusive relationships in general and that the protagonist's decision that he can't live without her is ''not'' in any way romantic or healthy]]. Not only that, but the game's happiest ending is actually the one in which [[spoiler:the protagonist breaks up with Leigh and feels genuinely happy about being independent from her]].
* The ''VideoGame/{{MOTHER}}'' trilogy, especially ''VideoGame/MOTHER3'' acts as a deconstruction of the EasternRPG genre.
* ''VideoGame/GrandTheftAutoIV'' deconstructs its own series. Rather than glamourizing crime and criminals like its predecessors, most characters you meet in the game are broke, greedy and psychopathic and the toll it takes on people. In addition, the [[DownerEnding end of the game]] where [[spoiler: your cousin or your love interest is murdered, you get revenge but it feels hollow, and you spend the rest of the game alone and driving around.]]
* ''SpecOpsTheLine'' deconstructs the modern military first-person shooter by showing the protagonist, Walker, as slowly slipping away from his sanity the further the game goes on. Walker continues to try to rationalize what he's doing by saying he intends to help whilst he's only making things much, much worse. He also says that he [[IDidWhatIHadToDo had no choice]] in a lot of situations where he very clearly did, including crossing the MoralEventHorizon by [[spoiler: [[KillItWithFire using white phosphorus to firebomb fellow American soldiers]], and unknowingly killing dozens of civilians]]. Walker is, at best, a NominalHero, though he's closer to a VillainProtagonist. On top of all this, [[DownerEnding none of the possible endings are happy ones]], with Walker either dead or clinically insane.
** The game also [[WhatTheHellPlayer insults the player for continuing to play it]], passive-aggressively telling the player "hey, why should you care? None of this is real, [[YouBastard so you can just kill everybody, right?]]" After seeing what Walker goes through as well as being mocked, many players [[TheFourthWallWillNotProtectYou will probably start to question what they're doing]].
* ''VideoGame/MassEffect3'' can be seen as doing this to the preceding games in the series and to other similar series (such as ''Halo'') in that the heroic character upon which everything revolves isn't invincible but is being psychologically worn down by the pressure s/he is under.
** And then there's the endings. So you're the OnlySaneMan hero gathered a RagtagBunchOfMisfits to fight against an AncientConspiracy who sweeps in and destroys all organic life for an apparently incomprehensible reason. What happens? [[spoiler: Did you really think overloading the mass relays wasn't going to have horrible consequences, even if you stop the Reapers?]]
** While the earlier games promised hard decisions with no easy answers, they mostly left [[TakeAThirdOption an easy way out in the major quests.]] But the additional ending in the Extended version manages to deconstruct that. After fan outcry for a way to resist taking a choice from a [[UnreliableExpositor possibly untrustworthy source]] that determines your ending, BioWare put just that in the ending. You can take a fourth option now. [[spoiler: And doing so results in [[KillEmAll all sentient life in the galaxy dying]] because you're too full of yourself to face a situation with no unambiguously happy results.]]
* FinalFantasyVII is a deconstruction of Eastern [=RPGs=]. [[SeinfeldIsUnfunny However, because this game introduced many people into [=RPGs=], it was lost in some people]].
* ''VirtualOn'', a mecha fighting game with characters that serve as nothing more than controlled mechas, is ultimately a deconstruction to the fighting games with characters who have personalities and backgrounds.
[[/folder]]

[[folder:Web Animation]]
* ''WebAnimation/GirlchanInParadise'' is a vicious parody of ClicheStorm Shonen Anime, particularly those with [[LazyArtist bad animation]] and corny dubbing. The characters all fit into some sort of archetype, with the title Girlchan being a SatelliteInterest and a MsFanservice who had absolutely nothing to do with the actual plot ([[WordSaladTitle nor is she actually in Paradise]]).
