History Main / Unbuilttrope

24th Jul '16 10:07:34 AM Astatine
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** The Super Saiyan form helped start the concept of people with a SuperMode, but is shown in a very nuanced light; while it's not exactly a SuperpoweredEvilSide, it often takes a toll on the sanity or morality of its user, and when it's first attained, it's not clear whether or not it's a good thing. Despite this, it's ultimately a lot less taxing than most examples of the trope, which tend to have a time limit, conditions that must be met to activate, or unlock a more dangerous SuperpoweredEvilSide. By contrast, once Goku gets the hang of being a Super Saiyan, it effects a permanent, massive amplifier to his base power at no real cost. This has the result that all the human characters in the story are left behind with [[CantCatchUp no possibility of making up the difference]].
16th Jul '16 5:04:56 PM JRads47
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** Kaworu is the archetypal WhiteHairBlackHeart character, but he’s only a villain because he’s [[EnigmaticMinion SEELE’s trump card]] and [[spoiler:the final Angel Shinji has to kill]]. In reality, he’s an extremely nice and selfless person ([[AdaptationalVillainy manga version aside]]) who cares for Shinji and [[spoiler:allows himself to be killed by him, all without a single ounce of hatred]].
9th Jul '16 5:38:42 PM merotoker
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** On the other end of the spectrum, the genre contains many deconstructions mocking the more [[FollowTheLeader lighthearted anime that followed after it's success.]] Although not outright GrimDark by any means, the series puts Usagi through the ringer in order to defeat the true BigBad; costing the lives of friends and family alike. Things get better, but it's made very clear AsLongAsThereIsEvil, the conflict will never be over.

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** On the other end of the spectrum, the genre contains many deconstructions mocking the more [[FollowTheLeader lighthearted anime that followed after it's success.]] Although not outright GrimDark DarkerAndEdgier by any means, the series puts Usagi through the ringer in order to defeat the true BigBad; costing the lives of friends and family alike. Things get better, but it's made very clear AsLongAsThereIsEvil, the conflict will never be over.



* ''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]], 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.
* ''Manga/UruseiYatsura'' predates both the MagicalGirlfriend genre and the HaremGenre as we know them, but looks like a parody of both genres now that they're established. Ataru is a {{Jerkass}} HaremSeeker and unabashed pervert who wants every girl ''except'' the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using ShockAndAwe to punish him when his gaze strays too far, and from Ataru's perspective, is more of [[CantLiveWithThemCantLiveWithoutThem a pain in the ass]] than an actual LoveInterest, at least at first.

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* ''Manga/JoJosBizarreAdventure'' mostly avoids NewPowersAsThePlotDemands in favor of enemies being [[PuzzleBoss Puzzle Bosses]].{{Puzzle Boss}}es. Each "Part" is essentially a standalone StoryArc with a new main character, but occasionally keeps old characters as the plot skips [[GenerationalSaga generations]], 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.
* ''Manga/UruseiYatsura'' predates both the MagicalGirlfriend genre and the HaremGenre as we know them, but looks like a parody of both genres now that they're established. Ataru is a {{Jerkass}} HaremSeeker and unabashed pervert who wants every girl ''except'' the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using ShockAndAwe to punish him when his gaze strays too far, and from Ataru's perspective, is more of [[CantLiveWithThemCantLiveWithoutThem a pain in the ass]] than an actual LoveInterest, {{Love Interest|s}}, at least at first.



* Despite [[ComicBook/TheFantasticFour Mr. Fantastic]] being the trope namer for ReedRichardsIsUseless, canon states that he actually ''does'' patent a lot of his gadgets; he just doesn't sell the insanely dangerous ones like interdimensional transporters. It's also been shown that a chunk of his money comes from other companies ''paying'' him to not release stuff expressly because the devices would drive them into bankruptcy through competition they couldn't hope to match.

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* Despite [[ComicBook/TheFantasticFour [[ComicBook/FantasticFour Mr. Fantastic]] being the trope namer for ReedRichardsIsUseless, canon states that he actually ''does'' patent a lot of his gadgets; he just doesn't sell the insanely dangerous ones like interdimensional transporters. It's also been shown that a chunk of his money comes from other companies ''paying'' him to not release stuff expressly because the devices would drive them into bankruptcy through competition they couldn't hope to match.



