[[quoteright:161:[[Website/{{Cracked}} http://static.tvtropes.org/pmwiki/pub/images/Recons_4798.jpg]]]]
[[caption-width-right:161:[-[[http://www.cracked.com/article_18741_the-evolution-fictional-characters-by-medium-5Bcomic5D.html By Winston Rowntree ]] of ''Webcomic/{{Subnormality}}''.-] ]]

-> ''"It strikes me that the only reason to take apart a pocket watch, or a car engine, aside from the simple delight of disassembly, is to find out how it works. To understand it, so you can put it back together again better than before, or build a new one that goes beyond what the old one could do. We've been taking apart the superhero for ten years or more; it's time to put it back together and wind it up, time to take it out on the road and floor it, see what it'll do."''
-->-- '''Creator/KurtBusiek''', '''''ComicBook/AstroCity''''', on the whole point of {{Deconstruction}}.

Deconstruction demonstrates what happens when tropes in fiction are played for realism. Thus, a fantasy about being a princess or a superhero is shown to have consequences, negatives, other facets, etc that are glazed over in fiction. The trope no longer works the same, so it doesn't look the same.

This is where Reconstruction comes in. A Reconstruction ''accepts'' the criticisms of the initial fantasy made in the previous {{Deconstruction}} and then ''modifies'' it into something that would resemble the original trope, but still work in reality.

Thus, Princess Classic is not being married into a fairy-tale monarchy, but into a post-Napoleonic 19th- or 20th-century one -- a constitutional monarchy in {{Ruritania}}, with the scenery and regalia but without the power and corruption (or at least with the Princess taking a meaningful stand against it if it is present), so she won't end up like Marie Antoinette.

The new age Superhero works the required secondary powers to his advantage to find creative uses for his powers, and carefully balances his mundane and heroic lives, such as working a job that complements his superheroing (or makes it his job by working for a larger group), and dating love interests who are either heroes themselves or able to handle themselves when things get hairy.

Reconstruction can involve deconstructing said Deconstruction if someone has a different idea about "realism" or the previous deconstruction was mixed too heavily with DarkerAndEdgier. Overall, it could be thought of as a dialectical synthesis of an original and its deconstruction. The philosophical theory which accompanies reconstruction is called ''reconstructivism''.

Compare the GenreThrowback, which usually involves Reconstruction, and {{Troperiffic}} works. See also DeconReconSwitch, which is a single work which sets up a deconstruction only to reconstruct the same tropes later on.

Often confused with AdaptationDistillation. Reconstruction is when a genre is rebuilt after being hit with a criticism; AdaptationDistillation is when a specific work is revitalized, without any new objections needing to be answered in the process.

See also ReimaginingTheArtifact, a much more localized phenomenon.

Not to be confused with the [[FreewareGames Freeware RPG]] ''Videogame/TheReconstruction'', season six of Machinima/RedVsBlue, or, for that matter, with [[TheGildedAge the Reconstruction Era]] after UsefulNotes/TheAmericanCivilWar.

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!!Examples:

[[foldercontrol]]

[[folder:Meta]]
* The PostCyberPunk genre is practically a perfect Reconstruction to CyberPunk's {{Deconstruction}} of technological advancement and its effect on society.
* {{Remodernism}} essentially is a Reconstruction of what PostModernism challenged. The authors of the Remodernist manifesto called PostModernism "brainless destruction of convention" and argue for a new spirituality in art as opposed to the nature of PostModernism, which they describe as [[StrawNihilist nihilistic]].
[[/folder]]

[[folder:Anime and Manga]]
* This is a CyclicTrope, especially in the HumongousMecha genre: every decade or so when the genre is reaching the point of seriousness. Pre-EVA, there was also ''GiantRobo'' (though this was at least partially due to the manga being made in the '60s).
** ''Yuusha-Oh GaoGaiGar'' was a direct, deliberate reaction to ''Anime/NeonGenesisEvangelion''.
** ''[[KotetsuJeeg Koutetsushin Jeeg]]'' likewise appears to be an attempt to make an old cartoon like ''MazingerZ'' and ''GetterRobo'' in its entirety (and specifically, of course, to remake ''KotetsuJeeg''), but with modern production values and techniques.
** This seems to have come full-circle in the closing year of the decade with ''ShinMazinger'', the first full-length remake of ''MazingerZ'', the show that created the SuperRobot subgenre.
** Other earlier reconstructions include the '80s show ''{{Dancougar}}'', which combined the old-school SuperRobot formula with RealRobot-style sensibilities, and ''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 ''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 ''GreatMazinger'' was DarkerAndEdgier, GoNagai's penchant for {{Gorn}}, ''GetterRobo'' is in reality is a CosmicHorrorStory, and ''{{Zambot3}}'' 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/TengenToppaGurrenLagann'' is a reconstruction of the entire history of mecha, starting with TheSeventies era of SuperRobot anime with Kamina as the voice of the seventies, then came Nia and TheEighties "''RealRobot''" style storyline of TheEmpire vs the Rebels and TheNineties with the whole Evangelion deconstruction type era with Rossiu leading the way. TTGL is a trip through the Mecha Genre.
* ''RahXephon'' examined the darker, serious sensibilities of ''Anime/NeonGenesisEvangelion'''s well-known deconstruction of anime and mixed it with more idealistic SuperRobot tropes.
* ''CrossGame'' seems out to do this with ReplacementGoldfish..
* ''ParallelTroubleAdventureDual'' managed to give us all the Evangelion-esc action, without the Evangelion-esc drama and MindScrew.
* Creator/NaokiUrasawa's ''Manga/TwentiethCenturyBoys'' systematically deconstructs and ''then'' reconstructs both the sort of cheesiness that came out of kids' manga in the 1970s and, really, the whole idea of childhood, childhood dreams (of becoming a hero), and, for that matter, the '60s and '70s themselves: the inspiration of the Moon landing, rock and roll, love and peace, the idea that we were entering a future where anything was possible.
* ''[[Anime/MobileSuitGundamZZ Gundam ZZ]]'' can be seen as a Reconstruction in the Gundam franchise, where Anime/MobileSuitGundam put forth the original concept layout of Gundam, and ZetaGundam became a Deconstruction of those concepts, such as FallingIntoTheCockpit. Though not everyone [[TheyChangedItNowItSucks saw it as such.]]
** As well as various AU series like ''[[Anime/MobileSuitGundamWing Gundam Wing]]'', ''Anime/AfterWarGundamX'' and ''[[Anime/MobileSuitGundam00 Gundam 00]]'', which addressed the fundamental causes of why the Universal Century was doomed to constant infighting and never improves.
** The movie of ''{{Gundam 00}}'', ''[[Film/Gundam00AWakeningOfTheTrailblazer A Wakening of the Trailblazer]]'', is a reconstruction that follows right after the DeconstructorFleet TV series.
* ''{{Manga/Ratman}}'' is an interesting variant of reconstruction. It plays up the idea of the ordinary kid who dreams of becoming a hero (who also lives in a world chock full of 'em) realistically: He's duped into becoming a super''villain,'' but he doesn't let this get in the way of his idealism. At the same time, he's surrounded by very loving and supportive coworkers, and much of the antics he goes through is PlayedForLaughs. [[PlayedForDrama Except when it's not]]. It also becomes clear that the "evil crime syndicate" isn't as evil as it seems, but really are simply on the [[EmpireWithADarkSecret Hero Association's]] bad side.
* ''Anime/YuGiOh5Ds''' reconstruction returns to playing tropes straight that were deconstructed in ''Anime/YuGiOhGX''.
* ''RebuildOfEvangelion'' implies reconstruction [[ExactlyWhatItSaysOnTheTin right in the title]]. It essentially takes the [[DysfunctionJunction main cast]] of the [[Anime/NeonGenesisEvangelion original series]] and shows how the series would play out if they asked themselves "AngstWhatAngst" But it is by no means LighterAndSofter.
* TigerAndBunny is a curious case: it's a reconstruction of American Superhero Comic Books done as a Japanese animated show! In-universe, despite seemingly being sellouts, the heroes keep their moral ground even when an AntiHero and a SmugSnake mock them for it.
* ''Anime/PuellaMagiMadokaMagica'' is a show that first [[{{deconstruction}} deconstructs]] the basic tropes of the magical girl genre, [[DeconReconSwitch but then proceeds to reconstruct the essence of the magical girl genre]], that hope will always win out over despair. This reconstruction is much more important to the series as a whole than the superficial deconstruction.
%% * The anime version of ''Anime/TheThreeMusketeers'' is unique in that it's a rare human deconstruction of an entire canon. The original novels deconstructed themselves to begin with, as the later novels inherits the aging of the original heroes; the anime would reconstruct the novels resulting into a rare Lighter but Edgier adaptation where the plot itself seemingly becomes this for the latter part of the novels when the events became darker (yet not so much edgier due to how duels were becoming outdated).
* Whereas ''FateZero'' and ''VisualNovel/FateStayNight: Heaven's Feel'' coldly-desconstructs the concepts of what it means to be a "hero", ''VisualNovel/FateStayNight: Unlimited Blade Works'' warmly embraces its viewer and reminds them that yes, the world ''may'' be a cold-and-ugly place, but that does '''not''' mean that the honor, kindness and decency are not worth fighting for.
* ''Anime/{{Popotan}}'' reconstructs itself. Throughout the series, the characters experience the consequences of LimitedDestinationTime (whatever friends they make they eventually have to leave behind), but in the end they learn to appreciate each other and the fact that they are still able to at least always remember their friends.
* ''[[HimeChenOtogiChikkuIdolLilpri Lilpri]]'' is one of the very few straightforward, non-ironic MagicalGirl shows to come in recent times (even if it is TheAnimeOfTheGame).
* Anime/SamuraiFlamenco is this towards the [[HenshinHero Japanese superhero]]/{{Tokusatsu}} genre, paying tribute to the heroism and ideals that those superheroes strive for, even if limited by the real life mundanity and the hero not being a superpowered being like them.
[[/folder]]