[[/folder]]

[[folder:Web Comics]]
* ''Webcomic/DMOfTheRings'' deconstructs TabletopGames, especially of the fantasy variety. TheLordOfTheRings was basically the TropeCodifier for FantasyLiterature, with an epic plot and massive, meticulously crafted backstory. For decades now {{Roleplaying Game}}s have often been based on fantasy stories and set in fantasy worlds... but you know, the actual progression of a roleplaying game doesn't look a thing like a fantasy novel, certainly not a ''good'' one. DMOfTheRings takes several familiar player archetypes and transplants them into LOTR, and it's a disaster. The GM needs to use {{Railroading}} on the players every step of the way. Left to their own devices, they would have killed the elves of Lorien for the loot. They also complain endlessly about the boredom of the story (there's nothing to fight but orcs over and over again and {{Eldritch Abomination}}s like the balrog, which their characters don't have the slightest chance against) and the way all the battles and side missions are entirely irrelevant to the main plot.
* ''Webcomic/MegaTokyo'' is described by its author as a subtle deconstruction of the {{Dating Sim}}s he enjoys, with a mix of LampshadeHanging, playing it dead straight and showing the darker side of each trope, especially UnluckyEverydude, RobotGirl, and CleaningUpRomanticLooseEnds. At least one of the characters might well be [[MetaGuy aware of this...]]
* A more blatant deconstruction of the DatingSim genre is ''[[http://www.tsunamichannel.com/archive.php Experimental Comic Kotone]]'' from ''TsunamiChannel'', to the point that the main character is intentionally left anonymous, and the universe ''just won't let'' '''''anyone''''' to know his real identity.
** The side story ''Magical Girl Mina'' can be considered a deconstruction (or possibly reconstruction) of the magical girl genre. Mina is far from stereotypical proto-MG and does not adhere to any of the expected cliches, tropes and quirks (despite Tsunami being explicitly instructed to scout those traits) but is smart and fit and very inquisitive about how magic works and can be used. On the other hand Mina never reacts to the weirdness "normally" (such as fleeing or avoiding the situation) but accepts it with cautious curiosity.
* ''Webcomic/AlienDice'' is a deconstruction of {{Mons}} and especially ''Pokémon''. The eponymous Alien Dice is a DeadlyGame of GottaCatchEmAll. Here, any species, {{Human|Aliens}}oid or animal-like can be turned into a mon and get captured when defeated by players. Also, the "mons", despite their HealingFactor do suffer badly in battle.
* ''Webcomic/OwMySanity'' is this to the MagicalGirlfriend genre, specifically, ''Manga/AhMyGoddess''... which it does in the best way possible with the addition of Lovecraftian Horror and said girlfriend (or [[UnwantedHarem ''girlfriends'']]) being a HumanoidAbomination[=/=]EldritchAbomination.
* ''Webcomic/{{Erfworld}}'' is a world where Tabletop Strategy rules are literally true, such as citizens popping in fully grown and a defeated team being frozen in time until someone comes to try and kill them. The more the rules become clear, the creepier everything starts to become.
** It also deconstructs the typical Strategist with Parson's reaction to the aftermath of the Battle For Gobwin Knob. [[spoiler:Instead of being proud and/or relieved that he won the battle against impossible odds, he is ''horrified'' by the death and destruction he has caused, so much that he steps down as Chief Warlord in favor of Ansom.]]
* The PixelArtComic ''Webcomic/KidRadd'', while largely light in tone, presents a "video game characters living in videoland" scenario where it's a very real problem that many inhabitants are innately armed and know nothing but killing. They know why they were created, and they don't like it. The player character Radd goes from slacker to {{Determinator}} because he always had the latter's mindset, but started his days in a game under the player's control, so he had to learn initiative completely from the ground up. Upon being freed, Radd needed instructions to walk independently.
* ''[[{{Walkyverse}} It's Walky]]'' could arguably be seen as a deconstruction of the goofy 1980s cartoons creator David Willis is a fan of (mostly ''GIJoe'' and ''{{Transformers}}''). Sure it features a unique special forces group, SEMME (who were initially based on GI Joe) with an eccentric line up of operatives, who routinely foil the insane schemes of a HarmlessVillain, but the eccentric operatives are soon revealed to be a bunch of dysfunctional screw-ups, and the Villain is in fact a NotSoHarmlessVillain.