*** Its precedessor, the german film Das Millionenspiel (1971), turns the manhunt into a regular and voluntary event, with the production team trying to keep things interesting by helping the side at disadvantage off-camera to get a climatic showdown. During the show, the candidate for the next run is already revealed and interviewed. Unlike following films the hunt itself is neither questioned nor fought against by the participants (although it's shown to be controversial).

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*** Its precedessor, predecessor, the german German film Das Millionenspiel (1971), turns the manhunt into a regular and voluntary event, with the production team trying to keep things interesting by helping the side at disadvantage off-camera to get a climatic showdown. During the show, the candidate for the next run is already revealed and interviewed. Unlike following films the hunt itself is neither questioned nor fought against by the participants (although it's shown to be controversial).



** ''Film/{{Bullitt}}'' was actually the first Cowboy Cop movie, but seen today, it looks like a deconstruction of the genre: the cop (Steve [=McQueen=]) ignores his superiors and dismisses the quite reasonable demands of a slimy politician (Robert Vaughan) out of distrust, but accidentally kills all the witnesses and ruins any chances of finding the real mob bosses. [[spoiler:The film ends with him staring into a mirror, realizing just how badly he's screwed up.]]

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** ''Film/{{Bullitt}}'' was actually the first Cowboy Cop movie, but seen today, it looks like a deconstruction of the genre: the cop (Steve [=McQueen=]) (Creator/SteveMcQueen) ignores his superiors and dismisses the quite reasonable demands of a slimy politician (Robert Vaughan) out of distrust, but accidentally kills all the witnesses and ruins any chances of finding the real mob bosses. [[spoiler:The film ends with him staring into a mirror, realizing just how badly he's screwed up.]]



* Film/{{Toys}} unbuilds the AttackDrone, showing their cynical side, before the technology broke through in RealLife.

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* Film/{{Toys}} ''Film/{{Toys}}'' unbuilds the AttackDrone, showing their cynical side, before the technology broke through in RealLife.



** The ''third'' First Doctor story, "The Edge of Destruction", is an absurdly dark look at how miserable and paranoid it would be to be unworldly humans living aboard a SapientShip that travels semi-autonomously across time and space with a mysterious alien at the helm – by this point, Ian and Barbara's hatred of the Doctor is enough that both think the other may have tried to murder him (and they did not choose to be his companions either, instead being kidnapped by him), the Doctor hates Ian and Barbara for being human interlopers who may be trying to steal or hurt his ship, and Susan, while appearing to be TheIngenue, is just as [[BlueAndOrangeMorality inscrutable and alien]] as her grandfather and [[TheOphelia has a violent mental breakdown, babbling about creatures living inside her, and attacking Ian with a pair of surgical scissors]]. During all of this, they are dealing with a NegativeSpaceWedgie, the effects of which are so unlike anything that they have seen before that they constantly wonder if this is actually a malevolent force or something the TARDIS, which [[StarfishAlien has a mind of its own impossible to understand outside of its species]], is doing for their sake. Another aspect is that the TARDIS being unreliable and the Doctor being unable to control it is usually portrayed comically. However this serial shows how dangerous it could really be when the TARDIS goes wrong, here a spring coming loose on the console nearly destroys the ship by throwing it back in time to the creation of a galaxy. Meanwhile, the Doctor being unable to control the ship was a major plot point as it meant he was unable to return his companions home.

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** The ''third'' First Doctor story, "The Edge of Destruction", is an absurdly dark look at how miserable and paranoid it would be to be unworldly humans living aboard a SapientShip that travels semi-autonomously across time and space with a mysterious alien at the helm – by this point, Ian and Barbara's hatred of the Doctor is enough that both think the other may have tried to murder him (and they did not choose to be his companions either, instead being kidnapped by him), the Doctor hates Ian and Barbara for being human interlopers who may be trying to steal or hurt his ship, and Susan, while appearing to be TheIngenue, is just as [[BlueAndOrangeMorality inscrutable and alien]] as her grandfather and [[TheOphelia has a violent mental breakdown, babbling about creatures living inside her, and attacking Ian with a pair of surgical scissors]]. During all of this, they are dealing with a NegativeSpaceWedgie, the effects of which are so unlike anything that they have seen before that they constantly wonder if this is actually a malevolent force or something the TARDIS, which [[StarfishAlien [[StarfishAliens has a mind of its own impossible to understand outside of its species]], is doing for their sake. Another aspect is that the TARDIS being unreliable and the Doctor being unable to control it is usually portrayed comically. However this serial shows how dangerous it could really be when the TARDIS goes wrong, here a spring coming loose on the console nearly destroys the ship by throwing it back in time to the creation of a galaxy. Meanwhile, the Doctor being unable to control the ship was a major plot point as it meant he was unable to return his companions home.