[[folder:Comic Books]]
* Jackie Estacado, the protagonist of ''ComicBook/TheDarkness'', is a reconstruction of the NinetiesAntiHero. Whereas most Nineties Anti-Heroes are loud, bombastic and shallow, Jackie is complex, subtle and intelligent. [[BlueAndOrangeMorality He has no moral quandry with]] [[PayEvilUntoEvil killing bad guys]], but [[NeverHurtAnInnocent freaks out if he kills an innocent person]]. He has the [[CastingAShadow personification of darkness and evil inside of him]], but views this as [[CursedWithAwesome a curse rather than a blessing]]. He's also LawfulNeutral, sticking to old-school codes of New York mob crime families, and [[AFatherToHisMen genuinely caring about those who work for him]].
* ''ComicBook/AstroCity.'' In fact, most of Creator/KurtBusiek's works involve nuanced reconstruction on some level.
* In 1986, DC's big two heroes, Superman and Batman both received Deconstructive treatments, with ''Comicbook/BatmanTheDarkKnightReturns'' and ''ComicBook/WhateverHappenedToTheManOfTomorrow''. These were followed almost immediately with Reconstructions with ''ComicBook/BatmanYearOne'' and ''ComicBook/TheManOfSteel''.
** ''Comicbook/KingdomCome'' was a particularly famous comics reconstruction that delivered a rather heavy-handed denouncement of the NinetiesAntiHero. Though it should be noted that the story ended up with [[spoiler:''all'' the super-heroes realizing they were flawed, removing their masks, and joining normal human society.]]
** ''Comicbook/{{Justice}}'' is more a reconstruction proper, as it is essentially ''SuperFriends'' without the camp, token characters, and low-budget visuals. Its opening reads like a superhero deconstruction, with the rest of the series reading like a thorough rebuttal.
** Creator/GrantMorrison's ''Comicbook/FinalCrisis'' is increasingly interpreted as an attempt to redeem [[TheSilverAgeOfComicBooks Silver Age]] idealism and high concepts in order to subvert the DarkerAndEdgier style and "realism" of TheDarkAgeOfComicBooks.
*** A good deal of Grant Morrison's stuff at least addresses the need for a reconstruction, such as in ''Comicbook/AnimalMan'', where the titular character complains that [[spoiler:his entire family was killed off for the sake of "character development"]]; at the end of the series, [[spoiler:the author returns them to life]]. The ''Comicbook/FlexMentallo'' mini-series can also be seen as a celebration of how unabashedly weird TheSilverAgeOfComicBooks could be, [[TropesAreNotBad and how that's not necessarily a bad thing]].
*** Morrison's ''ComicBook/AllStarSuperman'' is this [[AdaptationDistillation trope distilled.]]
*** ''BatmanRIP'', which successfully combines the gritty Batman and the Silver Age Batman into one coherent, badass character.
** Joe Kelly's Superman story ''Whatever Happened to Truth, Justice and the American Way?'' was also a big contribution to the superhero reconstruction.
** ''ComicBook/TomStrong'' does something similar with the pulp / comic book 'science hero' archetype.
* While the first two volumes of ''Comicbook/TheLeagueOfExtraordinaryGentlemen'' were definitely deconstructions of Victorian adventure fiction (and for that matter, the concept of the MassiveMultiplayerCrossover), ''The Black Dossier'' seems a reconstruction of the concept (though in doing so, it becomes a deconstruction of 20th century fiction). If you aren't somewhat confused, then Creator/AlanMoore hasn't done his job.
** And even the first two books were a reconstruction in their own way. Sure, Moore brought on all kinds of moral ambiguity and tossed aside typical Victorian ideals, but at the same time he was taking some of the most awesome literary characters of the time and giving them their full due. It had been a long, long time since Fu Manchu had been anything but a parody.
* A lot of smaller conventions of the superhero genre were deconstructed during the BronzeAge and reconstructed during the DarkAge. For one example, Genre: SuperheroesWearCapes because of the RuleOfCool. Decon: [[ComicBook/{{Watchmen}} Capes are silly stuff that's just for show and can get in the way,]] therefore practical superheroes don't wear capes. Recon: SuperheroesWearCapes for a variety of useful purposes, or are given explanations deeper than the RuleOfCool.
** Also, Genre: Heroes don't kill because of UsefulNotes/TheComicsCode. Decon: Superheroes kill, and those who don't wind up getting beaten by the villain. Recon: Superheroes don't kill because they are not police or military and therefore don't have the legal authority to kill, or they do kill but only when there is absolutely no other option.
* ''CaptainAtom: Armageddon'' was this as well. By the time it came out, the WildStorm characters had come to embody all the excesses of the DarkAge, so DC brought CaptainAtom, who, while [[DeconstructorFleet hardly what you'd call a traditional superhero]], nonetheless was a much more [[TheCape wholesome, positive character]] to set the WildStorm Universe to rights.
* ''ComicBook/SupermanSecretIdentity''. A boy named Clark Kent in "our" world develops Superman's actual abilities.
** Deconstruction: He repeatedly mentions that he has no clue where his powers came from or how they work - how can he hear things before the sound waves even have time to reach him, for instance? When he actually starts going out in costume, the Superman suit works in his favour because no-one's going to believe someone saying Superman saved them. Unfortunately, he draws the attention of the military, who repeatedly try to capture him and experiment on him.
** ''Re''construction: He never stops helping people, and eventually proves to the people chasing him that he's more useful as a friend than an enemy. The book's overall tone and ending is completely positive.
* ''Star Wars Legacy'' seems like a Deconstruction at first (in both volumes), beginning with the galaxy embroiled in a terrible war, the Jedi at their DarkestHour, the Sith staging a new comeback, the Alliance and Empire making morally gray choices, and one of the only Skywalkers remaining having become a junkie who's rejected the CallToAdventure due to having it forced down his throat his whole life. But by the end it proceeds to than examine everything that makes the series good rather than focusing on the bad things. In the end [[spoiler: Cade becomes a hero (out of ''choice'' rather than being forced to), Darth Krayt and his minions are defeated for good, the Sith are vanquished, the Alliance and Empire put aside their differences, and the Force is put back into balance once more.]]
[[/folder]]