* ''[[http://www.mighthavebeen.net/ My Name Is Might Have Been]]'' deconstructs ''RockBand''. Yeah, the video game.
* ''Webcomic/VGCats'' deconstructs the cartoon violence of ''WesternAnimation/TomAndJerry'' in [[http://www.vgcats.com/comics/?strip_id=207 this strip]].
* ''Webcomic/{{Goblins}}: Life Through Their Eyes'' takes a good hard look at the UnfortunateImplications of labeling whole races AlwaysChaoticEvil. It portrays the titular goblins not as ''monsters'' but as ''people'' who live and love. It shows us that what {{Player Character}}s see as just an XP haul isn't so fun when ''you're'' the one they're killing to level up.
* ''[[Webcomic/TalesOfTheQuestor Quentin Quinn Space Ranger]]'', an offshoot of ''TalesOfTheQuestor'', is Deconstructing ''Franchise/StarTrek'' right now. So far the design of the starship Enterprise, the habit of using forcefield airlocks without wearing space suits and the ProudWarriorRaceGuy have already been hit. Hard. Up next is engineering.
* The entire premise behind ''Webcomic/DarthsAndDroids'' is that the ''StarWars'' universe is the result of a group of {{Tabletop Game|s}}rs (including a 7 year old girl) making it up as they go along. It lends a whole new perspective to the storyline of the prequel trilogy. The entire mess on Naboo was the result of the Player Characters epically ruining a delicate, carefully constructed plan by going OffTheRails, and engaging in all the sins of TheRealMan, TheMunchkin, and TheLoonie. Palpatine is actually a good guy overthrowing a corrupt regime, and trying to bring a semblance of stability to the republic. Darth Maul was just a ChaoticNeutral [[HiredGuns Hired Gun]] who was only trying to work ''with'' the player characters, before they attacked him. To top it all off, some the most bizarre and unrealistic plot points, such as Naboo being governed by a ''14 year old Queen'' exist because [[RescuedFromTheScrappyHeap Jar Jar Binks]] is being played by a little girl.
* In the Chapter 26 of the Spanish webcomic ''[[http://jesulink.com/ 5 Elementos]]'', the author show the effects of a civil war in a world inhabited by lots and lots of people with superpowers.
* Pretty much anything ever written by AndrewHussie, but ''Webcomic/ProblemSleuth'' and especially ''Webcomic/{{Homestuck}}'' stand out in particular in this respect.
* ''Webcomic/{{Misfile}}'' can be considered a broad deconstruction of the GenderBender TransformationComic, showing how much it would actually suck if you were transformed into the opposite gender and didn't have those kind of tendencies to start with (the part frequently ignored by TG comic fans who wish something like that could happen to them.) Ash is depicted like a real transgendered teen would be (literally a boy trapped in a girl's body), with a realistic level of distress to not only the biological and social changes, but to also having the entire foundation of your world and personal identity ripped out from underneath you.
* One could say ''Webcomic/SluggyFreelance'' is something of a deconstruction of what it's like to live in a FantasyKitchenSink. Eventually, the amount of supernatural villains you piss off (and the infamy among the inhabitants of said FantasyKitchenSink that you gain through your deeds) will reach such a critical mass that your entire life will be swallowed up in a never-ending, breakneck onslaught of attacks and reactions to your attempts to defend yourself from said attacks from grudge-holding demons, psychopaths, monsters, conspiracies, {{Eldritch Abomination}}s, [[ArtifactOfDoom Artifacts of Doom]], evil {{Mega Corp}}s, etc, etc. Being a fairly early webcomic, this has been subjected to a measure of SeinfeldIsUnfunny.
* ''Webcomic/TheLastDaysOfFOXHOUND'' - deconstructs the backstory of VideoGame/MetalGearSolid enemies, revealing first and foremost that it was never about Solid Snake. It was all Liquid.
