Line #23 Main/DeconstructionCrossover


1	%%%
2	%%
3	%% This page has been alphabetized. Please add new examples in the correct order. Thanks!
4	%%
5	%%%
6	%% Image selected via crowner in the Image Suggestion thread: https://tvtropes.org/pmwiki/posts.php?discussion=1452266899092104700
7	%% https://tvtropes.org/pmwiki/crowner.php?crowner_id=4xhhscht
8	%% Please do not change or remove without starting a new thread.
9	%% Caption selected per above crowner. Please don't change or remove without approval from the Caption thread:https://tvtropes.org/pmwiki/posts.php?discussion=1404492079030138900
10
11	[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/bartchris.png]]
12	[[caption-width-right:350:Doesn’t matter [[WesternAnimation/TheSimpsons which kid]] you [[WesternAnimation/FamilyGuy beat]]--there’s no way you’re a good father.\
13	[[https://www.filmsforaction.org/articles/comic-if-bart-simpson-and-chris-griffin-went-to-couples-therapy/ Comic]] by [[https://www.filmsforaction.org/author/panic-volkushka/ Panic Volkushka]]]]
14
15	Basically, when you throw many characters belonging to a specific genre (or sometimes a distinct division of this genre -- e.g., the works of a certain author) into a MassiveMultiplayerCrossover, for the purpose of exploring and [[{{Deconstruction}} deconstructing]] -- and sometimes [[{{Reconstruction}} reconstructing]] -- said genre from a modern viewpoint (which may or may not be DarkerAndEdgier). It could use the actual characters and settings from said works, [[DoppelgangerCrossover or it could limit itself to using]] [[{{Expy}} Expies]] if said work isn't quite in the public domain (less common online, because [[MediaNotes/FairUse copyrights matter somewhat less when no money changes hands]]).
16
17	Note that the MassiveMultiplayerCrossover itself here is just ''the means'', while ''the goal'' is the aforementioned genre exploration/deconstruction. Also note that it's only ''one'' of the possible uses for a MassiveMultiplayerCrossover, which may be implemented for numerous other purposes (e.g., [[RuleOfFunny fun]], [[RuleOfCool awesomeness]], [[{{Rule34}} sex appeal]], etc.).
18
19	A subtrope of MassiveMultiplayerCrossover, {{Deconstruction}} and sometimes {{Reconstruction}}. FanFic versions should also be placed under the DeconstructionFic trope.
20
21	----
22	!!Examples:
23	[[index]]
24	* DeconstructionCrossover/FanWorks
25	[[/index]]
26	----
27
28	[[foldercontrol]]
29
30	[[folder:Anime & Manga]]
31	* ''Anime/ReCreators'' throws together expies of typical protagonists of popular 2010s anime, manga, and games, then watches them clash due to their respective worlds' differences. And that's not even getting to the main villain, who [[spoiler:is a fan character that lived through her own author's [[OutlivedItsCreator death]]..]].
32	* ''Manga/ViolenceJack'' has dark, twisted versions of many a Creator/GoNagai character. Considering what most of Go Nagai's characters are like to ''begin'' with...
33	[[/folder]]
34
35	[[folder:Comic Books]]
36	* Creator/AlanMoore ''loves'' this trope.
37	** ''ComicBook/TheLeagueOfExtraordinaryGentlemen Vols. 1 & 2'' did this with Victorian literature, ''Black Dossier'' did this with mostly 1950s British literature, and ''Vol . 3'' did this with early 20th century, 1960s and 1990s-2000s fiction. It's very likely that it was this graphic novel that influenced this trope's popularity in the last decade (especially in comics), so it's probably the TropeCodifier. Note that in [[Film/TheLeagueOfExtraordinaryGentlemen the movie]] a similar Massive Multiplayer Crossover is made mostly for RuleOfFunny and RuleOfCool, rather than {{Deconstruction}}. Thus, it's not an example of Deconstruction Crossover.
38	** ''ComicBook/{{Albion}}'' (created with Creator/AlanMoore's assistance) did this with 1950s-'70s British comics published by IPC.
39	** In ''Script/TheTwilightOfTheSuperheroes'', a script submitted by Alan Moore to DC, he wanted to do the same with Franchise/TheDCU.