[[folder:Fanfiction]]
* FanFic/Hottie3TheBestFanFicInTheWorld is a Reconstruction of both [[FanFic Fan Fics]] and [[MassiveMultiplayerCrossover Massive Multiplayer Crossovers]].
* ''[[http://alaxr274.deviantart.com/gallery/33810717 Super Milestone Wars]]'' and it's sequel is a reconstruction of the DeconstructionCrossover trope itself.
* While ''FanFic/HuntingTheUnicorn'' is largely a DeconstructionFic, it is indirectly ''re''constructive since it portrays Blaine as a believable character rather than a RelationshipSue. In-story, it's starting to reconstruct how damaged he is by showing how Kurt and Blaine genuinely care about each other, averting ThereAreNoTherapists, and using a healthy dose of ThePowerOfFriendship / [[ThePowerOfLove Love]].
* ''[[FanFic/UltimateSleepwalker Ultimate Sleepwalker: The New Dreams]]'' and ''[[FanFic/UltimateSpiderWoman Ultimate Spider-Woman: Change With The Light]]'' are intended as Reconstructions of traditional superhero comics. Many plots are "done in one", efforts are made to explain traditional superhero tropes and make them more believable, and WritingForTheTrade is notably absent.
* ''FanFic/BlueSky'' is a Reconstruction of the 'Wheatley becomes human' breed of fanfiction. This extremely large branch of the portal fan-community tree is rife with variations, ranging from innocent, helpless Human!Wheatley who needs Chell, to Wheatley being a psychotic, corrupted android with a taste for non-con. In this fic, Wheatley is sorry for what he did, but he's not entirely innocent either. Chell is willing to forgive him, but doesn't right off the bat, and makes it very clear that Wheatley has to earn her trust. Even the most common thread of these stories, [=GlaDOS=] seeking revenge, is subverted. She is only interested in testing, and making Wheatley hurt to reach that goal is more of a fringe benefit than anything else.
* [[http://www.fanfiction.net/s/8771529/1/Shattered-by-Time Shattered by Time]] starts out as a deconstruction of many Naruto PeggySue fics where someone (Kakashi, in this case) goes back in time to prevent the bad guys from winning. The difference is that Kakashi has already been "shattered" before he comes back, needs to be "[[IncrediblyLamePun reconstructed]]," and it takes YEARS for him to get back to anywhere near normal again. But once he does, [[DeconReconSwitch the story progresses closer to the classic versions]], where he still takes in Naruto and "makes" Sasuke a good guy, etc.
* Although ''Fanfic/TheLegendOfTotalDramaIsland'' is neither intended or billed as a reconstruction, it does a fair amount of recon work. This stems largely from the author's fondness for [[ShownTheirWork explaining things]], a generally [[RealityEnsues higher level of realism]] than in [[WesternAnimation/TotalDramaIsland the original]], and a tone change from comedy to drama.
* The aptly-titled ''Film/CaptainAmericaTheFirstAvenger'' fanfic [[http://archiveofourown.org/works/1564184/chapters/3319019 Reconstruction]] (still in-progress) applies the familiar GenderFlip trope to Steve/Stephanie Rogers, then goes on to illustrate why the character traits that created a patriotic hero remain constant regardless of gender. Along the way, it also gives an impressive number of extremely well thought out insights into how the canonical events of the first Captain America film would have been experienced and influenced by the protagonist's altered perspective. Additionally, it examines the myth of that patriotic hero (in this case, "Lady Liberty" rather than "Captain America") from the viewpoints of popular culture looking back at it -- via academic papers, historical books, and even excerpts from romance novels.
[[/folder]]

[[folder:Films -- Animated]]
* ''WesternAnimation/TheIncredibles'' reconstructs the superhero plot, partially by correcting the mistakes and partially by transferring them to villains. Yes, superheroes need special suits, so Edna designs them. Yes, capes are silly so Edna's suits don't feature them. Heroes do cause destruction, but how else can you defeat evil robots? Most supers are eager to be supers, as opposed to being tired and suicidal. The only one doing this for fame is, well, the villain. And so on.
* ''TheLegoMovie''. Sometimes, people can seem conformist and unoriginal in their lives. However, everyone has the potential to be a hero. Also TheProphecy was made up, but it was made so [[SelfFulfillingProphecy someone would believe in it and actually save the day.]] And most importantly, everyone can take what someone else did, and recreate something more, because [[ThemeSong Everyone IS awesome]].
* In the 2010s (although it arguably started earlier with 2007's ''Disney/{{Enchanted}}''), Disney began reconstructing its classic "fairy tales with princesses and true love" formula that had been deconstructed and parodied to death in the 2000s by films like ''WesternAnimation/{{Shrek}}'' and ''WesternAnimation/{{Hoodwinked}}''. Their princesses are proactive and have goals that don't include "find my true love" anywhere in them, their princes now need to go through a lot of CharacterDevelopment and/or aren't even actual princes in the first place, and TrueLovesKiss and LoveAtFirstSight don't work as they used to, but ''Disney/ThePrincessAndTheFrog'', ''Disney/{{Tangled}}'', and ''Disney/{{Frozen}}'' all still end with the villain being defeated, ThePowerOfLove saving the day in some way, and the main characters living HappilyEverAfter.
* 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.
[[/folder]]