* ''Webcomic/CuantaVida'': Deconstruction of VideoGame/TeamFortress2 par none. [[SarcasmMode Because what's funnier]] [[AnyoneCanDie than lovable characters who can die at any time]], [[{{Gorn}} of horrible injuries no less,]] [[ClosedCircle in battlefields miles from their homes]]? As with ''Webcomic/TheLastDaysOfFOXHOUND'', the game becomes MUCH less funny afterwards.

[[/folder]]

[[folder:Web Original]]
* ''WebVideo/DoctorHorriblesSingAlongBlog'' is a deconstruction of the classic {{Superhero}} vs. {{Supervillain}} conflict, as follows:
** The [[VillainProtagonist villain is the protagonist]], a shy, nerdy guy who wants to TakeOverTheWorld because he sees it for the CrapsackWorld that it is and wants to improve things... [[WellIntentionedExtremist on his own terms]]. He also wants to get a date with the girl at the laundromat, whom he's too shy to talk to.
** The [[HeroAntagonist hero is the antagonist]], a SmugSuper, JerkJock womanizer who believes that, because he is superpowerful, he's better than everyone else and is only too happy to display it. He further believes that only people who are like him can be heroic, and anyone who's nerdy or unpopular is a potential supervillain. It's strongly implied that this behavior is what drives people like the villain to become evil in the first place.
** The LoveInterest is a genuinely good person whom the villain wishes to impress with his evil deeds, failing to realize that she's very unlikely to actually respect that. She gets caught in the crossfire between the two, ends up ignored as they fight their climactic battle over her, and [[spoiler:dies tragically as a result]].
** The NighInvulnerable super hero is only brave because he's never had to experience pain in his life. When he ''does'', he has a HeroicBSOD over it.
** The villain finds that his victory: the hero defeated, entry into the Evil League of Evil secured by [[spoiler:his LoveInterest's murder]], comes at the [[PyrrhicVillainy price of his humanity]].
** It can actually be seen as a deconstruction of musical shows, because most musical shows have a positive outlook from beginning to end especially in regards to the lyrics of their songs. Dr. Horrible's got an awful lot of nagative in most of the lyrics, even when attempting to be positive.
* ''SonicTheHedgehog2SpecialEdition'' takes apart the very concept of LetsPlay. It starts by creating a game that [[WhatDoYouMeanItWasntMadeOnDrugs gradually gets more insane and bizarre as time goes on]], adds a narrator who spits out random nonsequiturs, all while parodying 90s pop culture. [[{{Postmodernism}} Then it starts playing with the]] FourthWall [[{{Postmodernism}} by having the narrator get in a conversation with an in game character, and making it unclear whether it's the narrator or the player character itself who's talking.]] The final boss fight consists of the player jumping on the word "logic" while the narrator says "Check it out! It's the last piece of logic left! ...Screw that noise."
* [[http://www.digital-brilliance.com/necron/necron.htm This website]] deconstructs the CthulhuMythos, specifically the Necronomicon. In essense it asks "what if it was a real book?" and builds from there, by looking for paralels between Judeo-Christian tradition and the CthulhuMythos (The Old Ones = The Giants from Genesis), it creates the content of the book, it then asks "what kind of person would write about such things in 730 AD?", thus Abdul Alhazred is what the Koran calls a "Sabian" and what western biblical scholars call a "Gnostic" a person with religous veiws related too, but radically different from mainstream Christianity, Islam and Judaism. It then builds a comprehesive history of how it got from the middle east and into the hands of western Occultists, and finally makes the assumption that while, yes Lovecraft wrote about it, he got only the name and the the author correct, having never read the book itself.
* Stardestroyer.net, as mentioned above in FanFic, deconstructs the seemingly utopian ''Franchise/StarTrek'' universe, pointing out holes.
* ''SailorNothing'' loves showing just how jarringly, horrifically, nightmarishly different the characters' lives are from MagicalGirl anime. Several of them even watch an exaggerated, stereotypical version of such shows; the main character actually watches it to escape her life.