** Economic theories principal ideas are explored first in literature before being codified: Wealth of the nations (published at 1776) codifies [[CripplingOverspecialization Division of Labour]], [[MundaneUtility RealPrice]], [[ConspicuousConsumption Nominal Price]], [[WorthlessYellowRocks coinage]] were first explored at Literature/RobinsonCrusoe, published at 1709. The idea of every human activity (including art) being [[OnlyInItForTheMoney dependent on its economic value]] was first exposed by Literature/LePereGoriot, published at 1819, before The Communist Manifesto (published at 1848) was published by Creator/KarlMarx

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** Economic theories principal ideas are explored first in literature before being codified: Wealth of the nations (published at 1776) codifies [[CripplingOverspecialization Division of Labour]], [[MundaneUtility RealPrice]], [[ConspicuousConsumption Nominal Price]], [[WorthlessYellowRocks coinage]] were first explored at Literature/RobinsonCrusoe, published at 1709. The idea of every human activity (including art) being [[OnlyInItForTheMoney dependent on its economic value]] was first exposed by Literature/LePereGoriot, published at 1819, before The Communist Manifesto (published at 1848) was published by Creator/KarlMarxCreator/KarlMarx.



* TheSpartanWay, when an army uses a [[TrainingFromHell horrifically brutal training regime]], sometimes recruiting from young teens, to create the ultimate BadassArmy. When the actual city of Sparta tried this some 2500 years ago, they were tactically inflexible to the point of being outright crippled. The army existed mostly to scare the SlaveRace into complacency, so they couldn't operate very far from home. Since their system only produced [[ElitesAreMoreGlamorous elites]], it took forever to replace losses, which in turn meant they ended up having a rather small army made up almost entirely of heavy infantry. An enemy army with a detachment of hit-and-run skirmishers -- or worse, cavalry -- could run circles around the Spartans, and if the Spartans lost more than a few hundred they would have to consider surrendering ''the entire war''. To top it all off, with a ProudWarriorRaceGuy mentality they didn't see any reason to adapt and evolve their fighting style; this came back to bite them in the ass in the Battle of Sphacteria (425 BCE), where Athens had the entire Spartan playbook on file and could just walk all over the precious Spartan hoplites. As a result Spartans were rarely on the offensive, and if they were it was to raid more slaves. And this is not even getting into Persian accounts, which described Sparta as thoroughly corrupt and easily bribed for allegiance.

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* TheSpartanWay, when an army uses a [[TrainingFromHell horrifically brutal training regime]], sometimes recruiting from young teens, to create the ultimate BadassArmy. When the actual city of Sparta tried this some 2500 years ago, they were tactically inflexible to the point of being outright crippled. The army existed mostly to scare the SlaveRace into complacency, so they couldn't operate very far from home. Since their system only produced [[ElitesAreMoreGlamorous elites]], {{elites|AreMoreGlamorous}}, it took forever to replace losses, which in turn meant they ended up having a rather small army made up almost entirely of heavy infantry. An enemy army with a detachment of hit-and-run skirmishers -- or worse, cavalry -- could run circles around the Spartans, and if the Spartans lost more than a few hundred they would have to consider surrendering ''the entire war''. To top it all off, with a ProudWarriorRaceGuy mentality they didn't see any reason to adapt and evolve their fighting style; this came back to bite them in the ass in the Battle of Sphacteria (425 BCE), where Athens had the entire Spartan playbook on file and could just walk all over the precious Spartan hoplites. As a result Spartans were rarely on the offensive, and if they were it was to raid more slaves. And this is not even getting into Persian accounts, which described Sparta as thoroughly corrupt and easily bribed for allegiance.