[[folder:Films -- Live-Action]]
* ''Film/TheDarkKnightSaga'':
** ''Film/BatmanBegins'' is a reconstruction of the idea of Batman, not only giving a plausible explanation for how Bruce Wayne acquired all of his Bat-themed crime fighting equipment and training, but also exploring the motivations behind what would drive a man to dress up in a rubber Batsuit to fight crime.
** ''Film/TheDarkKnight'' reconstructs how a superhero can operate in, and have an effect on, a larger society.
** ''Film/TheDarkKnightRises'' ends up reconstructing what happens to a superhero in the long term.
* ''Film/BuffyTheVampireSlayer'' takes the dumb blonde who gets killed in horror movies and reconstructs her as an action heroine, then deconstructs the supergirl concept by giving her real world problems.
* ''Film/{{Clueless}}'' is a reconstruction of Teen Movies after the bitter deconstruction of ''Film/{{Heathers}}''.
** While also taking some time out to reconstruct JaneAusten by way of [[FilmOfTheBook adapting]] ''{{Literature/Emma}}'' into a modern-day setting where it actually more-or-less works.
* ''Film/HardBoiled'' features every single police officer character as unambiguously heroic, as an apology by JohnWoo for the way Chinese films had started to glorify criminals (including some of Woo's previous films). Their conduct in the hospital sequence in particular puts an extra helping of "Heroic" in HeroicBloodshed.
* ''Film/HotFuzz'' was partially an attempt to revive the British police officer as a credible movie hero after almost every British crime movie of the previous decade (or at least since ''LockStockAndTwoSmokingBarrels'') had instead focused on glorifying criminals. Hot Fuzz spent its first half deconstructing the police-action movie, then used its second half to gleefully rebuild it.
* Some recent Westerns seem to be attempts at this (the ''Film/ThreeTenToYuma'' remake, ''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.
* ''Film/{{Silverado}}'' reconstructed the Western in TheEighties.
* ''Film/JamesBond'':
** When the series appeared dead (and had been somewhat deconstructed in the Timothy Dalton era), ''Film/TrueLies'' appeared to reconstruct the spy-action-adventure genre by way of AffectionateParody. Ironically, it is a remake of a French ''parody'' of Hollywood action-adventure movies.
** The Daniel Craig movies gradually undergo this process; ''Film/CasinoRoyale'' 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.
* The film version of ''Film/KickAss'' reconstructs its own original comic's deconstruction of the superhero genre. In the comic, the hero is a sorry loser who [[IKnowMortalKombat never trains]], gets beaten up all the time, and [[RealityEnsues screws up his relationship with his new girlfriend.]] In the film, super-heroism is played mostly straight, with Kick-Ass becoming an inspirational underdog with low-level superpowers who eventually helps save the day and gets the girl.
** ''Kick-Ass'' was called a superhero version of ''Film/{{Zombieland}}'', a film where zombies are not used as some kind of political or sociological metaphor, but just something to have fun killing.
* ''Film/{{Scream 1996}}'' was, itself, a DeconstructiveParody of the SlasherMovie, but it [[DeconReconSwitch also reconstructed the genre]] by reminding audiences of why they liked slashers so much, and helped bring the ailing genre back into popularity. It was soon followed by [[FollowTheLeader a large number of straight slasher flicks]].
** Ten years later, ''Film/{{Hatchet}}'' and ''Film/AllTheBoysLoveMandyLane'' did the same thing, albeit in two very different manners (''Hatchet'' was a [[SlidingScaleOfComedyAndHorror more comedic]] [[BloodyHilarious form of horror]], while ''Mandy Lane'' was [[DarkerAndEdgier far more serious and gritty]]).
** Due to the dark nature of the material to begin with, the line between {{Deconstruction}} and {{Reconstruction}} can frequently be blurred with slasher films. This became increasingly true in the post-Scream era, simply because many of the things that originally set ''Franchise/{{Scream}}'' apart became, themselves, cliche. It became increasingly normal for characters to be at least somewhat GenreSavvy, almost all killers were both ideologically driven, and shameless self-promoters, and most slashers such as Saw began deconstructing their own franchises within a few entries, simply because deconstruction was the norm. If there is a definitive Reconstruction of the slasher genre, it would likely be ''Film/YoureNext'', simply because it takes the entire storyline in such a wildly different direction, and uses characters who make fairly rational decisions regarding how to counter the killers, without being particularly GenreSavvy (ie the house is under siege, begin baracading).
* ''Film/{{Cloverfield}}'' does this to {{kaiju}} movies. Ironically, people believed it to be a {{deconstruction}}, forgetting [[UnbuiltTrope what a horrific anti-atomic weapons allegory]] the TropeCodifier ''Film/{{Gojira}}'' really is. It started out horrific, got light and fluffy, and returned to being horrific. The film performs this reconstruction by showing the events of the film through the perspective of normal civilians. It's a surprisingly effective way to show just how gut-wrenchingly brutal and terrifying a giant monster attack would be in real life.
* ''Film/StarTrek'' could be seen as a Reconstruction not only of the ''Franchise/StarTrek'' franchise, but also the SpaceOpera genre as a whole. While the franchise had been heavily deconstructed to begin with, the later series ''had'' moved away from many aspects of [[Series/StarTrekTheOriginalSeries the original series]]. The genre as a whole had suffered from certain works (including ''Series/StarTrekEnterprise'' and the ''StarWars'' prequels) becoming notorious for generating a {{Hatedom}} and BrokenBase, and undergone {{Deconstruction}} with the remake of ''Series/{{Battlestar Galactica|Reimagined}}'' in 2000.
* Although it didn't stick, ''Film/TheOutlawJoseyWales'' can be seen as an attempted reconstruction of the old-style "sagebrush" western, with a more ambiguous and nuanced view of morality, the Civil War, and Indian raids. Essentially, The Man With No Name leads a group of pioneers to seek their fortunes in Texas.
* ''Film/GoodbyeLenin'' reconstructs, of all things, Marxist Socialism. The film blatantly acknowledges the problems of socialism and the good things provided by the West but by the end of the film we see that the hopes and dreams of the East German people are not necessarily defeated.
* The ''Film/JoshuuSasori'' films are a reconstruction of the [[GirlsBehindBars Women In Prison]] genre. While the genre normally consists of deeply misogynist, red-hot-lesbian flicks created purely for men's tittilation and possessed of virtually no artistic merit, Shunya Itou made the ''Film/JoshuuSasori'' films thoughtful, vicious, artful and surreal works with an overtly feminist message, without even changing the basic common plotline.
* ''Disney/{{Enchanted}}'' takes a stereotypical Disney princess and puts her in the real world of New York. Giselle starts out tripping over her own feet and being generally clueless, and making life very difficult for her caretaker. Soon, her quirkiness and overall sunshine start affecting her new world positively, and at the end she's seen using her gown-making skills and ability to control animals to start a successful fashion store.
* ''Film/CaptainAmericaTheFirstAvenger'' is a reconstruction of [[TheGoldenAgeOfComicBooks Golden Age]] Captain America comics, and [[TheCape do-gooder superheroes]] in general. It specifically addresses common quibbles with the character (PatrioticFervor, InvincibleHero, UnfortunateImplications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the CaptainPatriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually [[{{Flanderization}} flanderized]] into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
* ''Film/IronMan3'' reconstructs how grandiose villains with a thing for theatrics and terror can be adapted to operate in the real world. [[spoiler:The flashy villain adapted from the source material is actually a fictional character played by an actor made to distract the public from the real villain, who instead takes advantage of anonymity to perform his manipulative deeds. This villain, however, still shares characteristics with the same character from the source material. ''Iron Man 3'' does this with The Mandarin, who is both Trevor Slattery and Aldrich Killian.]]
* While ''Film/{{Cloverfield}}'' isn't 100% {{Deconstruction}}, ''Film/PacificRim'' definitely moves things back in the opposite direction, focusing on the heroes combating the kaiju, not civilians trying to escape. It also makes kaiju cool again, rather than just terrifying. It also gives HumongousMecha a comeback in the big screen and they are as awesome as they are big.
* ''Film/{{Godzilla 2014}}'':
** The movie takes a RevisitingTheRoots approach to Godzilla, bringing back the grim tone and the scary-force-of-nature characterization of the King of the Monsters.
** The movie Reconstructs the LighterAndSofter "Godzilla vs." movies that came afterwards; rather than treating such a set-up as a joke like so many parodies have done, it instead treats the "Godzilla vs." style in a straightforward way by introducing the same grim approach as Godzilla had in his initial solo outing.
** Various elements of Godzilla's design are updated to seem more plausible. His feet are rounder like a sauropod's to support his heavy weight, he has gills on the side of his neck to explain how he can live underwater, his armoured hide and arms now look crocodilian. In general he's bulkier, as an animal his size and shape probably would be to support its own weight.
** Also done for NightmareFuel: [[spoiler: A creature with Godzilla's mass and weight leaving the ocean would ''not'' be a quiet affair. All the water he displaces causes a tsunami. The same thing would have happened if a battleship suddenly grew legs and walked onto shore, all that displaced water has to go somewhere.]]
* All of ''Film/RunningScared'' is basically a scary fairy tale about a boy who ran to TheLostWoods and met numerous monsters, including TheBigBadWolf and a witch living in a GingerbreadHouse. Credits make sure you got the reference with animated sequence showing the boy's misadventures in that light.
[[/folder]]