* Who could forget [[http://youtube.com/watch?v=JpBGRA6HHtY this]] remarkable deconstruction of ''SuperMarioBros''?
* ''Machinima/RedVsBlue: The Blood Gulch Chronicles'' takes many first person shooter tropes and twists them. Everything from capture the flag, to why there are two bases in the middle of a box canyon with no strategic value, and [[DeathIsASlapOnTheWrist Respawn]]. Interestingly, the new series called ''Reconstruction'' is a deconstruction of the parodic nature of ''The Blood Gulch Chronicles.'' [[spoiler:Caboose is tied up in the brig due to his self destructive tendencies. Grif and Simmons face the firing squad after selling all the ammo to the Blue team. The reason that all the red and blue conflicts were pointless squabbling over an equally pointless flag and base is revealed to be a conspiracy by command.]] However, since that is a deconstruction of a deconstruction, arguably that makes it a {{Reconstruction}} as all the video game tropes are being put back together.
* The Wiki/SCPFoundation Wiki, although beginning as a creepypasta site, has largely evolved into a deconstruction on the UrbanFantasy genre, depicting a shadowy organization entirely devoted to capturing and imprisoning all of those magicians, psychics, and mystic artifacts that populate said settings, to maintain the status quo. It is made abundantly clear that this is for humanity's own good.
* FurryFandom works frequently portray an entire world as furry. [[http://www.sofurry.com/page/16447?contentlevel=all I Wish I Was Furry!]] shows what would happen if we woke up one day and the world actually was furry. The main character is even a human furry fan, like is typical for transformation stories. [[spoiler:[[{{Squick}} And a plushophile.]] (It's exactly what it sounds like.)]] A furryized world, as it happens, is dark and brutal.
* ''[[http://everything2.com/user/t3h_poker/writeups/Sonny+gets+Mad+Scienced Sonny Gets Mad Scienced]]'' is [[DeconstructiveParody the "humourous" type of deconstruction]]. It revolves around two central ideas; telling a MadScientist story from the perspective of one of the nameless subjects experimented on, and [[spoiler:being GenreSavvy doesn't always help.]]
* [[http://www.theonion.com/content/video/ultra_realistic_modern_warfare This video]] from ''TheOnion'' sends up the idea of video games becoming progressively more realistic by taking it to a logically deconstructive extreme with a "ultra realistic ''VideoGame/CallOfDuty: ModernWarfare 3''". It mostly involves sitting around and waiting.
* The WhateleyUniverse is a deceonstruction of the classic superhero/supervillain tropes, with mutants who have to obey real physical laws, some supervillains like Dr. Diabolik who are pretty far from the classic villain, and even some supers who are far from the classic hero.
* [[http://www.youtube.com/watch?v=sDX1m0Y2Vkg This video]] is a deconstruction of Pokémon. Yes, Pokémon. It is mostly played for laughs but there is a point about half-way through where Pikachu is bleeding as he's strangled by a Bulbasaur and it's played straight.
* ''TheOnion'''s ''WebVideo/SexHouse'' series does this quite brutally to {{Immoral Reality Show}}s. Not only are the contestants much [[HiddenDepths deeper and complex]] people than the shallow stereotypes the show desperately try to portray them as, [[spoiler:the producers' "indicatives" to cut corners on the budget and ensure sex and drama in order to get the precious high ratings rolling in, soon starts to take a massive toll on their [[SanitySlippage sanity]] and health]].
* ''Literature/FunnyBusiness'' deconstructs both the trope of [[GooGooGodlike a small child having godlike power]] ''and'' [[EnfantTerrible the most common way of doing so]]. The main character [[FirstEpisodeSpoiler is quickly revealed]] to be a RealityWarper, but she seems nice enough and doesn't appear to abuse her power all that much. It is eventually revealed that [[spoiler:when she was a child, she acted more or less like [[ItsAGoodLife Anthony Fremont]], causing people who annoyed her to disappear. However, this is only because a toddler doesn't have the mental or moral development to act unselfishly, and when she grows older [[note]]we're talking three years old, here[[/note]] she is disgusted with herself for being an EnfantTerrible and develops a major GuiltComplex over anything.]]