40	** The original script for ''ComicBook/{{Watchmen}}'' was this: a crossover of several Creator/CharltonComics characters intended for deconstructing the superhero genre from a modern viewpoint. The final work uses {{Captain Ersatz}}es of the Charlton characters instead.
41	** ''Lost Girls'', with art by Melinda Gebbie, crosses the stories of ''Literature/AlicesAdventuresInWonderland'', ''Literature/PeterPan'' and ''Literature/TheWonderfulWizardOfOz''. The deconstructive part comes where instead of fantasy tales, they're all converted into similar stories of sexual awakening, often taking place when the girls are quite young [[spoiler:and sometimes with [[ParentalIncest family members]]]].
42	** The ''ComicBook/YoungbloodJudgmentDay'' crossover Moore wrote for Awesome Comics was this in spades, creating an enormous history for the Awesome universe apparently populated entirely by the CaptainErsatz novelty assortment. Among other things, it deconstructed Creator/ImageComics' early 90s period, showing it to be a product of a troubled teenager's ideal of what superheroes should be like.
43	* ''ComicBook/{{Fables}}'' does this with fairy-tales and nursery rhymes.
44	* ''ComicBook/KingdomCome'': It starts with the idea "everything ever produced for Creator/DCComics was canon". All of it, ComicBook/{{Watchmen}}, Creator/VertigoComics, the [[MediaNotes/TheBronzeAgeOfComicBooks experimental comics of]] TheSeventies, one shot characters from anthology comics, the WesternAnimation/SuperFriends Cartoon, all of it. Then, it took all the [[MediaNotes/TheDarkAgeOfComicBooks contemporary trends in comics]], morally questionable storylines, badass [[NinetiesAntiHero Nineties Anti Heroes]], heroes and villains being [[AntiHeroSubstitute replaced]] with DarkerAndEdgier [[LegacyCharacter Legacy Characters]], and extrapolated them to their logical extremes. Then it took the [[MediaNotes/TheSilverAgeOfComicBooks Silver Age]] generation of superheroes, and brought their powers to logical extremes, added biblical themes, and gave it to us in a photo-realistic "painted" style to make it more realistic, and disturbing. It certainly counts.
45	* ''ComicBook/{{Planetary}}'' did this with various fiction characters and genres. Most of the characters there are pastiches or {{Captain Ersatz}}s, and most genres are deconstructed in self-containing stories, regardless of the series' MassiveMultiplayerCrossover premise.
46	* ''ComicBook/TheSandman1989'' does this with every comic, mythological or historical figure Creator/NeilGaiman could work into the story.
47	* J.Michael Straszynski's series ''ComicBook/TheTwelve'' did this with [[ExactlyWhatItSaysOnTheTin twelve]] various WWII-era Timely Comics superheroes, exploring the differences between modern and 1940s culture -- and the darker aspects of the later.
48	* ''ComicBook/{{Twilight}}'', by Creator/HowardChaykin, did this with Creator/DCComics' [[MediaNotes/TheSilverAgeOfComicBooks Silver Age]] science fiction characters. No relation to ''Twilight of the Superheroes''. Or [[Literature/TheTwilightSaga that book with sparkling vampires.]]
49	[[/folder]]
50
51	[[folder:Films -- Animated]]
52	* ''WesternAnimation/ArthurChristmas'' draws from multiple contrasting pop-culture interpretations of the character of SantaClaus. Is he St Nicholas? Or an impossibly old man with a team of reindeer and a sleigh? A jolly fat man who enjoys pies and sherry? Or is he a modern, business-minded CEO who applies advanced {{Magitek}} to the problem of [[HowCanSantaDeliverAllThoseToys visiting every child in a single night]]? [[MathematiciansAnswer Yes.]] Yes, all of those people either have been, or are vying to become, the LegacyCharacter of Santa, they all disagree how best to do the job... [[BigScrewedUpFamily and they're all related.]]
53	* ''WesternAnimation/WreckItRalph'' does this for VideoGames by taking them at face value: as characters who do the same things every day, controlled by players. Among cameos from decades worth of games, an OriginalGeneration PunchClockVillain from a 1980s-era game [[DudeWheresMyRespect get sick of being treated like dirt by the other characters from his game]], and decide to sneak into a FirstPersonShooter to earn a medal. HilarityEnsues, and this being a Disney film, ends up triggering an even bigger adventure for himself and others.