[[folder:Literature]]
* Creator/MichaelChabon loves these. He's one of the most respected writers in America, yet many of his books take on subjects usually seen as meaningless pop culture, as if to prove that they ''can'' have literary merit if done right.
** ''Literature/TheAmazingAdventuresOfKavalierAndClay'' reconstructs [[TheGoldenAgeOfComicBooks Golden Age]] superheroes by telling a story from the POV of the men who created them, showing how important they are to American culture.
** ''Literature/{{Summerland}}'' reconstructs adolescent HighFantasy like ''TheChroniclesOfNarnia'' by giving it a fresh setting -- in this case, a fantasy-world based on American culture and folklore.
** ''Literature/GentlemenOfTheRoad'' reconstructs TwoFistedTales and pulp adventure stories.
** ''Literature/TheYiddishPolicemensUnion'' reconstructs traditional FilmNoir and HardboiledDetective stories, again, by giving it a fresh setting -- an AlternateHistory version of America where a thriving Yiddish culture exists on the Alaskan frontier.
* ''Literature/TheCanterburyTales'' seems to do this with the courtly love genre in the ''Franklin's Tale''. Chaucer had parodied the genre in both the ''Miller's Tale'' and the [[StylisticSuck deliberately sucky]] ''Tale of Sir Topas'' (which Chaucer [[TheDanza assigned to himself]]). The ''Franklin's Tale'' Reconstructs it by keeping the postive genre element of celebrating honorable conduct, but jettison's the genre's stance that love only exists outside of marriage.
* ''Franchise/TheDarkTower'' series began as a reconstruction of the Westerns [[Creator/StephenKing the author]] enjoyed.
* Boris Akunin's ''Literature/ErastFandorin'' detective novel series was made with the specific intention of reviving and uplifting the Russian detective genre after it sunk to a particularly terrible low.
* Charles Dickens' ''Literature/AChristmasCarol'' actually deconstructed the idealistic Self Made Man with Ebeneezer Scrooge, a man who had become wealthy through greed and at the expense of other people. However Scrooge learned the error of his ways and became a good person and thus an idealistic Self Made Man.
* ''Literature/{{Sunshine}}'' by Robin [=McKinley=] may be a reconstruction of urban fantasy and vampire books. Instead of accepting a secret world of magic or trying to rationalize it, it's thrown out: vampires and magic have always been around. Enough names are droppped to indicate that history hasn't remained the same, it's a different world than ours, but the protagonist is young and focus-minded enough that the author can get away without describing the details. Magical superpredators of humans (vampires) come across as physically and mentally alien -- though they can pass when they need to.
* Cho Chang in ''Literature/HarryPotter'' served to deconstruct the RelationshipSue trope by being Harry's perfect match - with whom he ended being incompatible with. Ginny Weasley on the other hand reconstructed the idea. She realised Harry would never be interested in her and instead settled for becoming a better friend to him. Because of that, Harry finally starts noticing her and [[spoiler: they end up HappilyMarried with three kids]]. It goes to show that the RelationshipSue can exist as a person outside of being someone's perfect match and reminds people why ending up with one of these characters would be a good thing.
* Creator/SimonaAhrnstedt, despite how all her three novels so far are about the upper classes and their extravagant parties and their beautiful clothes, loves to deconstruct the idea that material wealth and money will automatically make you happy. Beatrice in "Överenskommelser", Illiana in "Betvingade" and Gabriel in "De skandalösa" all grew up in rich but very abusive households. Seth in "Överenskommelser" and Markus in "Betvingade" have become rich through their own efforts, but that also means that many people will look down on them as irritating upstarts. The story will always end on a happy note though, as the protagonists can move on and become happily married. And yeah, of course they will still be rich!
[[/folder]]

[[folder:Live-Action TV]]
* ''Series/DoctorWho'':
** 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.
** The earlier [[Recap/DoctorWhoS25E1RemembranceOfTheDaleks "Remembrance of the Daleks"]] does something similar -- however, since it was made at a point where ''Doctor Who'' was at a low point with regards to its popularity with low viewing figures, it was decided that the audience would need a refresher course in "Why Daleks Are Actually Scary". Interestingly enough, in the Daleks' first appearances in comics during the '60s, they were already shown flying.
** After several seasons of gradually deconstructing the Doctor and revealing what a dangerous, threatening presence he could be, and how many of his enemies rise as a result of their sheer terror of him, [[Recap/DoctorWhoS32E13TheWeddingOfRiverSong "The Wedding of River Song"]] begins a reconstruction of him; upon what looks like the increasing inevitability of the Doctor's death, one of his companions sends out a distress signal to everyone he's ever helped -- and everyone he's ever helped basically responds with "we'll do whatever we can to help." For all that he has his dark side, he's still devoted his life to protecting the innocent and those who can't protect themselves, and is rightly loved by them as a result.
* In a bizarre example of this, the TV movie of HarrisonBergeron pretty much reconstructs the viewpoint that the original story was parodying, which would be a case of CompletelyMissingThePoint were it not done so well.
* After facing criticism for the unhealthy nature of the food on ''Series/TheGallopingGourmet'' and facing his wife's heart attack caused by said food, Kerr made ''The Graham Kerr Show'' to reconstruct his previous recipes using healthier ingredients and cooking methods.
* ''Series/StarTrekDeepSpaceNine'':
** It took a hard look at ProudMerchantRace the Ferengi and rebuilt them into a more solid fictional society - without them ever deciding that human or Federation values were innately superior to theirs. For instance, women's lib kicked in as much for practical reasons (more workers, a bigger consumer base) as ethical ones. Also, the Ferengi have ''never'' had wars with the scale or the frequency of Earth's.
** It also spent a lot of time exploring what the characters of a utopian society like the Federation would really do if they were faced with having to resort to morally ambiguous or even plain deplorable means (e.g. "In the Pale Moonlight") to rescue that society in an all-out war against TheEmpire. Everyone is portrayed as a shade of gray, until Sisko and the Cardassian war criminal Gul Dukat confront each other in "Waltz" and Dukat realizes he should have fulfilled his dreams of total genocide on Bajor after all. Even a GrayAndGrayMorality setting can still [[BlackAndGrayMorality have genuinely evil characters]].
[[/folder]]

[[folder:Music]]
* The entire point of genre revivals like PostPunk revival or GarageRock revival.
* Neoclassicism (think of BenjaminBritten) is a reconstruction of pre-romatic classical music. Its composers didn't follow the daring harmonic approach of RichardWagner or ArnoldSchoenberg and continued to compose "beautiful" music unlike their dissonant or even atonal contemporaries.
* Composer IgorStravinsky had a DeconReconSwitch: His most popular work is the dissonant and initially highly controverial ''[[TheRiteOfSpring Le Sacre du printemps]]'', while his later work cofounded Neoclassicism.
* SufjanStevens' yearly ''Songs For Christmas'' [=EP=]'s were a personal reconstruction of Christmas Music for Sufjan: his attempt to capture the sublime melancholy of Christmas music at its best, and to come to terms with the {{Glurge}} of the holiday season. (Sufjan had previously dismissed Christmas itself as a social construct.)
* ''Music/TenaciousD'''s music seems to be a reconstruction of classic rock. Though they don't take themselves or their lyrics very seriously, they certainly take the ''music'' seriously. As they wrote in "The Metal":
-->You can't kill The Metal...\\
The Metal will live on!\\
Punk Rock tried to kill The Metal...\\
but they failed, as they were smite to the ground!\\
New Wave tried to kill The Metal...\\
but they failed, as they were stricken down...to the ground\\
Grunge tried to kill The Metal...\\
Hahahahaha, THEY FAILED! as they were thrown to the ground!
* Monster Magnet is another reconstruction of classic rock, as are the Hellacopters. (especially on their early albums)
* The Darkness, with their five minute guitar solos and soaring falsettos is either a reconstruction or brilliant parody of Glam Metal.
** A reconstruction basically. Sadly for them, they got pigeon holed rather unfairly into being a novelty parody, and faded away after the misguided fans got bored of the 'parody' and started ignoring the music.
* Rappers like [[FiftyCent 50 cent]], Boyz n da Hood, et al were supposed to be a reconstruction of hardcore hip-hop in the mainstream. But it never really caught on. Likely because of the lack of mainstream media support. Although "fiddy" [[LighterAndSofter defied]] this with radio friendly songs like "In da Club", "Candy Shop" etc.
** Similarly rap group DeadPrez tried to reconstruct rebellious, hardcore, socio-political rap.
*** Would Flipsyde count as something related?
* The Tel-Aviv City Team (aka: "Tact Family") uses a large portion of their music to perform a deliberate reconstruction of Zionism or Jewish nationalism in response to the deconstructions that came from the left in the '90s and 2000s. They actually have a rap rivalry with the older left-wing group Hadag Nachash over the precise definition of Zionist Hip-hop.
* Stoner Rock and Sludge Metal are reconstructions of the original style of HeavyMetal that Music/BlackSabbath used to play: a DarkerAndEdgier turn on Heavy Psych, which was BluesRock and PsychedelicRock turned UpToEleven.
[[/folder]]