[[/folder]]

[[folder:Other]]
* ''Reductio Ad Absurdum'' is one of the major proof techniques; a style of argument that does this to its opposition. It takes the opponent's argument and logically follows it through to an absurd or indefensible conclusion.
* The well-known {{Aesop}} "BeCarefulWhatYouWishFor" operates in this way. Person X makes wish Y. Wish Y is granted to person X. Wish Y then manages to have sufficiently negative unintended consequences on person X's life that wish Y now looks like a ridiculous thing to wish for. Thus, Wish Y is deconstructed.
[[/folder]]
15th Apr '13 1:05:10 PM XFllo
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Added DiffLines:

* GenreDeconstruction/{{Film}}


Added DiffLines:

* GenreDeconstruction/{{Theatre}}
* GenreDeconstruction/VideoGames
15th Apr '13 12:59:33 PM XFllo
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[[index]]




to:

[[/index]]



[[folder:Western Animation]]
* There can be a very good case made for ''WesternAnimation/TheVentureBrothers'' being a deconstruction of ''JonnyQuest and DocSavage''-style [[TwoFistedTales stories]]. Some say spoof, some say deconstruction, some say [[DeconstructiveParody both]].
* ''WesternAnimation/LooneyTunes'' director Chuck Jones often used deconstruction on his cartoons. The best known example is ''DuckAmuck'': First the scenery changes, forcing Daffy to adapt. Then Daffy himself is erased and redrawn. Then the soundtrack fails, then the film frame, and so on until Daffy is psychologically picked clean. Another example is ''WesternAnimation/WhatsOperaDoc'', which takes the base elements of a typical Bugs Bunny cartoon and reassembles them as a Wagnerian opera. (Conversely, you could also say that it takes the base elements of Wagnerian opera and reassembles them as a Bugs Bunny cartoon.)
* ''WesternAnimation/FamilyGuy'' does a [[CrossesTheLineTwice particularly nasty]] deconstruction of ''WesternAnimation/LooneyTunes'' and its AmusingInjuries, wherein Elmer Fudd is out "hunting wabbits", shoots Bugs Bunny four times in the stomach, snaps his neck amidst cries of pain, and then drags him off leaving behind a trail of blood. In another episode where Peter and friends became Series/TheATeam, the show's "amusing injuries" are discussed as actually life-threatening.
** The second ChristmasEpisode deconstructs SantaClaus to NightmareFuel levels.
* The famous ''[[TheSimpsons Simpsons]]'' episode "Homer's Enemy" is a deconstruction of the general weirdness and insanity of its setting, based around the premise of ''What if a real-life, normal person had to enter Homer's universe and deal with him?'' Frank Grimes, a relatively humorless but hard-working man who is still forced to live cheaply despite working almost his entire life, encounters Homer on the job at the nuclear power. You can imagine what happens next - the result is funny, but also disturbing and very dark upon further reflection (one of the darkest ''Simpsons'' episodes ever made).
** At one point, Homer is about to drink a beaker of sulfuric acid when Grimes stops him. Grimes reacts ''exactly'' as we would expect a normal person to react -- he's visibly freaked out, and when Homer blows off the danger with laughter, he shouts, " ''Stop laughing,'' you imbecile! Do you realize how close you just came to killing yourself?!" A series of such incidents ultimately drives Frank Grimes into insanity [[spoiler:and death]].
*** The episode eventually winds up in CrossesTheLineTwice territory when, [[spoiler: at Frank's funeral, the "mourners" do not cry but rather laugh when Homer dozes off and mumbles some idiotic gibberish. Even the minister.]]
** The episode also highlights the absurdity of one man having such a rich and adventurous life (meeting Gerald Ford, winning a Grammy, ''going into space''...)
* The ''WesternAnimation/EdEddNEddy'' episode "1+ 1=Ed" is a deconstruction of how cartoons work, similar to DuckAmuck.