* {{Music/Kraftwerk}} was an early KrautRock band, and essentially the inventors of ElectronicMusic. Today, they seem like an AffectionateParody of electronic music, with minimalistic songs based on one or two futuristic tropes, such as RidiculouslyHumanRobots or {{Trope2000}}.

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* {{Music/Kraftwerk}} was an early KrautRock band, and essentially the inventors of ElectronicMusic. Today, they seem like an AffectionateParody of electronic music, with minimalistic songs based on one or two futuristic tropes, such as RidiculouslyHumanRobots or {{Trope2000}}.{{Trope 2000}}.



** Music/TheNotoriousBIG was arguably the TropeMaker for the genre, and helped to lay the seeds for its dominance from the mid-'90s through the 2000s with his album ''Music/ReadyToDie''. Songs like "Big Poppa" and "Juicy" could lay claim to being some of the first major GlamRap songs. The same album also portrayed Biggie's "ashy to classy" drug dealer character as incredibly paranoid ("Everyday Struggle"), driven by grinding poverty ("Things Done Changed"), and outright guilt-ridden and suicidal ("Suicidal Thoughts", which contains the line "when I die, fuck it, I'm gonna go to hell/'cause I'm a piece of shit, it ain't hard to fuckin' tell").
** Likewise, Biggie's protege Music/JayZ demonstrated this on his debut album ''Reasonable Doubt'', which portrays his [[AManOfWealthAndTaste man of wealth and taste]] in a much more LonelyAtTheTop way, with an immense price paid by both himself ("Regrets") and others ("Dead Presidents II", "D'Evils"). Even the song on that album that most strongly sounds like GlamRap, "Ain't No Nigga", plays with a lot of the player tropes, making it highly ambiguous as to whether Jay-Z or Foxy Brown (who provides the female point of view) is the real player in the relationship.

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** Music/TheNotoriousBIG was arguably the TropeMaker {{Trope Maker|s}} for the genre, and helped to lay the seeds for its dominance from the mid-'90s through the 2000s with his album ''Music/ReadyToDie''. Songs like "Big Poppa" and "Juicy" could lay claim to being some of the first major GlamRap songs. The same album also portrayed Biggie's "ashy to classy" drug dealer character as incredibly paranoid ("Everyday Struggle"), driven by grinding poverty ("Things Done Changed"), and outright guilt-ridden and suicidal ("Suicidal Thoughts", which contains the line "when I die, fuck it, I'm gonna go to hell/'cause I'm a piece of shit, it ain't hard to fuckin' tell").
** Likewise, Biggie's protege Music/JayZ demonstrated this on his debut album ''Reasonable Doubt'', which portrays his [[AManOfWealthAndTaste man {{man of wealth and taste]] taste}} in a much more LonelyAtTheTop way, with an immense price paid by both himself ("Regrets") and others ("Dead Presidents II", "D'Evils"). Even the song on that album that most strongly sounds like GlamRap, "Ain't No Nigga", plays with a lot of the player tropes, making it highly ambiguous as to whether Jay-Z or Foxy Brown (who provides the female point of view) is the real player in the relationship.



** Moses is also an {{Inversion}} of [[LostOrphanedRoyalty various]] [[ReallyRoyalReveal royalty]] [[HiddenBackupPrince tropes]]: instead of a prince raised as a peasant, he's a peasant raised as a prince. While a [[RightfulKingReturns prince's return from exile]] saves a kingdom, Moses' return saves one society (the Hebrews) but severely harms the one that raised him.

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** Moses is also an {{Inversion}} {{inver|tedTrope}}sion of [[LostOrphanedRoyalty various]] [[ReallyRoyalReveal [[ReallyRoyaltyReveal royalty]] [[HiddenBackupPrince tropes]]: instead of a prince raised as a peasant, he's a peasant raised as a prince. While a [[RightfulKingReturns prince's return from exile]] saves a kingdom, Moses' return saves one society (the Hebrews) but severely harms the one that raised him.