[[folder:Philosophy]]
* Hegelian dialectic, usually presented in a threefold manner, was often presented as compromising three dialectical stages of development: The thesis is an intellectual proposition. The antithesis is simply the negation of the thesis (the {{Deconstruction}}), a reaction to the proposition. The synthesis solves the conflict between the thesis and antithesis by reconciling their common truths and forming a new thesis, starting the process over (the Reconstruction, forming a CyclicalTrope). \\
\\
Another version that was used by Hegel is Abstract-Negative-Concrete. The formula, thesis-antithesis-synthesis, does not explain why the thesis requires an Antithesis. However, the formula, abstract-negative-concrete, suggests a flaw, or perhaps an incomplete-ness, in any initial thesis—it is too abstract and lacks the negative of trial, error and experience (An example is the SlidingScaleOfIdealismVersusCynicism Versus Realism. The Ideal is the Abstract, the Negative is how cynics deconstruct the Abstract with ''Reductio Ad Absurdum'' and reveal it as unrealistic. Reconstruction occurs when preserving the useful portion of the deconstructed idea, while modifying it to allow it to move beyond its limitations).
* UsefulNotes/{{Existentialism}} was a direct, deliberate reaction to the DarknessInducedAudienceApathy promoted by [[StrawNihilist Nihilism]] and [[WhatIsEvil Moral Relativism]].
[[/folder]]

[[folder:Professional Wrestling]]
* In the wake of such incidents as the steroids scandal, numerous sudden deaths of wrestlers under fifty and the ChrisBenoit murder-suicide, the WWE started trying to distance itself from the dark and gritty 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 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.
[[/folder]]

[[folder:Theater]]
* ''The Ibsen Follies'' has a sufficiently loose relationship with the fourth wall for the InteractiveNarrator to discuss this. She's based on a real-life woman whom Creator/HenrikIbsen fell in love with and then broke up with, and whom he fictionalized as a selfish schemer in his tragedy ''The Master Builder''. At the play's beginning, she watches Ibsen sitting in his chair, and speaks of how they could have lived a romance of [[ReturningTheHandkerchief dropped handkerchiefs]] and humorous misunderstandings--but Ibsen did everything he could to [[{{Deconstruction}} destroy that genre]], replacing moth-eaten, badly painted backdrops and cheerful endings with despair and misery. Then she declares that it's time for turnabout, and a moth-eaten, badly painted backdrop slides onto the stage as Ibsen moans in despair and exits. The rest of the play is an old-fashioned romantic comedy about the (also real-life) relationship between Ibsen's son and the daughter of his greatest rival.
* Surprisingly, for all of its mockery of religion, ''Theatre/TheBookOfMormon'' ultimately reconstructs it, as it comes to the conclusion that the core of religion; to help people in need and give them morals to follow to become better people, can indeed have a positive influence on others.
[[/folder]]

[[folder:Tabletop Games]]
* ''[[DarthWiki/TheChroniclesOfFate Chaos]]'' bills itself as an "anti-dystopia". If you read what it says about itself in the Introduction, it is obvious what it means: it is meant to be a reconstruction of the [[{{Utopia}} utopia]]/[[{{Dystopia}} dystopia]] [[{{Cyclic Trope}} cyclic trope]]. So if the original concept of [[{{Utopia}} utopian]] fiction was supposed to be a hypothetical world that looked perfect, and indeed actually was, and the original concept of [[{{Dystopia}} dystopian]] fiction (back when it originally started, with works like ''[[{{Literature/Brave New World}} Brave New World]]'') was supposed to be a hypothetical world that looked perfect on the surface, [[{{Empire With A Dark Secret}} but if you dug a little deeper, was actually a lot darker than it seemed]], and then more recent examples of dystopian fiction (works like ''[[{{ComicBook/Judge Dredd}} Judge Dredd]]'' and ''[[{{Warhammer 40000}} Warhammer 40,000]]'') have completely ditched the idea of looking perfect on any level and become total [[{{Crapsack World}} crapsack world]] futures; then with ''[[DarthWiki/TheChroniclesOfFate Chaos]]'', this "anti-dystopia", the concept is a hypothetical world that seems, at first glance, as dark and brutal as any [[{{Dystopia}} dystopian]] future… with endless war, bloodshed, horror, all of that… but if you dig a little deeper, is actually [[{{Lighter and Softer}} a lot happier and brighter]] than it seems on the surface.
[[/folder]]