54	[[/folder]]
55
56	[[folder:Films -- Live-Action]]
57	* ''Film/MurderByDeath'' did this with MysteryFiction in general, using {{Exp\|y}}ies of the most famous characters of Creator/AgathaChristie and Creator/DashiellHammett in particular.
58	* ''Film/WhoFramedRogerRabbit'' is probably the {{Trope Maker\|s}} on the film side of things. It did this with {{Toon}}s, MediaNotes/TheGoldenAgeOfAnimation, and WesternAnimation in general:
59	** First it brought together characters from the Franchise/DisneyAnimatedCanon, ''WesternAnimation/LooneyTunes'', WesternAnimation/MickeyMouse, WesternAnimation/BettyBoop, WesternAnimation/WoodyWoodpecker, WesternAnimation/FelixTheCat, and more. Then:
60	** It expanded the idea of AnimatedActors popularized by ''WesternAnimation/LooneyTunes''.
61	** It showed how insane, harrowing, and dangerous a {{Toontown}} would be.
62	** How RuleOfFunny affects and hinders the lives of Toons in realistic situations (when Roger and Eddie [[ChainedHeat ended up cuffed together]], Roger eventually slipped out of the cuffs easily, but he was only able to because there was a comedic opportunity to do so when Eddie was about to resolve the situation himself).
63	** What happens when cartoon slapstick and ToonPhysics is applied to real people (Eddie's brother was killed by a PianoDrop, and Marvin Acme meets a similair end via safe).
64	** It even deconstructed the trope it named, the RogerRabbitEffect, by showing how Toons living alongside humans are victims of prejudice, like real-world minorities.
65	*** The original novel, ''Literature/WhoCensoredRogerRabbit'' was even DarkerAndEdgier and did it with newspaper comic strip characters instead.
66	[[/folder]]
67
68	[[folder:Literature]]
69	* The Creator/NeilGaiman novel ''Literature/AmericanGods'' does this, along with a healthy dose of AllMythsAreTrue.
70	* This trope, combined with DirectLineToTheAuthor, is the main premise of many works taking place in Creator/PhilipJoseFarmer's Wold Newton Universe.
71	%% * The ''Literature/AnnoDracula'' series by Creator/KimNewman is a massive hodgepodge of characters vampire and non-vampire, fictional and non-fictional, Victorian and modern, running around in a world where Dracula killed Van Helsing and took over Britain.
72	* ''Literature/NurseryCrime'' by Creator/JasperFforde does this with nursery rhyme and fairy tale characters, to the point of postulating an entire murder mystery story around the age-old question of, "Why are the Three Bears' bowls of porridge different temperatures if clearly they were poured at the same time?"
73	* The novel ''[[http://en.wikipedia.org/wiki/Silverlock Silverlock]]'' contains characters and settings from Beowulf, Don Quixote, and countless others.
74	* Creator/JonathanSwift wrote the satirical tract ''[[http://en.wikipedia.org/wiki/A_Tale_of_a_Tub A Tale of a Tub]]'' in 1694. It does this with {{Anthropomorphic Personification}}s of different sects of Christianity, deconstructing what Swift saw as the "flaws" in each.
75	* As previously stated, ''Literature/WhoCensoredRogerRabbit'' by Creator/GaryWolf.
76	[[/folder]]
77
78	[[folder:Live-Action TV]]
79	* ''Series/{{Alf}}'' features the titular alien watching ''Series/GilligansIsland'' in one episode and wishing for a more exciting life like the castaways. After falling asleep trying to fill a lagoon he made, he dreams he's on the island with them, complete with some of the original actors returning. It’s a lot less happy. The Howells and Ginger have left for the other side of the island, the remaining castaways are very disfunctional after being stuck with each other for years, and [[ArsonMurderAndJaywalking they can't eat Mary Ann's coconut cream pies due to high blood sugar (and being sick of them)]]. In a case of irony, they are pining for Alf's (relatively) [[MundaneLuxury normal life of balanced meals, changing clothes, and not hitting each other with hats]].