* The BastardBastard is one of the most familar tropes of Shakespearean-type stories. A story where the bastard is portrayed as sympathetic, justifying his evil by saying how [[FreudianExcuse society perceives him as evil]] and he is being treated as TheUnfavourite? Sounds like a new idea? It was done in ''Theatre/KingLear'', with Edmund, the archetypal BastardBastard of fiction. Also Edmund shows he isn't entirely evil, as while dying he tries to do some good and save Cordelia.

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* The BastardBastard is one of the most familar familiar tropes of Shakespearean-type stories. A story where the bastard is portrayed as sympathetic, justifying his evil by saying how [[FreudianExcuse society perceives him as evil]] and he is being treated as TheUnfavourite? Sounds like a new idea? It was done in ''Theatre/KingLear'', with Edmund, the archetypal BastardBastard of fiction. Also Edmund shows he isn't entirely evil, as while dying he tries to do some good and save Cordelia.



* While [[KarmaMeter Karma Meters]] that [[VideoGameCrueltyPunishment punish the player for performing evil actions]] are rather common now, ''VideoGame/UltimaIV'', the very first game to use a Karma Meter, was already doing so in ''1985''. VideoGameCrueltyPunishment is ubiquitous, the game cannot be completed unless you max out all your virtues, [[GameplayAndStoryIntegration and the game's plot revolves around the journey to become a true hero.]] The whole thing was intended to explore the consequences of the player's actions and the nature of right and wrong, and experiment to see if a video game could encourage good moral values in players.

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* While [[KarmaMeter Karma Meters]] that [[VideoGameCrueltyPunishment punish the player for performing evil actions]] are rather common now, ''VideoGame/UltimaIV'', the very first game to use a Karma Meter, was already doing so in ''1985''. VideoGameCrueltyPunishment is ubiquitous, the game cannot be completed unless you max out all your virtues, [[GameplayAndStoryIntegration [[SlidingScaleOfGameplayAndStoryIntegration and the game's plot revolves around the journey to become a true hero.]] The whole thing was intended to explore the consequences of the player's actions and the nature of right and wrong, and experiment to see if a video game could encourage good moral values in players.



** Similarly, Cloud is credited with kicking off the tendency for JRPG leads to be amnesiac and/or {{phlebotinum rebel}}s, but he actually reads like a deconstruction of how those tropes usually go down. His memories are screwed up, but when the truth comes out, rather than turning out to be some sort of plot-relevant badass, he was a {{mook}} before the plot went down. He got experimented on, but rather than nifty powers, he got insanity and the ability to be mind-controlled by the BigBad.

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** Similarly, Cloud is credited with kicking off the tendency for JRPG leads to be amnesiac and/or {{phlebotinum rebel}}s, but he actually reads like a deconstruction of how those tropes usually go down. His memories are screwed up, but when the truth comes out, rather than turning out to be some sort of plot-relevant badass, he was a {{mook}} {{mook|s}} before the plot went down. He got experimented on, but rather than nifty powers, he got insanity and the ability to be mind-controlled by the BigBad.



* ''VideoGame/SuperMario64'' was the {{Trope Maker|s}} for the FreeRotatingCamera, but also had the {{Justification}} of it being an InUniverseCamera controlled by a Lakitu member of a news crew reporting on Mario's adventure. They were as much a character in the game as anyone else, serving as the narrator proving exposition on your progress through it. Rare now is the game where third-person perspective is anything more then a gameplay mechanic lacking InUniverse explanation.
** Relatedly, ''VideoGame/TheLegendOfZeldaOcarinaOfTime'' bought CameraLockOn to the mainstream, InUniverse, this was accomplished through [[ExpositionFairy Navi]]. [[InterfaceScrew She was unable to help you when the]] FinalBoss was actively repelling her, and despite her [[StopHelpingMe annoyance]], her departure at games end was such a TearJerker that [[VideoGame/TheLegendOfZeldaMajorasMask the sequel]] was kicked off by Link trying to find and reunite with her. Navi and her successor Tatl were their games main character after Link, being talkative {{Foil}}s to his SilentProtagonist. Good luck finding a game since where the control scheme double as {{Deuteragonist}}s who's loss emotionally effects the protagonist.

