History Main / UnbuiltTrope

29th Apr '16 4:12:56 AM aye_amber
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* Music/{{KISS}} have long been perceived as a silly subversion of the HeavyMetal genre, specifically in their performance of music that is [[ScaryMusicianHarmlessMusic usually nowhere near as grotesque as their appearance would suggest]]. In fact, along with Music/AliceCooper, they ''created'' the metal stereotypes, and thus were free to tweak them as much as they wished. In fact, early Kiss were unsure of what ''their own sound'' should be; ironically, their earliest albums hardly sound like they are by Kiss at all: their debut album from early 1974 sounds more like a Music/TheRollingStones record, particularly on the tracks “Firehouse” and “Cold Gin.” Their second album, ''Hotter Than Hell'', is radically experimental and innovative, with songs that [[ValuesResonance seem to predict the future]], anticipating thrash and death metal (“Parasite”) and the “grunge” alternative style of [[TheNineties Nineties]] groups like PearlJam (“Goin’ Blind”, “Got to Choose”). Not until their third album (''Dressed to Kill'') would Kiss really begin to promote their trademark high-energy “power-pop” style; and not until their fourth album (''Destroyer'') would they embrace it fully (and even that album had the soft ballad "Beth" on it).

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* Music/{{KISS}} have long been perceived as a silly subversion of the HeavyMetal genre, specifically in their performance of music that is [[ScaryMusicianHarmlessMusic usually nowhere near as grotesque as their appearance would suggest]]. In fact, along with Music/AliceCooper, they ''created'' the metal stereotypes, and thus were free to tweak them as much as they wished. In fact, early Kiss were unsure of what ''their own sound'' should be; ironically, their earliest albums hardly sound like they are by Kiss at all: their debut album from early 1974 sounds more like a Music/TheRollingStones record, particularly on the tracks “Firehouse” and “Cold Gin.” Their second album, ''Hotter Than Hell'', is radically experimental and innovative, with songs that [[ValuesResonance seem to predict the future]], anticipating thrash and death metal (“Parasite”) and the “grunge” alternative style of [[TheNineties Nineties]] groups like PearlJam Music/PearlJam (“Goin’ Blind”, “Got to Choose”). Not until their third album (''Dressed to Kill'') would Kiss really begin to promote their trademark high-energy “power-pop” style; and not until their fourth album (''Destroyer'') would they embrace it fully (and even that album had the soft ballad "Beth" on it).
25th Apr '16 11:33:32 PM aye_amber
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* Music/{{KISS}} have long been perceived as a silly subversion of the HeavyMetal genre, specifically in their performance of music that is [[ScaryMusicianHarmlessMusic usually nowhere near as grotesque as their appearance would suggest]]. In fact, along with Music/AliceCooper, they ''created'' the metal stereotypes, and thus were free to tweak them as much as they wished. In fact, early Kiss were unsure of what ''their own sound'' should be; ironically, their earliest albums hardly sound like they are by Kiss at all: their debut album from early 1974 sounds more like a Music/RollingStones record, particularly on the tracks “Firehouse” and “Cold Gin.” Their second album, ''Hotter Than Hell'', is radically experimental and innovative, with songs that [[ValuesResonance seem to predict the future]], anticipating thrash and death metal (“Parasite”) and the “grunge” alternative style of [[TheNineties Nineties]] groups like PearlJam (“Goin’ Blind”, “Got to Choose”). Not until their third album (''Dressed to Kill'') would Kiss really begin to promote their trademark high-energy “power-pop” style; and not until their fourth album (''Destroyer'') would they embrace it fully (and even that album had the soft ballad "Beth" on it).

to:

* Music/{{KISS}} have long been perceived as a silly subversion of the HeavyMetal genre, specifically in their performance of music that is [[ScaryMusicianHarmlessMusic usually nowhere near as grotesque as their appearance would suggest]]. In fact, along with Music/AliceCooper, they ''created'' the metal stereotypes, and thus were free to tweak them as much as they wished. In fact, early Kiss were unsure of what ''their own sound'' should be; ironically, their earliest albums hardly sound like they are by Kiss at all: their debut album from early 1974 sounds more like a Music/RollingStones Music/TheRollingStones record, particularly on the tracks “Firehouse” and “Cold Gin.” Their second album, ''Hotter Than Hell'', is radically experimental and innovative, with songs that [[ValuesResonance seem to predict the future]], anticipating thrash and death metal (“Parasite”) and the “grunge” alternative style of [[TheNineties Nineties]] groups like PearlJam (“Goin’ Blind”, “Got to Choose”). Not until their third album (''Dressed to Kill'') would Kiss really begin to promote their trademark high-energy “power-pop” style; and not until their fourth album (''Destroyer'') would they embrace it fully (and even that album had the soft ballad "Beth" on it).
23rd Apr '16 8:43:05 PM aye_amber
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* While ''BladeRunner'' (1982) is the TropeCodifier of CyberPunk films, it is essentially a FilmNoir [[RecycledInSpace remade with a cyberpunk backdrop]]. It also takes the ArtificialHuman concept further than most later works; when the film starts, replicants have already been invented, extensively introduced, and gone rogue; the plot is about ''destroying'' some of them; a ''literal'' deconstruction. FantasticRacism is also lampshaded in the introduction, before any replicant even enters the set.