* ''IronManArmoredAdventures'' offers an interesting take on the teenage superhero genre in the fact the hero really couldn't care any less about school or fitting in, claiming it's a waste of time and instead stating that his work as a hero is more important. He then proceeds to cheat on his tests and homework in order to pass, since him being a hero gives him the latitude to do so, and high school is meaningless and doesn't matter once you graduate, especially since he's already a)rich, and b)a genius inventor.
* "Epilogue" of ''JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
** It also deconstructs the classic Batman origin: Waller plans to kill Terry's parents when he's a boy, but when the assassin she hires ([[ContinuityNod Andrea Beaumont]], [[WesternAnimation/BatmanMaskOfThePhantasm the Phantasm]]) refuses to go through with it, Waller realizes that whatever her goals, it wasn't worth it, and she's pleased that Terry has become a much more sane and stable superhero because he had a chance for a normal childhood.
* ''MoralOrel'' deconstructs TheMoralSubstitute but presenting a culture where ALL MEDIA are Christian fundamentalist propaganda, and showing just how messed up and [[NightmareFuel disturbing]] said culture would be.
* The ''WesternAnimation/YoungJustice'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
** Later episodes try to convey that being a teen superhero is not all fun and games, as we learn that [[spoiler: Aquagirl, Jason Todd, and the previous BlueBeetle]] have all been killed in action during the five year TimeSkip between seasons one and two. Upon this revelation, the line between superheroes and ChildSoldiers begins to blur even more.
* The episode of ''ThePowerpuffGirls'' about them moving to "Citysville" deals with what would happen if their brand of heroics was applied to a real life city.
* ''WesternAnimation/SouthPark'', as well as deconstructing everything else on the planet, has a fine line in deconstructing itself. In "Kenny Dies", the RunningGag character they had [[TheyKilledKenny killed over seventy times already]] gets a terminal disease and slowly expires while Stan and Kyle react with utterly realistic grief and despair.
* The ''JimmyNeutron'' [[TheMovie movie]] deconstructs the [[ThereAreNoAdults "no parents would be great"]] trope by having difficulties pop up the very next day. A girl gets injured, everyone gets chronically lonely, and people get sick from eating nothing but bad food.
* "It's Oppo", a student film made by Cal Arts student Tyler Chen, deconstructs Nick Jr., as well as preschool television programs and morally unscrupulous media companies in general. Watch it [NSFW]: [http://vimeo.com/11573607]
* In ''{{Undergrads}}'', college dorm life is deconstructed to counter its inspiration ''AnimalHouse''; Rocko's [[WackyFratboyHijinx Fratboy behavior]] is looked down on heavily by his frat brothers, who view him as a source of grief. Nitz' everyman status really puts only a grade above [[ThisLoserIsYou Gimpy]], the resident {{Hikikomori}} of the 4 of them.
* ''TransformersAnimated'' is a deconstruction of the whole Autobot-Decepticon War. Things ain't so [[BlackAndWhiteMorality black and white]] as before, in fact the Autobots' leadership is flawed and somewhat corrupt, with one higly racist, incompetent, cowardly jerkass general on it, who only is amongst the High Command because he blames his mistakes on Optimus Prime, whose status as TheMessiah makes him somewhat of a push-over, and its leader is ready to commit dirty tricks to defeat the Decepticons. The Decepticons however, are as much the monsters they were in G1, and though this time Megatron's pragmatic enough to blast [[TheStarscream Starscream's]] ass any time he tries to overthrow him. Starscream only survives thanks to the Allspark piece on his head. [[AcceptableBreaksFromReality Without it he would have died right from the start]]. Then comes the [[DarkerAndEdgier season]] [[AnyoneCanDie three]]...