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* ''VideoGame/SuperMario64'' was the {{Trope Maker|s}} for the FreeRotatingCamera, but also had the {{Justification}} {{justifi|edTrope}}cation of it being an InUniverseCamera controlled by a Lakitu member of a news crew reporting on Mario's adventure. They were as much a character in the game as anyone else, serving as the narrator proving exposition on your progress through it. Rare now is the game where third-person perspective is anything more then a gameplay mechanic lacking InUniverse explanation.
** Relatedly, ''VideoGame/TheLegendOfZeldaOcarinaOfTime'' bought CameraLockOn to the mainstream, InUniverse, this was accomplished through [[ExpositionFairy Navi]]. [[InterfaceScrew She was unable to help you when the]] FinalBoss was actively repelling her, and despite her [[StopHelpingMe annoyance]], {{annoy|ingVideoGameHelper}}ance, her departure at games end was such a TearJerker that [[VideoGame/TheLegendOfZeldaMajorasMask the sequel]] was kicked off by Link trying to find and reunite with her. Navi and her successor Tatl were their games main character after Link, being talkative {{Foil}}s to his SilentProtagonist. Good luck finding a game since where the control scheme double as {{Deuteragonist}}s who's loss emotionally effects the protagonist.



** One huge critique of the Modern Military Shooter genre is that it acts as essentially little more than a Power Fantasy for Western Gamers to enact vengeance on caricatures of Middle-Eastern terrorists, when the UsefulNotes/TheWarOnTerror is far more complicated than a black and white situation, and portrays the player character as always being in the right, despite the many questionable actions they could be partaking in. Imagine then, a game meant to deconstruct the genre. This game would have the player character complicit in the murder of innocent civilians, with said action not only being condemned by the game itself, but also end up as the catalyst for even worse situations in the story. America would find itself having its famous monuments and areas desecrated; essentially being the ones who must suffer under an invasion being portrayed by the opposing force as "righteous vengeance". Better still, the main villain would be an American general who allowed all this to happen to drum up patriotism, with the theme being that PatrioticFervor is ultimately a tool used to manipulate the masses, and killing in the name of it leads to countless suffering that may not have been justified. Indeed, the game would be filled with many quotes speaking out against such ultra-nationalist viewpoints. Such a game exists, even being made before ''VideoGame/SpecOpsTheLine'' was released, ''and it's none other than [[VideoGame/ModernWarfare Modern Warfare 2]], the game that [[TropeCodifier popularized the genre]] even moreso than its predecessor.''

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** One huge critique of the Modern Military Shooter genre is that it acts as essentially little more than a Power Fantasy for Western Gamers to enact vengeance on caricatures of Middle-Eastern terrorists, when the UsefulNotes/TheWarOnTerror TheWarOnTerror is far more complicated than a black and white situation, and portrays the player character as always being in the right, despite the many questionable actions they could be partaking in. Imagine then, a game meant to deconstruct the genre. This game would have the player character complicit in the murder of innocent civilians, with said action not only being condemned by the game itself, but also end up as the catalyst for even worse situations in the story. America would find itself having its famous monuments and areas desecrated; essentially being the ones who must suffer under an invasion being portrayed by the opposing force as "righteous vengeance". Better still, the main villain would be an American general who allowed all this to happen to drum up patriotism, with the theme being that PatrioticFervor is ultimately a tool used to manipulate the masses, and killing in the name of it leads to countless suffering that may not have been justified. Indeed, the game would be filled with many quotes speaking out against such ultra-nationalist viewpoints. Such a game exists, even being made before ''VideoGame/SpecOpsTheLine'' was released, ''and it's none other than [[VideoGame/ModernWarfare Modern Warfare 2]], the game that [[TropeCodifier popularized the genre]] even moreso than its predecessor.''



* ''WesternAnimation/BatmanTheAnimatedSeries'' is often credited with bringing superhero cartoons out of the AnimationAgeGhetto. But imagine a superhero cartoon that featured drama, citywide destruction, [[FamilyFriendlyFirearms and the use of actual firearms]], social commentary, and excellent animation years ''before'' the 90s? Then go back to the [[Creator/MaxAndDaveFleischer Fleischer Studios]] [[WesternAnimation/SupermanTheatricalCartoons Superman]], possibly the first major animated production of a superhero, made just a few years after Superman's comic debut.

