History Main / Reconstruction

16th Dec '17 2:44:25 PM kjnoren
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* A lot of ''Literature/PrincessHolyAura'' deals with the ethics and morality of sending young teenagers into battle, and how such a girl would have to interact with school and family. The working title for the novel makes this explicit: "The Ethical Magical Girl".
9th Dec '17 3:55:20 AM RedScharlach
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** Other earlier reconstructions include the '80s show ''Anime/{{Dancougar}}'', which combined the old-school SuperRobot formula with RealRobot-style sensibilities, and ''Anime/GunBuster'', which has been described as "A SuperRobot show disguised as a RealRobot show", and succeeds in once again getting viewers to marvel at the title robot's awesome power.[[UnbuiltTrope in fact]], if ''Anime/MazingerZ'' was not the TropeCodifier for the SuperRobot genre, it would seem like a {{Deconstruction}} or parody. [[note]]TheProfessor (in the original manga) was a MadScientist nearly as mad as the BigBad, and said BigBad is a WoobieDestroyerOfWorlds; the main character nearly destroys the town while he's trying to figure out how to pilot the mecha (and in the anime he was close to accidently stomping his little brother into paste), he almost got killed in his first battle because he had no idea of how to handle it (and he only survived because Mazinger-Z was so powerful) and took a long time to learn how to pilot Mazinger; Kouji got his CoolHelmet and and LatexSpaceSuit to protect his body because the mecha, though nearly indestructible, didn't provide much safety for the pilot inside; Mazinger needed to be constantly upgraded and improved because the BigBad mechas kept on getting stronger and more dangerous and attacking its weak points; TheHero and his LoveInterest nearly got killed several times [[BelligerentSexualTension due to their quarrels]] diminishing their combat effectiveness; people DID NOT appreciate the destruction and death toll caused by the battles between HumongousMecha, and often blamed the heroes; and the BigBad is smart enough to send the [[{{Robeast}} "Mechanical Beasts"]] in groups to attack Mazinger, try alternate strategies or improve on effective tactics. And that's before [[WhamEpisode the villains take over a Japanese village in a very Nazi-like manner, including a systematic slaughter of the civilians that they considered "useless" and usage of the women of the village as human shields for their latest Mechanical Beast]]. And then you have that, at the end, [[spoiler:the heroes are defeated, Mazinger Z and all mechas are destroyed, and the base is demolished.]] Keeping in mind ''Anime/GreatMazinger'' was DarkerAndEdgier, Creator/GoNagai's penchant for {{Gorn}}, ''Manga/GetterRobo'' is in reality is a CosmicHorrorStory, and ''Anime/{{Zambot 3}}'' was already deconstructing the genre back in 1977, we can conclude the HumongousMecha genre has been going through a constant cycle of Deconstruction and Reconstruction since its birth. [[/note]]

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** Other earlier reconstructions include the '80s show ''Anime/{{Dancougar}}'', which combined the old-school SuperRobot formula with RealRobot-style sensibilities, and ''Anime/GunBuster'', which has been described as "A SuperRobot show disguised as a RealRobot show", and succeeds in once again getting viewers to marvel at the title robot's awesome power.[[UnbuiltTrope in fact]], if ''Anime/MazingerZ'' was not the TropeCodifier for the SuperRobot genre, it would seem like a {{Deconstruction}} or parody. [[note]]TheProfessor (in the original manga) was a MadScientist nearly as mad as the BigBad, and said BigBad is a WoobieDestroyerOfWorlds; the main character nearly destroys the town while he's trying to figure out how to pilot the mecha (and in the anime he was close to accidently accidentally stomping his little brother into paste), he almost got killed in his first battle because he had no idea of how to handle it (and he only survived because Mazinger-Z was so powerful) and took a long time to learn how to pilot Mazinger; Kouji got his CoolHelmet and and LatexSpaceSuit to protect his body because the mecha, though nearly indestructible, didn't provide much safety for the pilot inside; Mazinger needed to be constantly upgraded and improved because the BigBad mechas kept on getting stronger and more dangerous and attacking its weak points; TheHero and his LoveInterest nearly got killed several times [[BelligerentSexualTension due to their quarrels]] diminishing their combat effectiveness; people DID NOT appreciate the destruction and death toll caused by the battles between HumongousMecha, and often blamed the heroes; and the BigBad is smart enough to send the [[{{Robeast}} "Mechanical Beasts"]] in groups to attack Mazinger, try alternate strategies or improve on effective tactics. And that's before [[WhamEpisode the villains take over a Japanese village in a very Nazi-like manner, including a systematic slaughter of the civilians that they considered "useless" and usage of the women of the village as human shields for their latest Mechanical Beast]]. And then you have that, at the end, [[spoiler:the heroes are defeated, Mazinger Z and all mechas are destroyed, and the base is demolished.]] Keeping in mind ''Anime/GreatMazinger'' was DarkerAndEdgier, Creator/GoNagai's penchant for {{Gorn}}, ''Manga/GetterRobo'' is in reality is a CosmicHorrorStory, and ''Anime/{{Zambot 3}}'' was already deconstructing the genre back in 1977, we can conclude the HumongousMecha genre has been going through a constant cycle of Deconstruction and Reconstruction since its birth. [[/note]]