80	* The first Series/{{Arrowverse}} crossover between ''Series/{{Arrow}}'' and ''Series/TheFlash2014'' is full of both teams poking holes in the way the other operates. Oliver Queen isn't impressed with how the Flash team treats their crusade like a game and points out they cause several problems for themselves because they don't take the job seriously. Meanwhile, the Flash characters are shocked by the brutal methods the Arrow uses to stop criminals and tell him that his personal tragedies don't justify his actions. By the end of the crossover, [[BothSidesHaveAPoint members of both casts admit the other has a point]].
81	* ''Series/OnceUponATime'' for fairy tales in general and the {{Disneyfi\|cation}}ed versions in particular, all while mashing up different stories together, such as [[WesternAnimation/SnowWhiteAndTheSevenDwarfs Prince Charming]] was really [[Literature/ThePrinceAndThePauper the pauper to the prince]]. Many of the episodes are from the POV of the Evil Queen from "Snow White and the Seven Dwarfs." It actually does the term "modern take" literally, as the Dark Curse caused [[FisherKingdom almost everyone to lose their memories of who they were]] and [[FakeMemories have memories that would closely match real life]].
82	* The ''Series/StarTrekStrangeNewWorlds'' episode "[[Recap/StarTrekStrangeNewWorldsS2E07ThoseOldScientists Those Old Scientists]]" does this for ''Trek'' crossovers. While previous ones tend to be quite seamless as the characters are quite professional, a crossover with ''WesternAnimation/StarTrekLowerDecks'' throws everything to the wind as the time traveling Boimler and Mariner learn to temper their expectations of their past heroes while Pike and the rest of the ''Enterprise'' crew are suffering a headache and a half with their antics.
83	[[/folder]]
84
85	[[folder:Theater]]
86	* ''Theatre/IntoTheWoods'', containing characters from multiple fairy tales and weaving their stories together. The whole thing is deconstructed in the second act.
87	[[/folder]]
88
89	[[folder:Video Games]]
90	* ''VideoGame/SuperRobotWars'' games can turn into this to some degree, by showing how characters from one anime would react when facing plot and characters from others - friendships ([[Anime/TengenToppaGurrenLagann Kamina]] and [[Manga/GetterRobo Ryoma]] in [[VideoGame/SuperRobotWarsZ Z2]]) and rivalries ([[Anime/MobileFighterGGundam Domon]] and [[{{Anime/Daimos}} Kazuya]] in [[VideoGame/SuperRobotWarsMX MX]]) are formed, some characters turns different that in their source material ([[Anime/NeonGenesisEvangelion Shinji]] and [[Anime/MobileSuitGundamSEEDDestiny Shinn]], very often), some events are averted, villains fight one another ([[Anime/GaoGaiGar Zonderians]] vs [[Anime/TekkamanBlade Radam]] vs [[Anime/DetonatorOrgun Evolouders]] vs [[Anime/GaoGaiGar Eleven Lords of Sol]] in [[VideoGame/SuperRobotWarsW W]]) or form alliances ([[Anime/{{Mazinkaiser}} Doctor Hell]], [[Literature/FullMetalPanic Gauron]] and [[Manga/{{Zeorymer}} Hakkeshu]] in [[VideoGame/SuperRobotWarsJudgment J]]), not to mention characters making comments about events from other series.
91	-->'''[[Anime/MobileSuitGundamCharsCounterattack Char Aznable]]:''' Your way will never bring true peace.\
92	'''[[Manga/GetterRobo Ryoma Nagare]]:''' [[ColonyDrop And dropping a rock]] [[ShutUpHannibal on Earth will]]?
93	** The first ''VideoGame/SuperRobotWarsZ'' is probably the most deconstructionistic entry in the franchise. The fused world is portrayed as a chaos-ravaged, postapocalyptic hell where the protagonists are the one and only good option while the many villainous factions from all the different works dominate the Earth Sphere through sheer superior numbers. The protagonists, in turn, [[LetsYouAndHimFight break down and attack each other]] rather than deal with their shared enemies, partially due to the villains' manipulations, but also due to genuine ideological differences aggravated by the robot pilots' combative personalities. The multiversal plot shows characters reacting to different versions of themselves, such as Classic Ryoma witnessing Armageddon Ryoma and being horrified by his much more violent nature or classic Kouji being surprised at the power of the Mazinkaiser. And at the end of the game, it's revealed that [[spoiler:the corner of the multiverse the game is set is has been trapped in a ViciousCycle of warfare due humanity's inability to stop fighting and in particular the protagonists' inability to actually end their conflicts]].