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* ''WesternAnimation/BatmanTheAnimatedSeries'' is often credited with bringing superhero cartoons out of the AnimationAgeGhetto. But imagine a superhero cartoon that featured drama, citywide destruction, [[FamilyFriendlyFirearms and the use of actual firearms]], social commentary, and excellent animation years ''before'' the 90s? Then go back to the [[Creator/MaxAndDaveFleischer Fleischer Studios]] [[WesternAnimation/SupermanTheatricalCartoons Superman]], WesternAnimation/{{Superman|TheatricalCartoons}}, possibly the first major animated production of a superhero, made just a few years after Superman's comic debut.
3rd Jul '16 3:59:13 AM cricri3007
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* Contrary to popular belief in some circles, the Fate series does not feature an ImprobablyFemaleCast consisting of MsFanservice [[GenderFlip female versions of male heroes]]. For a long time the only such character was [[spoiler: VideoGame/FateStayNight Saber]], whose case was actually a heavily DeconstructedTrope. However, newer entries in the series such as VideoGame/FateExtra, LightNovel/FateApocrypha, Koha-Ace, and VideoGame/FateGrandOrder have played the trope straight with increasing frequency and increased levels of {{Fanservice}}.
30th Jun '16 3:31:12 PM Laevatein
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** If your first exposure to the Japanese ''{{jidai geki}}'' genre is from reading up on George Lucas' inspirations for ''Star Wars'', actually watching a few of the films that inspired him can be a bit of a shock. [[note]] The very samurai-influenced Jedi got their name from ''jidai geki'' (literally "artifact of history" or "period piece", the Japanese term for an EpicFilm about samurai). Also, several "elder samurai" characters from classic ''jidai geki'' films (Kambei Shimada of ''Film/TheSevenSamurai'' and Hanshiro Tsugomo of ''Film/{{Harakiri}}'', in particular) can be pinpointed as likely inspirations for the character of Obi-Wan Kenobi. And Creator/AkiraKurosawa's leading man Creator/ToshiroMifune was allegedly Lucas' first choice for the role of Obi-Wan.[[/note]] The most well-known ''jidai geki'' films in the West had more than their share of action and spectacle, but many of them were also {{Deconstruction}}s of the glory days of FeudalJapan, portraying the twilight years of the samurai and openly questioning whether the lofty ideals of bushido had any real meaning in the modern world. ''Star Wars'' was (among many other things) a LighterAndSofter tribute to the work of filmmakers like Creator/AkiraKurosawa and Masaki Kobayashi, emphasizing the romanticism of their films while downplaying the tragedy and cynicism.