* ''Anime/DualParallelTroubleAdventure'' managed to give us all the Evangelion-esc action without the Evangelion-esc drama and MindScrew by featuring well-adjusted protagonists and incorporating lots of humor.

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* ''Anime/DualParallelTroubleAdventure'' managed to give us all the Evangelion-esc Evangelion-esque action without the Evangelion-esc Evangelion-esque drama and MindScrew by featuring well-adjusted protagonists and incorporating lots of humor.



* ''[[http://alaxr274.deviantart.com/gallery/33810717 Super Milestone Wars]]'' and it's sequel is a reconstruction of the DeconstructionCrossover trope itself.

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* ''[[http://alaxr274.deviantart.com/gallery/33810717 Super Milestone Wars]]'' and it's its sequel is a reconstruction of the DeconstructionCrossover trope itself.



* Even as far back as ''{{Disney/Aladdin}}'', Jasmine served as a Reconstruction of the Princess Classic. It was the first Princess film to address some of the hardships associated with the title - Jasmine has never left the palace, she's never known true friendship and she's bound by the law to marry someone even if she doesn't want to. But she realises that there are advantages to having the authority as a Princess.

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* Even as far back as ''{{Disney/Aladdin}}'', Jasmine served as a Reconstruction of the Princess Classic. It was the first Princess film to address some of the hardships associated with the title - Jasmine has never left the palace, she's never known true friendship and she's bound by the law to marry someone even if she doesn't want to. But she realises that there are advantages to having the authority as of a Princess.



** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding {{Mordor}}, TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's way to heavily examine many tropes associated with so-called "evil empires", even to the point of [[DefiedTrope defying]] numerously-held conventions with them.

to:

** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding {{Mordor}}, TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's its way to heavily examine many tropes associated with so-called "evil empires", even to the point of [[DefiedTrope defying]] numerously-held widely-held conventions with them.
7th Dec '17 10:46:29 AM DarkPhoenix94
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* Peculiarly, ''Fanfic/ChildOfTheStorm''. On the face of it, it's a classic DeconstructionCrossover that neatly takes apart every single trope associated with the [[FandomSpecificPlot Lord!Harry, DifferentParents!Harry, Super!Harry and God!Harry]] and a fair few superhero tropes, introducing a hefty wodge of moral ambiguity of the GreyAndBlackMorality flavour, with an epic GambitPileup featuring [[TheChessmaster chessmasters galore]], while demonstrating the kind of carnage that superpowered violence can potentially wreak and the psychological damage that Harry has suffered thanks to the Dursleys and a lingering sense of abandonment (not that Thor had any choice about it. He didn't even remember being James Potter thanks to a really very necessary mind wipe) while not being a major feature, is ever present. Yet, in doing so, it also reconstructs the idea of heroes in general. In the deconstruction of the FandomSpecificPlot, it demonstrates that ultimately, Harry is Harry. Yes, the circumstances are going to lead to some changes - he's more of a snarker (possibly of the StepfordSnarker variety), he's more assertive and more confident, expressing his emotions more (this is not always a good thing). He's got more power to call on. But he is very recognisably the same person, not automatically becoming nigh invincible, super intelligent and TheCasanova. As the story repeatedly stresses, despite everything going for him, he is a damaged 13 year old boy making his way in the world, and he's sometime a little overwhelmed by it all.