94	[[/folder]]
95
96	[[folder:Web Comics]]
97	* ''Webcomic/BreakfastOfTheGods'' does this with breakfast cereal mascots.
98	* Most of Bleedman's {{Webcomics}} (e.g., ''Webcomic/PowerpuffGirlsDoujinshi'', ''Webcomic/GrimTalesFromDownBelow'') do this with various WesternAnimation cartoons (at the same time changing their drawing styles to an {{Animesque}} one). And then ''VideoGame/FusionFall'' used that concept as well, retaining the Massive Multiplayer Crossover and the change to an {{Animesque}} style, but dropping any hints to {{Deconstruction}}.
99	* ''Webcomic/CaptainSNES'' fits into this category fairly well. Not only are many of the villains aware that they are merely video game characters (which is, in at least one case, [[GoMadFromTheRevelation why they became villains to begin with]]), but characters who travel from one video game world to another are not always prepared for the different rules. (The [[http://www.captainsnes.com/2002/10/26/219-the-ways-of-the-mushroom/ comic]] where [[VideoGame/ChronoTrigger Magus]] writes of his experiences learning from [[Franchise/SuperMarioBros Mario]] seems a good illustration of this.)
100	* ''Webcomic/CheshireCrossing''. Three girls believed to be insane are all sent to a 'boarding school'. But the three girls are [[Literature/AlicesAdventuresInWonderland Alice Liddell]], [[Literature/PeterPan Wendy Darling]], and [[Film/TheWizardOfOz Dorothy Gale]], and their 'teacher' is Film/MaryPoppins.
101	* ''Webcomic/KidRadd'' seems to do this, but featuring {{Captain Ersatz}}es and pastiches rather than actual trademarked {{Video Game\|s}} characters. It has its own in universe versions of games like ''Franchise/SuperMarioBros'', ''VideoGame/EarthBound1994'', ''Franchise/FinalFantasy'', and even ''Deadly Towers'' and cheesy flash games. It really does well at showing what a character from one genre of games would look like if he was forced into a completely different genre but his character still followed the rules of his original game. For example, how would a platformer character for whom everything does equal damage, and only has four slots in his health bar deal with being put in an RPG where every character has thousands of HP? How would a fighting game character, who needs to take advantage of a character being temporarily stunned after being hit in order to perform combos deal with a platformer character who becomes temporarily invincible after being hit?
102	* ''[[https://www.webtoons.com/en/challenge/sire/list?title_no=109141 Sire]]'' is a comic about the descendants of literary characters reliving their "Sire"s story and having to take cues and morals from the original work so as not to earn a tragic ending. Rare as the characters are aware of the trope and use the deconstruction as a means to survive.
103	[[/folder]]
104
105	[[folder:Web Original]]
106	* ''WebVideo/CartoonsInDanganronpa'' is all about [[ExactlyWhatItSaysOnTheTin cartoon characters being forced to participate in a Killing Game]], but the deconstruction doesn't end there:
107	** Everyone is unnerved by how crass [[WesternAnimation/SouthPark Kyle and Cartman]] can be; Dib notes that they swear more than anyone else in the school and Dipper is confused by Kyle's Terrence and Phillip doll, both because of the NonStandardCharacterDesign Canadians have in ''South Park'' and because he doesn't like ToiletHumor as much as Kyle.
108	** [[WesternAnimation/EdEddNEddy Ed]]'s CharlesAtlasSuperpower may be in full force here, but it has its limits in comparison to the real superheroes--when he, [[Franchise/ThePowerpuffGirls Blossom, Bubbles]], and [[WesternAnimation/MyLifeAsATeenageRobot Jenny]] try to break a wall, he ends up bleeding.
109	** On the ''VisualNovel/{{Danganronpa}}'' side, this Killing Game is a lot more lopsided than the canon ones since it has actual superpowered students. Cartman points this, along with the fact that most of the students know at least one other student, as evidence for his theory that it's really some twisted game show, and Monokuma pulls out [[CrazyPrepared a lot more stops than he did in the games]] to make it all work, including making everything nigh-indestructible, (somehow) blocking off [[WesternAnimation/StarVsTheForcesOfEvil Star's]] Dimensional Scissors, and eventually de-powering the Powerpuff Girls and Jenny so they can't protect the others.