[[folder:Video Games]]
* Masahiro Sakurai, famous for ''Franchise/{{Kirby}}'', ''VideoGame/SuperSmashBros'' and ''VideoGame/KidIcarusUprising'' feels [[http://iwataasks.nintendo.com/interviews/#/3ds/kidicarus/0/0 this]] is his style of game development, deconstructing it and taking away genre mainstays that aren't necessary and then reconstructing it by adding what he thinks is fun. ''Uprising'' reconstructs the arcade-style action games and mythology-styled games in a similar vein to GurrenLagann. While the game is aware of the darker implications that games like ''VideoGame/{{Bayonetta}}'' and VideoGame/GodOfWar have brought up (ie; BlackAndGreyMorality, LightIsNotGood, GodIsFlawed, CrapsaccharineWorld, {{Eldritch Abomination}}s etc.) it still manages to maintain a light-hearted tone while keeping with the tropes that those other games brought up.
* After becoming famous for making the dark ''VideoGame/RealRobot'' game series, ''VideoGame/MetalGearSolid'', Creator/HideoKojima went on to produce the much more un-ironic mecha game series, ''VideoGame/ZoneOfTheEnders''. Afterwards, he went on to make ''VideoGame/MetalGearSolid2'', one of the most extensive deconstructions of video games ever. He then reconstructed them with ''VideoGame/MetalGearSolid4'', taking the same deconstructive plot and putting it - and with it, many of the same genre presumptions - back together.
* ''VideoGame/TheDarkness'' Goes even further in Reconstructing the NinetiesAntiHero then the comic, after over a decade of deconstruction and parody. Taking the criticism that most [[TheDarkAgeOfComicBooks Dark Age]] characters are shallow and over the top, the game makes Jackie complex and subtle, while playing many of the [[TheDarkAgeOfComicBooks Dark Age]] tropes straight and for realism, minus the ridiculous [[RobLiefeld Liefeldian]] costume.
* The ''Franchise/MassEffect'' series is a reconstruction of classic science fiction tropes (especially SpaceOpera), even down to the visual styling.
** ''VideoGame/MassEffect2'' reconstructs the concept of a ProudWarriorRace, after [[DeconstructedTrope deconstructing]] it in [[VideoGame/MassEffect1 the first game]].
** The series as a whole deconstructs and then reconstructs the issues of what happens when you take a room full of elected politicians and tell them the world's about to end, from verbal support and no actual action in [=ME1=], to blatant head-in-sand refusal to believe anything's going wrong in [=ME2=], to an almost embarrassing about-face when the shit finally hits the fan in [=ME3=].
** The series also reconstructs [[CantArgueWithElves Can't Argue with]] [[SpaceElves (Space)]] [[CantArgueWithElves Elves]] and associated tropes like OurElvesAreBetter and ProudScholarRaceGuy through the Asari. At first, the Asari were basically portrayed as your Space Elf Classic, but as the player meets more and more of them, then sees how they can be foolish, corrupt, greedy, cruel, or cowardly, it seems like the trope is deconstructed. Then as the Asari cities and lives are revealed, it becomes pretty clear that Asari worlds are incredibly beautiful, and they do possesses superior technology, science, and a very progressive society along with their "magic," in the form of biotics. The third game reveals that the Asari [[spoiler: were uplifted by an earlier star-faring culture who genetically engineered them and then bestowed vast technologies on them, until the Asari remember them as "gods."]] However, [[spoiler: Javik]] reveals the Asari were chosen for this role [[spoiler: by the Protheans]] above the other sapient species of the era because they seemed intelligent, wise, reasonable, and promising. There's even a subtext that their status as a mono-gendered species of [[GreenSpaceBabe Blue Space Babes]] is part of the reason they avoided many of the wars and divisiveness of other species' early history, which has some UnfortunateImplications.
* ''VideoGame/RedDeadRedemption'' pretty much deconstructs every single Western genre trope, then reconstructs every single one throughout the game into a massive CrowningMomentOfAwesome by the end.
* ''Franchise/{{Disgaea}}'' was this to the Strategy RPG genre, mostly by being very comedic, not taking itself seriously, and dropping most of the long winded political stuff that the genre had favored since Ogre Tactics.
* Much of Nintendo's massive success with the {{Wii}} and {{DS}} is due to reintroducing the simplicity and arcade-style gameplay that made the original {{NES}} and GameBoy mass phenomenons. Nintendo even went so far as to make [[VideoGame/NewSuperMarioBros all-new]] [[Franchise/SuperMarioBros Mario]] [[VideoGame/NewSuperMarioBrosWii 2D sidescrollers]] for both of them.
* ''VideGame/HalfLife2'' reconstructs the ZombieApocalypse in a few areas, specifically the near-totally infested town of Ravenholm. Said zombies are created by a huge PuppeteerParasite that latches onto the head (the headcrab), but it's surprising how many zombie tropes are played with and how many work.
** The Add-on ''Episode 2'' leads out of the ruined and mostly abandoned cities and turns to the wilderness, which is the more post-apocalyptic version of the ...well, ZombieApocalypse. Many of the best scenes consist of exploring seemingly abandoned buildings next to the road.
** [[IndecisiveDeconstruction If you see the original as a deconstruction]] of ''Doom'' and ASpaceMarineIsYou, ''Half-Life 2'' reconstructs the idea by showing how one man and his PowerArmor [[RightManInTheWrongPlace really could save the world]].
* ''VideoGame/SonicColors'' is SEGA's attempt at reconstructing the light-hearted feel of the classic ''Franchise/SonicTheHedgehog'' era, having decided the series has gotten ''way'' too serious as of lately. General consensus is that they succeeded. [[SurprisinglyImprovedSequel Spectacularly so]].
** Before Colors, there was ''VideoGame/SonicUnleashed''. While having a somewhat more serious tone than Colors, Unleashed was nowhere near as dark as any of the main post Genesis games barring ''VideoGame/SonicHeroes'', which, in stark contrast to the ''VideoGame/SonicAdventure'' games, was pretty lighthearted itself. Coming before two of the [[VideoGame/ShadowTheHedgehog darkest]] [[VideoGame/SonicTheHedgehog2006 games]] in the series and being far more cartoony in general only made the change even more noticeable.
** The whole point of SonicGenerations. You even get to see a cartoony Sonic ''right next to'' his late-2000s/early-2010s appearance.
* ''VideoGame/FireEmblemJugdral'' is a {{deconstruction}} ''and'' a reconstruction at the same time. The first part of the game ends up with [[spoiler: Sigurd and several of his fighters killed, the others as either prisioners or on the run, and they're all labeled as traitors]], in the second, however, [[spoiler: Sigurd's son Seliph picks up the pieces, ultimately is succesful in his quest, is crowned as Emperor of Grandbell, and both he and his army meet a much happier ending.]]
* ''VideoGame/PlanescapeTorment'' reconstructs many old RPG cliches, from AnAdventurerIsYou to YouAllMeetInAnInn to WarriorTherapist to TheReasonYouSuckSpeech to MagneticHero to CityOfAdventure to DeathIsASlapOnTheWrist. It even reconstructs many of the concepts of ''DungeonsAndDragons'' which ''{{Planescape}}'' specifically deconstructed, reconstructed, or parodied (OffscreenAfterlife, WhatMeasureIsANonHuman, AlwaysChaoticEvil, WhatMeasureIsANonCute, PlanetOfHats, etc.) Players who pick up this game today are often surprised to see this take on all the old RolePlayingGame tropes in a game released in 1999.
* ''VideoGame/SkiesOfArcadia'' rebuilt the heroric, swashbuckling fantasty RPG hero and world after VideoGame/FinalFantasyVII's deconstruction and fleet of imitators.
* When viewed from the perspective that [[DeconstructorFleet it's essentially a sequel to]] ''VideoGame/KnightsOfTheOldRepublic II'', ''VideoGame/StarWarsTheOldRepublic'' is an attempt bring Star Wars back to its space fantasy roots.
** ''VideoGame/KnightsOfTheOldRepublic'': {{Troperiffic}} as all get out and played most of the Franchise/StarWars tropes straight. The second game was an UpToEleven DeconstructorFleet as everyone from no-name [=NPCs=] to the ObiWan were ripping a new one into everything from the ExpandedUniverse to George Lucas's moral compass with a zeal not seen since Creator/DavidBrin. ''VideoGame/StarWarsTheOldRepublic''? Acknowledges the arguments made in the second game, runs with GrayAndGrayMorality (You ''can'' be a light-sided Darth or a KnightTemplar Jedi and get away with it!), but still points out that the Sith side is not the one you want to be on (the Republic may have issues with corruption, but the Sith Empire has corruption that's just as extensive, and their Emperor is an OmnicidalManiac).
* The two first opus of the ''VideoGame/{{Diablo}}'' franchise were basically doing a massive deconstruction of the HeroicFantasy genre with a butcher knife: the story takes place in a CrapsackWorld where Demons are running around murdering everyone in gruesome ways ForTheEvulz Angels are {{Knight Templar}}s who hardly care about humanity, and humans heroes who try to slay demonlords only end up helping them, being corrupted or becoming AxeCrazy, if not all of those at the same time. Come VideoGame/DiabloIII, while the DarkerAndEdgier approach is still present, the protagonist is now revealed to be a Nephalem, such making him able to face Demonlords, an Angel actually sacrifices his divine nature to help humanity, and you ''do'' get some actual victories on the Demons. Perhaps most notably, it actually has a fairly happy ending with the heroes saving the day and evil being defeated even if it was at a cost.
* ''VideoGame/{{Singularity}}'' manages to simultaneously deconstruct and reconstruct the LastSecondEndingChoice, where if you manage to jump the rails of one man's plot you end up on the rails of the other's, and the choice is presented as just another extension of one plot or the other, but at the same time, the entire game has been building up to this one moment of free will, the first chance you've had to actually ''choose'' anything, and at that moment the fate of the world really is in your hands. Especially if you TakeAThirdOption.
* ''[[VideoGame/FireEmblemTellius Fire Emblem: Path of Radiance]]'' is, bizarrely enough, a rather large Reconstruction of ForTheEvulz {{Omnicidal Maniac}}s. [[BigBad King]] [[TheCaligula Ashnard]], for the first 80% of the game, looks like a non-too-subtle mockery of JRPG villains like [[VideoGame/FinalFantasyVI Kefka]], as characters frequently find themselves, particularly in the last couple of chapters, [[AndThenWhat how the pointless destruction that the war brings is any benefit to Ashnard whatsoever since, by the time he's done, there'll be nobody left to rule]]. Then you find out that, actually, he ''does'' have a reason - one that makes him [[MagnificentBastard a far more impressive villain]] than the usual power-mad psychotic. [[spoiler:[[DystopiaJustifiesTheMeans He is intent on creating a Darwinian dystopia in which everyone without the strength, cunning, or ruthlessness to rise above their situation and gain prominence will be left in the dirt]]. To do that, he needs to utterly obliterate the world's current ideology right down to its foundations. In short, his worldview is just the next step up from [[AsskickingEqualsAuthority the way in which the Laguz choose their rulers]].]]
* ''VideoGame/Warhammer40000SpaceMarine'' reconstructs the portrayal of the Ultramarines chapter of Space Marines, who take a lot of flak for being a CreatorsPet (and Matt Ward elevated them to CanonSue until he discovered the Grey Knights, but that's another discussion). This game's version of the Ultramarines are still {{Nice Guy}}s[[note]]one of their [[PlanetOfHats Hats]] is treating ordinary people with kindness and respect, [[CrapsackWorld unlike a lot of other folks in the setting]][[/note]], but they're not invincible. The portrayal also doesn't fall into the opposite problem, i.e. making them nearly useless if they face a problem that the ''[[BigBookOfWar Codex Astartes]]'' doesn't have a specified solution for[[note]]Their other Hat is super-adherence to the ''Codex'', being that their founder ''wrote'' the damn thing.[[/note]]: [[PlayerCharacter Captain Titus]] gently rebukes one of his squadmates for this in an early cutscene, pointing out that sometimes you need to throw out the manual and think on your feet.
** Titus' rebuttal showed that Relic "did their homework" in regards to 40k fluff since Gulliman intended the Codex as a guideline in terms of strategy by creating a set of precidents to use in case a new scenario showed up.
* ''VisualNovel/SchoolDays'' is another case in which a deconstruction can potentially be a reconstruction. Yes, we know, the anime and some routes of the game can totally smash LoveTriangle and UnwantedHarem to pieces -- but if the player takes the right decision, both tropes can be played straight. Or, with lots of effort and planning, evolve into OneTrueThreesome.
* After years of deconstruction and [[DiscreditedTrope discrediting]], ''{{VideoGame/Destiny}}'' is a reconstruction of the SpaceOpera and PlanetaryRomance. More generally it's a reconstruction of the whole science fiction genre, contrasting the tendency for modern science fiction to be [[TrueArtIsAngsty angsty and grimdark]]; the setting of the game is similar to many typical sci-fi [[CrapsackWorld Crapsack Worlds]] but the game's story is all about the [[Literature/JohnCarterOfMars John Carter]]-esque protagonists and their allies standing against evil and actually working to make the galaxy a better place. The game's CentralTheme is keeping hope and believing that the future can turn out to be a good place rather than a horrible fate.
* The developers of ''VideoGame/NoMansSky'' are touting the game as this to exploration-based SciFi made popular by ''Franchise/StarTrek''.
[[/folder]]