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* Peculiarly, ''Fanfic/ChildOfTheStorm''. On the face of it, it's a classic DeconstructionCrossover that neatly takes apart every single trope associated with the [[FandomSpecificPlot Lord!Harry, DifferentParents!Harry, Super!Harry and God!Harry]] and a fair few superhero tropes, introducing a hefty wodge of moral ambiguity of the GreyAndBlackMorality flavour, with an epic GambitPileup featuring [[TheChessmaster chessmasters galore]], while demonstrating the kind of carnage that superpowered violence can potentially wreak and the psychological damage that Harry has suffered thanks to the Dursleys and a lingering sense of abandonment (not that Thor had any choice about it. He didn't even remember being James Potter thanks to a really very necessary mind wipe) while not being a major feature, is ever present. Yet, in doing so, it also reconstructs the idea of heroes in general. In the deconstruction of the FandomSpecificPlot, it demonstrates that ultimately, Harry is Harry. Yes, the circumstances are going to lead to some changes - he's more of a snarker (possibly of the StepfordSnarker variety), he's more assertive and more confident, expressing his emotions more (this is not always a good thing). He's got more power to call on. But he is very recognisably the same person, not automatically becoming nigh invincible, super intelligent and TheCasanova. As the story repeatedly stresses, despite everything going for him, he is a damaged 13 year old boy making his way in the world, and he's sometime sometimes a little overwhelmed by it all.all, but he will ultimately always try to do the right thing.
27th Nov '17 4:06:47 PM thatmadork
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* ''Film/KingsmanTheSecretService'' reconstructs and [[AffectionateParody affectionately parodies]] Roger Moore's [[Franchise/JamesBond Bond]] spy films, and also campy spy films in general. It's got it all: the silly (but still quite dangerous) villain with an evil plan to destroy the world as we know it, the exotic foreign henchwoman, the wacky disguised weapon gadgets, the TuxedoAndMartini, the SoundtrackDissonance and the unapologetic old British Tory ethos that even the Bond films only hinted at. On the other hand, the villain is GenreSavvy, every female character is three-dimensional and written and presented in a highly respectful fashion[[note]]neither Roxy and Gazelle are sexualised, and even the Swedish princess Eggsy [[RescueSex gets sexytime from at the end]] actually propositions ''to him'' - he only wanted a SmoochOfVictory from her[[/note]], and [[SlobsVersusSnobs class conflict is a recurring theme]][[note]]the main character comes from a working-class background, and the film is of course slightly more sympathetic to slobs, but both slobs and snobs are shown to have their good and bad guys[[/note]].
23rd Nov '17 4:51:51 AM jormis29
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* Some Westerns seem to be attempts at this (''Film/ThreeTenToYuma2007'', ''Appaloosa'') in contrast to some of the more post-modern examples of the genre (such as ''Film/NoCountryForOldMen'' and ''Film/TheProposition''). Or they may be seen as straddling the middle ground between {{Deconstruction}} and Reconstruction.

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* Some Westerns seem to be attempts at this (''Film/ThreeTenToYuma2007'', ''Appaloosa'') ''Film/{{Appaloosa}}'') in contrast to some of the more post-modern examples of the genre (such as ''Film/NoCountryForOldMen'' and ''Film/TheProposition''). Or they may be seen as straddling the middle ground between {{Deconstruction}} and Reconstruction.
10th Nov '17 1:00:26 PM FordPrefect
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** After the years and years of mockery and criticism of the Daleks, mainly regarding their impractical design and their weapons, the episode [[Recap/DoctorWhoS27E6Dalek "Dalek"]] addresses these criticisms to return the Daleks back into their previous threat level, by taking these criticisms and turning them on their head.