110	* ''WebAnimation/DeathBattle'' can dwell into this, often showing how certain characters would fare against opponents operating by rules of a work different in tone or even completely different genre altogether. Certain tactics, abilities or even personality traits can work to their disadvantage or be exploited by their opponents.
111	** One of recurring deconstructions in later seasons occured towards the concept of "the overdog" - a character who is such a dominant force in their story, no one can match them. In ''Death Battle'' such characters more often than not turn out to be a NormalFishInATinyPond and someone on their level may as well be an OutsideContextProblem, especially if that opponnent is TaughtByExperience themselves. [[Franchise/{{Halloween}} Michael Myers]] never faced another slasher, while [[Franchise/FridayThe13th Jason Voorhees]] got toe to toe with [[Film/FreddyVsJason Freddy Krueger]], [[ComicBook/FreddyVsJasonVsAsh Ash Williams]], [[ComicBook/JasonVsLeatherface Leatherface]] and even [[ComicBook/FridayThe13thJasonVsJasonX himself]], so he is much more in his element. In their respective multiverses no one can match [[WesternAnimation/RickAndMorty Rick Sanchez's intellect]] or [[Franchise/{{Transformers}} Unicron's power]], but that means they're not used facing their equal or better, while both [[Franchise/DoctorWho the Doctor]] and ComicBook/{{Galactus}} have a long history of doing exactly that and coming on top
112	* The ''WebAnimation/FinalFightingFantasy'' series does a good job at this. For the various ''Franchise/FinalFantasy'' characters, it starts off as what looks like a simple poorly written fan fic, but quickly [[GrowingTheBeard grows the beard]] and becomes quite epic. It turns out that the [[InfinityPlusOneSword legendary weapons]] of the games were created by the ancients as a way of manipulating the game's protagonists into defeating the forces of evil, and thus restoring balance. However, after evil was defeated, the good guys can't stay around any longer, because they would tip the balance too far towards the light, so, the weapons transport them to another world, where they all meet each other, and (because of the influence the weapons have on their mind) convince them that the characters from the other games are evil. Thus they're forced into a fight to the death. The different characters named "Cid" that appear in every game is actually the same guy, manipulating things from behind the scenes. Unfortunately, ''Final Fighting Fantasy'' has [[DeadFic been left unfinished]].
113	* ''Marvel DC After Hours'', a SpinOff of ''WebVideo/ImAMarvelAndImADC'' does this. Season 1 questions the validity of Franchise/{{Superman}}, Season 2 deals with what the heroes would be like if they all went through what Franchise/{{Batman}} did, and Season 3 revolves around the concept of the ContinuityReboot, and what it would be like to go through one. By the end, it is always {{reconstruct\|ion}}ed.
114	* ''WebVideo/ThereWillBeBrawl'' straddles the line of this and a a DarkerAndEdgier {{Parody}} of Creator/{{Nintendo}} [[VideoGames games]]. It uses a pre-existing Massive Multiplayer Crossover established by the ''VideoGame/SuperSmashBros'' franchise, and then constructs a world based around the end result of innocent and not-so-innocent characters fighting a purposeless war against each other for years.
115	* ''Winnie The Pooh meets The Toxic Avenger'' is a deconstruction of the ''WebVideo/PoohsAdventures'' series, showcasing the difficulties of featuring so many characters in a world not suited for them. [[WesternAnimation/TheGrimAdventuresOfBillyAndMandy Grim]] is killed by the author after he [[StoryBreakerPower tries to change the story]] (mocking the idea of so many powerful characters just sitting on the sidelines), Franchise/ThePowerpuffGirls learn how to swear due to being in a world with a higher age rating, and the constant interference causes [[Film/TheToxicAvenger Toxie]] to go insane and try to kill everyone.
116	[[/folder]]
117
118	[[folder:Western Animation]]
119	* The point of ''WesternAnimation/DrawnTogether'' was to be like this, they took [[CaptainErsatz Captain Ersatzes]] of Franchise/{{Superman}} (Captain Hero), [[Franchise/{{Pokemon}} Pikachu]] (Ling Ling), [[Franchise/TheLegendOfZelda Link]] (Xandir), WesternAnimation/BettyBoop (Toot), ComicBook/JosieAndThePussycats (Foxxy), the Franchise/{{Disney Princess}}es (Clara), WesternAnimation/SpongeBobSquarePants (Wooldoor) and vulgar flash cartoons (Spanky) and put them in one house as a Parody of every RealityShow ever made. Unfortunately it [[SeasonalRot quickly devolved]] into VulgarHumor.