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* While ''BladeRunner'' ''Film/BladeRunner'' (1982) is the TropeCodifier of CyberPunk films, it is essentially a FilmNoir [[RecycledInSpace remade with a cyberpunk backdrop]]. It also takes the ArtificialHuman concept further than most later works; when the film starts, replicants have already been invented, extensively introduced, and gone rogue; the plot is about ''destroying'' some of them; a ''literal'' deconstruction. FantasticRacism is also lampshaded in the introduction, before any replicant even enters the set.
20th Apr '16 1:17:10 AM Morgenthaler
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* The TropeCodifier for GunKata, ''Film/{{Equilibrium}}'', unlike the many works that since imitated it, actually provided an in-universe explanation for the fighting style. Since the Grammaton Clerics are agents with perfect emotional control, they are able to use that ability to perfectly read what the attackers next move is going to be, and thus position their bodies out of the predicted trajectory of return fire, resulting in the many poses and stances the art creates. Notably, the art performed by the main protagonist, John Preston, gradually becomes less robotic and more fluid as he starts to become attuned with his emotions, culminating in the hallway fight, where he exceeds the other Clerics due to channeling all his emotions into TranquilFury. Very few works give such an explanation for this fighting style beyond RuleOfCool (though considering how implausible it is, the explanation given in the film may also come across as simple cool factor as well).

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* The ''Film/{{Equilibrium}}'':
** As the
TropeCodifier for GunKata, ''Film/{{Equilibrium}}'', unlike the many works that since imitated it, it actually provided an in-universe explanation for the fighting style. Since the Grammaton Clerics are agents with perfect emotional control, they are able to use that ability to perfectly read what the attackers next move is going to be, and thus position their bodies out of the predicted trajectory of return fire, resulting in the many poses and stances the art creates. Notably, the art performed by the main protagonist, John Preston, gradually becomes less robotic and more fluid as he starts to become attuned with his emotions, culminating in the hallway fight, where he exceeds the other Clerics due to channeling all his emotions into TranquilFury. Very few works give such an explanation for this fighting style beyond RuleOfCool (though considering how implausible it is, the explanation given in the film may also come across as simple cool factor as well).
13th Apr '16 4:56:11 AM stephantom
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** ''Film/DirtyHarry'' also qualifies as an unbuilt trope. Harry's methods aren't actually shown all that positively. His JackBauerInterrogationTechnique on the Scorpio Killer is [[GoryDiscretionShot downright horrific]] and ends up doing no good. And in the end [[spoiler:he throws away his badge after disregarding orders and endangering innocents]].

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** ''Film/DirtyHarry'' also qualifies as an unbuilt trope. Harry's methods aren't actually shown all that positively. His JackBauerInterrogationTechnique on the Scorpio Killer is [[GoryDiscretionShot downright horrific]] and ends up doing no good. And in the end [[spoiler:he throws away his badge after disregarding orders and endangering innocents]].innocents, although it's not necessarily clear that he is punishing himself, rather than rejecting the system that would not have stopped Scorpio]].
7th Apr '16 3:23:00 PM TheMightyHeptagon
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* ''Film/{{Metropolis}}'' is one of the first science fiction movies ever, set in a futuristic city dominated by technology. It uses this backdrop to comment on unionized labor.

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* ''Film/{{Metropolis}}'' is one of the first science fiction movies ever, set in a futuristic city dominated by technology. It uses this backdrop to comment on unionized labor.labor, pointing out that such a majestic city would probably be built on exploitation of workers.
5th Apr '16 9:11:06 PM Jokubas
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* ''Manga/JoJosBizarreAdventure'' mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]]. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], completely averting the CompetenceZone. The author even intentionally sought to avoid the SortingAlgorithmOfEvil, giving each villain their own moral flaw rather than increasing power. Each of these things might sound like a reaction to a chain of {{Shonen}} about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of FistOfTheNorthStar, and ended up [[TropeMaker making]] and [[TropeCodifier codifying]] many of the genre tropes itself.

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* ''Manga/JoJosBizarreAdventure'' mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]]. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], completely averting challenging the CompetenceZone. The author even intentionally sought to avoid the SortingAlgorithmOfEvil, giving each villain their own moral flaw rather than increasing power. Each of these things might sound like a reaction to a chain of {{Shonen}} about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of FistOfTheNorthStar, and ended up [[TropeMaker making]] and [[TropeCodifier codifying]] many of the genre tropes itself.
5th Apr '16 9:09:30 PM Jokubas
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* ''Manga/JoJosBizarreAdventure'''s mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]]. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], completely averting the CompetenceZone. The author even intentionally sought to avoid the SortingAlgorithmOfEvil, giving each villain their own moral flaw rather than increasing power. Each of these things might sound like a reaction to a chain of {{Shonen}} about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of FistOfTheNorthStar, and ended up [[TropeMaker making]] and [[TropeCodifier codifying]] many of the genre tropes itself.

to:

* ''Manga/JoJosBizarreAdventure'''s ''Manga/JoJosBizarreAdventure'' mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]]. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], completely averting the CompetenceZone. The author even intentionally sought to avoid the SortingAlgorithmOfEvil, giving each villain their own moral flaw rather than increasing power. Each of these things might sound like a reaction to a chain of {{Shonen}} about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of FistOfTheNorthStar, and ended up [[TropeMaker making]] and [[TropeCodifier codifying]] many of the genre tropes itself.
5th Apr '16 9:08:09 PM Jokubas
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Added DiffLines:

* ''Manga/JoJosBizarreAdventure'''s mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]]. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], completely averting the CompetenceZone. The author even intentionally sought to avoid the SortingAlgorithmOfEvil, giving each villain their own moral flaw rather than increasing power. Each of these things might sound like a reaction to a chain of {{Shonen}} about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of FistOfTheNorthStar, and ended up [[TropeMaker making]] and [[TropeCodifier codifying]] many of the genre tropes itself.
2nd Apr '16 11:29:42 AM Erpegis
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Added DiffLines:

** Mechanically, this is one of the first games with "improve by doing" system. So how do you improve your HP? By hitting each other.
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