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** After the years and years of mockery and criticism of the Daleks, mainly regarding their impractical design and their weapons, the episode [[Recap/DoctorWhoS27E6Dalek "Dalek"]] addresses these criticisms to return the Daleks back into to their previous threat level, by taking these criticisms and turning them on their head.
10th Nov '17 12:59:05 PM FordPrefect
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* ''Film/BatmanVSupermanDawnOfJustice'' starts out as a deconstruction of the two characters, however it eventually gives way to being a reconstruction in how brings both of them back to something closer to their classic forms. Consider how much each's characterization at first aligns to how a bunch of people complain about them on the internet, often in the name of "realism". Superman is a figure with so much power that people have trouble relating to him on a human level and without it completely under control accidentally contributes to the loss of lives during the battle between he and Zod in Metropolis. Batman rather than being the noble hero with a strict no killing policy is here more unhinged at first, being more jaded and perfectly willing to kill even someone like Superman. However by the end Superman proves that he can live up to the ideal he's supposed to represent by willingly sacrificing himself to destroy Doomsday which brings about him the adoration of the masses that he usually receives. Batman begins to renounce his more extreme ways as shown by his decision not to give Lex Luthor the Bat-Brand and how he's now willing to work with metahumans to the point that he decides to put a team of them together in order to continue Superman's mission in his stead. ''Film/{{Justice League|2017}}'' will most likely complete the Reconstruction.

to:

* ''Film/BatmanVSupermanDawnOfJustice'' starts out as a deconstruction of the two characters, however it eventually gives way to being a reconstruction in how it brings both of them back to something closer to their classic forms. Consider how much each's characterization at first aligns to how a bunch of people complain about them on the internet, often in the name of "realism". Superman is a figure with so much power that people have trouble relating to him on a human level level, and without it completely under control control, accidentally contributes to the loss of lives during the battle between he him and Zod in Metropolis. Batman Batman, rather than being the noble hero with a strict no killing policy no-killing policy, is here more unhinged at first, being more jaded and perfectly willing to kill even someone like Superman. However by the end Superman proves that he can live up to the ideal he's supposed to represent by willingly sacrificing himself to destroy Doomsday Doomsday, which brings about him the adoration of the masses that he usually receives. Batman begins to renounce his more extreme ways ways, as shown by his decision not to give Lex Luthor the Bat-Brand and how he's now willing to work with metahumans metahumans, to the point that he decides to put a team of them together in order to continue Superman's mission in his stead. ''Film/{{Justice League|2017}}'' will most likely complete the Reconstruction.



* ''Film/{{Clueless}}'' is a reconstruction of Teen Movies after the bitter deconstruction of ''Film/{{Heathers}}''. While also taking some time out to reconstruct Creator/JaneAusten by way of [[FilmOfTheBook adapting]] ''{{Literature/Emma}}'' into a modern-day setting where it actually more-or-less works.

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* ''Film/{{Clueless}}'' is a reconstruction of Teen Movies after the bitter deconstruction of ''Film/{{Heathers}}''. While ''Film/{{Heathers}}'', while also taking some time out to reconstruct Creator/JaneAusten by way of [[FilmOfTheBook adapting]] ''{{Literature/Emma}}'' into a modern-day setting where it actually more-or-less works.



** The Daniel Craig movies gradually undergo this process; ''Film/CasinoRoyale2006'' begins the process of deconstruction by placing Bond in a more gritty, 'modern' setting, and ''Film/{{Skyfall}}'' begins with raising the question of whether the typical Bond-style hero is necessary or even relevant in a modern setting, before gradually reintroducing a lot of the traditional elements of the Bond series that had disappeared over the Dalton, Brosnan and Craig movies. As M argues during her Parliamentary hearing, the end of the Cold War has ''not'' made the intelligence services irrelevant; if anything, MI6 is even ''more'' relevant in the age of UsefulNotes/TheWarOnTerror, when Britain's enemies can hide anywhere and strike at anytime.

to:

** The Daniel Craig movies gradually undergo this process; ''Film/CasinoRoyale2006'' begins the process of deconstruction by placing Bond in a more gritty, 'modern' setting, and ''Film/{{Skyfall}}'' begins with raising the question of whether the typical Bond-style hero is necessary or even relevant in a modern setting, before gradually reintroducing a lot of the traditional elements of the Bond series that had disappeared over the Dalton, Brosnan and Craig movies. As M argues during her Parliamentary hearing, the end of the Cold War has ''not'' made the intelligence services irrelevant; if anything, MI6 is even ''more'' relevant in the age of UsefulNotes/TheWarOnTerror, when Britain's enemies can hide anywhere and strike at anytime.any time.
10th Nov '17 12:54:30 PM FordPrefect
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* In the wake of such incidents as the steroids scandal, numerous sudden deaths of wrestlers under fifty and the Wrestling/ChrisBenoit murder-suicide, the WWE started trying to distance itself from the dark and gritty Wrestling/AttitudeEra and clean up it's image, moving back to the cartoonish and family friendly programming of TheEighties and [[TheNineties Early Nineties]]; banning blading, pushing squeaky-clean stars like ReyMysterio and Wrestling/JohnCena and forbidding moves like chairshots to the head or piledrivers to make wrestling safer. The movement has been pretty controversial among fans, and it's debatable how much success they've had, but they're making a lot of money off it so they're unlikely to stop any time soon.
* The women of NXT went a long way towards reconstructing women's wrestling in WWE. After years of {{Chickification}} and emphasis on {{Fanservice}}, the women were allowed to wrestle. The women had the talent and tenacity of the stars of the 80s, while also the glamour and character of the Divas of the Attitude Era.