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** If your first exposure to the Japanese ''{{jidai geki}}'' genre is from reading up on George Lucas' inspirations for ''Star Wars'', actually watching a few of the films that inspired him can be a bit of a shock. [[note]] The very samurai-influenced Jedi got their name from ''jidai geki'' (literally "artifact of history" or "period piece", the Japanese term for an EpicFilm about samurai). Also, several "elder samurai" characters from classic ''jidai geki'' films (Kambei Shimada of ''Film/TheSevenSamurai'' and Hanshiro Tsugomo of ''Film/{{Harakiri}}'', in particular) can be pinpointed as likely inspirations for the character of Obi-Wan Kenobi. And Creator/AkiraKurosawa's leading man Creator/ToshiroMifune was allegedly Lucas' first choice for the role of Obi-Wan.[[/note]] The most well-known ''jidai geki'' films in the West had more than their share of action and spectacle, but many of them were also {{Deconstruction}}s of the glory days of FeudalJapan, portraying the twilight years of the samurai and openly questioning whether the lofty ideals of bushido had any real meaning in the modern world.world (especially since WorldWarII had ended only a decade or so beforehand). ''Star Wars'' was (among many other things) a LighterAndSofter tribute to the work of filmmakers like Creator/AkiraKurosawa and Masaki Kobayashi, emphasizing the romanticism of their films while downplaying the tragedy and cynicism.
29th Jun '16 9:54:32 PM TheMightyHeptagon
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** If your first exposure to the Japanese ''{{jidai geki}}'' genre is from reading up on George Lucas' inspirations for ''Star Wars'', actually watching a few of the films that inspired him can be a bit of a shock. [[note]] The very samurai-influenced Jedi got their name from ''jidai geki'' (literally "artifact of history" or "period piece", the Japanese term for an EpicFilm about samurai). Also, several "elder samurai" characters from classic ''jidai geki'' films (Kambei Shimada of ''Film/TheSevenSamurai'' and Hanshiro Tsugomo of ''Film/{{Harakiri}}'', in particular) can be pinpointed as likely inspirations for the character of Obi-Wan Kenobi. And Creator/AkiraKurosawa's leading man Creator/ToshiroMifune was allegedly Lucas' first choice for the role of Obi-Wan.[[/note]] The most well-known ''jidai geki'' films in the West had more than their share of action and spectacle, but many of them were also {{Deconstruction}}s of the glory days of FeudalJapan, portraying the twilight years of the samurai and openly questioning whether the lofty ideals of bushido had any real meaning in the modern world. ''Star Wars'' was (among many other things) a LighterAndSofter tribute to the work of filmmakers like Creator/AkiraKurosawa and Masaki Kobayashi, emphasizing the romanticism of their films while downplaying the tragedy and cynicism.
27th Jun '16 12:55:51 AM Ramidel
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* ''Manga/UruseiYatsura'' predates both the MagicalGirlfriend genre and the HaremGenre as we know them, but looks like a parody of both genres now that they're established. Ataru is a {{Jerkass}} HaremSeeker and unabashed pervert who wants every girl ''except'' the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using ShockAndAwe to punish him when his gaze strays too far, and from Ataru's perspective, is more of a pain in the ass than an actual LoveInterest.

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* ''Manga/UruseiYatsura'' predates both the MagicalGirlfriend genre and the HaremGenre as we know them, but looks like a parody of both genres now that they're established. Ataru is a {{Jerkass}} HaremSeeker and unabashed pervert who wants every girl ''except'' the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using ShockAndAwe to punish him when his gaze strays too far, and from Ataru's perspective, is more of [[CantLiveWithThemCantLiveWithoutThem a pain in the ass ass]] than an actual LoveInterest.LoveInterest, at least at first.
27th Jun '16 12:53:58 AM Ramidel
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* ''Manga/UruseiYatsura'' predates both the MagicalGirlfriend genre and the HaremGenre as we know them, but looks like a parody of both genres now that they're established. Ataru is a {{Jerkass}} HaremSeeker and unabashed pervert who wants every girl ''except'' the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using ShockAndAwe to punish him when his gaze strays too far, and from Ataru's perspective, is more of a pain in the ass than an actual LoveInterest.
19th Jun '16 2:27:40 PM Ramidel
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* ''VideoGame/DoubleDragonI'' was the first BeatEmUp to include CoOpMultiplayer. It was also a legendary ''subversion'' of the trope. Two brothers are fighting to save the DamselInDistress...[[spoiler: but only one can get her, so after they bring down the bad guys, they fight to the death to be the one who gets to claim her.]]
18th Jun '16 7:58:16 AM poi99
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* How about an RPG where the characters are unchosen anonymous schlubs (of any race, class, or gender), where AnyoneCanDie and ''any'' death (even outside of combat) can risk a FinalDeath? And you do not have to fight [[EverythingTryingToKillYou every encounter you run into]], as there are actually good monsters that do not mind your company? Where you may luck into some of the best equipment early, and some of said equipment (including the InfinityPlusOneSword) can break at any time? And there are no [[UselessUsefulSpell useless spells]] in the game? And the FinalBoss does not have thousands of HP but is really a SquishyWizard not much stronger than (and as vulnerable as) an individual member of your party? (His minions may be trouble, though.) This game is ''VideoGame/{{Wizardry}}'', one of the first [=RPGs=] ever written.


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* ''VideoGame/{{Wizardry}}'', one of the first [=RPGs=] ever written, doesn't require you to fight [[EverythingTryingToKillYou every encounter you run into]], as there are actually good monsters that do not mind your company. It is also possible to luck into some of the best equipment early, some of said equipment (including the InfinityPlusOneSword) can break at any time, and the SquishyWizard trope turns out to apply to characters who are generally immune to it, not least of which is ''the last boss in the game.''
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