* ''"Hey Good Lookin'"'' by RalphBakshi (who else) is one big Deconstruction and TakeThat against anyone who believes that the [=1950s=] were really just like ''{{Grease}}'' or ''HappyDays''. The main character is ostensibly as cool as The Fonz but actually a DirtyCoward who can't back up his bragging, the PluckyComicRelief is actually a racist sociopath, their gang aren't really TrueCompanions despite looking like it, the supposed BigBad never [[MindScrew explictly]] does anything really bad and the ending's BrokenAesop is intentional about the [[SatelliteLoveInterest "Romance"]] between the main character and Rozzie.
* ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', being the self-aware show that it is, devotes its premiere episode to [[DeconstructiveParody comedically deconstructing]] the premise of [[MyLittlePony its parent franchise]] and the [[GirlShowGhetto "little girls' cartoon"]] genre which its predecessors [[TropeCodifier codified]] by asking what happens when [[SugarBowl a setting where everyone is friends with each other by default]] plays host to someone who isn't interested in friendship. Enter the introverted (and somewhat conceited) Twilight Sparkle, who is dumped in Ponyville and left to [[MetaGuy react as any of the sane, adult human beings]] [[PeripheryDemographic who may be watching]] would if placed amidst the [[CloudCuckoolander colorful characters]] that inhabit such a world: with bewildered frustration. Throughout the episode, the other ponies' overzealous attempts to befriend Twilight merely drive her to ever-greater seclusion and jadedness in their unwitting validation of her cynical worldview. The close of the episode is a DownerEnding where [[FallenAngel Nightmare]] [[MadGod Moon]] (who acts as a dark counterpart to Twilight thanks to her past exclusion turning her into an [[OmnicidalManiac omnicidal]] WoobieDestroyerOfWorlds) demonstrates the [[CrapsaccharineWorld inherent dangers]] of the fantasy setting that helps Equestria exist in such perfect harmony by [[SugarApocalypse plunging the world into]] TheNightThatNeverEnds. Miraculously enough, [[DeconReconSwitch the following episode]] manages to [[{{Reconstruction}} reconstruct]] every last one of these elements [[IncrediblyLamePun with flying colors]].
** [[OncePerEpisode Normal episodes]] end with Twilight Sparkle sending [[AnAesop a message]] to her mentor Princess Celestia about [[AndKnowingIsHalfTheBattle what she learned about friendship that day]], satisfying the [[EdutainmentShow Edutainment quota]] for the week. The episode "[[Recap/MyLittlePonyFriendshipIsMagicS2E3LessonZero Lesson Zero]]" specifically begs the [[BrokenAesop Aesop-breaking]] question: "What happens if there was no friendship message to write about?" Thus begins one of the most bizarre, NightmareFuel-loaded episodes of the series when our [[SanityBall normally]] [[OnlySaneMan calm and collected]] (and [[SarcasmMode slightly]] [[SuperOCD OCD]]) Twilight races to find, and eventually ''create'', a friendship problem to report about. Ultimately, an Aesop about missing the Aesop is arrived at, and [[WhamEpisode introduces a running change]] where any of Twilight's friends can provide the Aesop (likely as a way to avoid having to shoehorn in Twilight into every episode).
* ''ScoobyDooMysteryIncorporated'' deconstructs just about every one of the franchise's most iconic tropes.
* Along the same lines as the ''Scooby-Doo'' example above is ''WesternAnimation/TransformersPrime,'' which takes a grittier spin on the ''{{Transformers}}'' series.
* ''{{Archer}}'' goes through cold-war spy tropes like adamantium claws through butter.
* ''WesternAnimation/AvatarTheLastAirbender'' deconstructed the KidHero and FreeRangeChildren tropes. One moment, the viewer is rooting for their favourite character in the awesome SupernaturalMartialArts fights - then the viewer is [[TearJerker painfully reminded]] [[EarthIsABattlefield just why]] [[ParentalAbandonment a group of teens and kids]] have the [[TheExile freedom]] and [[ChildSoldier ability]] to travel all over the world. Same thing goes for the villains - one moment the viewer is hoping for somebody to kick Azula's ass, [[TearJerker then she sees her mother in the mirror...]] ''ComicBook/AvatarTheLastAirbenderThePromise'' goes even further with the deconstruction.
[[/folder]]
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