to:

* In the wake of such incidents as the steroids scandal, numerous sudden deaths of wrestlers under fifty and the Wrestling/ChrisBenoit murder-suicide, the WWE started trying to distance itself from the dark and gritty Wrestling/AttitudeEra and clean up it's its image, moving back to the cartoonish and family friendly programming of TheEighties and [[TheNineties Early Nineties]]; banning blading, pushing squeaky-clean stars like ReyMysterio and Wrestling/JohnCena Wrestling/JohnCena, and forbidding moves like chairshots to the head or piledrivers to make wrestling safer. The movement has been pretty controversial among fans, and it's debatable how much success they've had, but they're making a lot of money off it so they're unlikely to stop any time soon.
* The women of NXT went a long way towards reconstructing women's wrestling in WWE. After years of {{Chickification}} and emphasis on {{Fanservice}}, the women were allowed to wrestle. The women had the talent and tenacity of the stars of the 80s, while also combined with the glamour and character of the Divas of the Attitude Era.
10th Nov '17 11:28:15 AM CalamityRaven26
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** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding ((Mordor)), TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's way to heavily examine many tropes associated with so-called "evil empires", even to the point of [[DefiedTrope defying]] numerously-held conventions with them.

to:

** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding ((Mordor)), {{Mordor}}, TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's way to heavily examine many tropes associated with so-called "evil empires", even to the point of [[DefiedTrope defying]] numerously-held conventions with them.
10th Nov '17 11:27:54 AM CalamityRaven26
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** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding ((Mordor)), TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's way to reconstruct the "evil empire" cliche, even to the point of [[DefiedTrope defying]] numerously-held conventions with darkness.

to:

** ''[[VideoGame/FireEmblemFates Fire Emblem Fates: Conquest]]'' manages to reconstruct a lot of tropes surrounding ((Mordor)), TheEmpire and DarkIsNotEvil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": [[DeathWorld the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits]], the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting BlackAndWhiteMorality in comparison to the [[{{Arcadia}} Arcadian]] [[{{Wutai}} Hoshido]], ''Fates'' goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in ''Conquest'' are outright [[NiceGuy Nice Guys/Girls]] at best ([[ForGreatJustice Arthur]], [[GentleGiant Benny]], [[BigEater Eff]][[KnightInShiningArmor ie]], [[LittleSisterHeroine Elise]], [[{{Adorkable}} Le]][[BadassBookworm o]] and [[KnightInShiningArmor Xan]][[TheWisePrince der]]) and CreepyGood at the very worst ([[{{Sadist}} Nil]][[JerkWithAHeartOfGold es]], [[BloodKnight Kea]][[FriendToAllLivingThings ton]], [[GoldDigger Char]][[KnightInSourArmor lotte]], [[MyBelovedSmother Cami]][[CoolBigSis lla]] and [[{{Womanchild}} Pe]][[TragicMonster ri]]). Even the unnamed Nohrian soldiers [[PunchClockVillain are merely doing their jobs]], and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, [[spoiler:the tyrant was GoodAllAlong and only turned evil due to expiring and being possessed by a literal GodOfEvil.]] While Nohr seems to be the perfect set-up for blatant BlackAndWhiteMorality, ''Conquest'' goes out of it's way to reconstruct the heavily examine many tropes associated with so-called "evil empire" cliche, empires", even to the point of [[DefiedTrope defying]] numerously-held conventions with darkness.them.
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http://tvtropes.org/pmwiki/article_history.php?article=Main.Reconstruction