120	* "[[Recap/FamilyGuyS13E1TheSimpsonsGuy The Simpsons Guy]]", a crossover between ''WesternAnimation/TheSimpsons'' and ''WesternAnimation/FamilyGuy'', showcases just how different the two settings are by painstakingly pointing out how much more the latter relies on BlackComedy, is BloodierAndGorier, and overall has a much DarkerAndEdgier portrayal to its cast than the former. The Simpsons characters are repeatedly horrified by and disgusted at the Family Guy group's antics, whilst the Family Guy crew dismiss the Simpsons as lame, weak and pathetic.
121	* Most of the humor in ''WesternAnimation/RobotChicken'' comes from this. For example, there's WesternAnimation/BeavisAndButtHead joining the WesternAnimation/TeenTitans, and ''Creator/{{MTV}} Exposed'' on {{Franchise/Barbie}} and Franchise/{{Bratz}}. Of course this is used mostly for [[DeconstructiveParody comedic purposes]].
122	* ''WesternAnimation/TurtlesForever'' has the Franchise/TeenageMutantNinjaTurtles from [[WesternAnimation/TeenageMutantNinjaTurtles1987 the 1987 cartoon]], the Turtles from [[WesternAnimation/TeenageMutantNinjaTurtles2003 the 2003 cartoon]] and the Turtles from [[Comicbook/TeenageMutantNinjaTurtlesMirage the Mirage comics]] meet. To clarify how well this actually works as a deconstructive crossover, the antics and personalities of the '80s Turtles--somewhat exaggerated but still grounded in the source material--annoy, confound, and irritate the 2003 turtles to no end. Even Michelangelo, eventually. Then they meet the original Mirage turtles (as written in issue 1), and even the 2003 guys seem like plushies by comparison [[note]]The Mirage Turtles explicitly say they've been trained by Splinter to kill Shredder to avenge Hamato Yoshi, something that neither the '80s nor 2003 Splinters did.[[/note]]. Yet, in the end, all versions of the Turtles are deemed just as valid as the others. Complaints have been made that the 1987 Turtles seem more cowardly. [[FridgeBrilliance Of course they are]]; they're in a different world where they are not the main characters, the fourth wall is more rigidly in place, and the BigBad is both ruthless and competent. They lost their PlotArmor and they ''[[MediumAwareness know]]'' it.
123	** The [[WesternAnimation/TeenageMutantNinjaTurtles2012 2012 cartoon]] likewise has its own take on how such a deconstructive crossover plays out, when the 2012 turtles meet the 1987 ones in a few episodes across the final two seasons. The antics and personalities of the '80s turtles (more grounded in the source material than ''Turtles Forever'') annoy and baffle the 2012 turtles except for Michelangelo (who is just as immature as his counterpart), although they eventually come to respect them. Moreover, the '80s turtles' creative, slapstick tactics prove completely useless against the 2012 Bebop and Rocksteady, who are vastly more dangerous than the original bumbling '80s Bebop and Rocksteady, to the point that the 2012 turtles had to give them proper ninja training in order to stand a chance.
124	* ''WesternAnimation/TheVentureBrothers'': The Monarch is a deconstruction all the Campy Supervillains of TheSixties, Brock Sampson was something of a deconstruction of every ActionHero ever made, and the titular brothers themselves are a deconstruction of ''Literature/TheHardyBoys'' and ''WesternAnimation/JonnyQuest''. They also turned the gang from ''Franchise/ScoobyDoo'' into a [[UsefulNotes/CharlesManson Manson Family]]-type collection of [[TheSixties 60s]] and [[TheSeventies 70s]] era [[SerialKiller Serial Killers]]. They also have a rather interesting take on Comicbook/FantasticFour. Strangely enough, [[ExpyCoexistence many of the characters they're based on are either shown or mentioned to exist as well]].
125	[[/folder]]

Context Main / DeconstructionCrossover