[[folder:Web Original]]
* ''Machinima/RedVsBlue''. Notable in that the new series is actually called ''Reconstruction''. After five seasons of picking apart gaming tropes, they are now being put back together. What was once laughed at by the main characters is now a serious threat. Of course, it never made the audience stop laughing at them.
** ''Reconstruction'' is actually a DoubleSubversion. Yes, it put some tropes back together but it utterly obliterates some of the jokes the series as a whole has built over five seasons.
* The WhateleyUniverse is basically a reconstruction of the {{superhero}} genre, starting with kids at a SuperheroSchool and an attempt to define realistic powers and the AppliedPhlebotinum to make them work. ([[AuthorAppeal And]] GenderBender[=s=] [[AuthorAppeal galore]].)
* TheRandomverse seems to have gone this way. It started off with heros discussing their movies, to heroes discussing their movies while socialising, to Lex Luthor attacking the heroes while they're trying to socialise, and has since built up a canon of jokes and joke-threats ad threats that used to be jokes, and constantly flipping allegiances. And it's ''still'' flipping hilarious.
** In between the jokes though are serious stories about why [[SillyRabbitIdealismIsForKids idealism]] and [[LighterAndSofter optimism]] are important in comic books. There's segments on how Franchise/{{Superman}} is still relevant today, why Franchise/{{Batman}} is really revered (hint: it's not about the gadgets), and why {{Spiderman}} could perhaps be one of the most amazing heroes ever for the HeroicSacrifice he does more than any of the other two mentioned ever would. It's practically a Reconstruction of understanding on why we loved these favorite heroes in the first place.
* ''Literature/ImperialDawn'' reconstructs the creation of Creator/{{Plato}}'s ''Literature/TheRepublic'', in the sense that it introduces the idea of a philosopher-king in a fairly organic and realistic way.
* ''JustForFun/ThePokedexExtendedFanonEdition'', maintained on this very site, acknowledges that yes, Pokemon are potentially incredibly dangerous, but just as long as you're not a complete idiot, it is very possible to care for and love them. And you can do so in one piece, to boot.
* ''Literature/SagaOfSoul'' is a reconstruction of the MagicalGirl genre.
[[/folder]]


[[folder:Western Animation]]
* The ''WesternAnimation/JusticeLeague'' episode "Legends" is both an AffectionateParody and reconstruction of TheGoldenAgeOfComicBooks. In it, a few members of the league travel to an AlternateUniverse and meet the Justice Guild of America, [[CaptainErsatz ersatz]] versions of the [[JusticeSocietyOfAmerica JSA]]. The episode points out the racism and sexism prevalent in the Golden Age, and the Flash mocks the Guild's cheesy "let justice prevail!" catchphrase, but at the end of the story [[spoiler: the Guild helps defeat the villain, knowing that they'll fade from existence when they do, and when they yell "Let justice prevail!" ''that'' time, it's completely awesome.]]
** The episode was in dedication to Gardner Fox, a rather influential comic writer, so it wasn't just Reconstruction; it was an {{Homage}} to the man.
* Much of the dislike for ''WesternAnimation/BatmanTheBraveAndTheBold'' stems from people not realizing it's an AffectionateParody as much as it is a Reconstruction of the Silver Age Franchise/{{Batman}}. Although considering how many people only know of [[Film/{{Batman}} Tim Burton's]] and [[Film/TheDarkKnightSaga Christopher Nolan's]] DarkerAndEdgier interpretations, it's not surprising.
* ''WesternAnimation/TheVentureBrothers'', after the first two and a half or so seasons, has slowly evolved from being a DeconstructorFleet to gradually reconstructing several of the tropes it has taken great pain to tear down.
** Much of the second and third seasons were spent lampshading the utter ludicrousness of the Guild of Calamitous Intent and the Office of Strategic Intelligence's secret costumed battle for supremacy, showing them both to be hidebound, ossified and frankly, quite ineffectual. Eventually, certain members of OSI saw through this and decided enough was enough, dug out some old equipment, and thus SPHINX was (re)born, as a more dynamic alternative focused on actually eliminating threats (costumed and otherwise) and not maintaining a BS status quo.
*** The status quo itself was deconstructed. When Jonas Jr. tried to kill The Monarch while the latter was attacking him, it's quickly pointed out that killing a supervillain leads to escalation from the Guild. On the other hand, it's revealed that keeping to the status quo keeps supervillains placated and not committing real crimes. So while the OSI is pretty ineffectual by dealing with the Guild, it keeps an army of supervillains from wreaking havoc.
*** Colonel Gathers is back as head of the OSI because he complained about how thing were going. Its basically been revealed the the Secret Peace between heroes and villains is really just a front the even more Secret War between heroes and villains which is far far stranger and multi-leveled than any other kind of politics.
** In some ways, The Monarch is slowly becoming a reconstruction of the Supervillain, as, through a combination of [[GenreSavvy Genre Savviness]], NotSoHarmlessVillain, and DarkMistress, he's climbed the ranks from lame nemesis to a truly dangerous foe.
*** Additionally, the former IneffectualSympatheticVillain and MauveShirt Henchman 21 TookALevelInBadass, turning into TheDragon and HypercompetentSidekick Two-Ton Twenty-One, an utterly devoted BadAss both in personal performance and boosting the morale of the rest of the Monarch's troops.
* This is the entire purpose to the newest ''Franchise/ScoobyDoo'' series, ''WesternAnimation/ScoobyDooMysteryInc''. The series takes a comically cynical approach to the Scooby Doo mythos, but it doesn't outright [[AffectionateParody parody]] or [[DeconstructedTrope deconstruct]] the elements. While the kids are, realistically, treated as a nuisance by the law and their parents constantly question why they're obsessed with solving mysteries, the kids still get the job done and solve mysteries because they love it and love hanging around with each other.
** Case in point, at the end of Episode 11, the gang breaks up under the weight of the group's relationship issues. A straight deconstruction would probably end there - Mystery Inc. is a group of teenagers in high school investigating crimes in their home town, so eventually they have to grow up and find real jobs. However, Mystery Inc. gets back together by the end of the next episode, realizing that solving these mysteries really is what they were meant to do, and the team begins repairing their bonds - the reconstruction is that the Scooby Gang would have personality clashes, just like any group of friends, but acknowledging these clashes and finding ways to cope with them strengthens the group. (A straight parody, on the other hand, probably wouldn't even bring up these issues in the first place.)
* This is most apparent in the second episode of ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', which is spent picking up the pieces left by the [[DeconstructiveParody parodic]] [[GenreDeconstruction genre]] {{deconstruction}} that the first episode dedicated itself to.
** There's also Rarity: Told that there would need to be fashion elements, the writers dumped that role on a single stereotypically vain and superficial character -- and then made her strong, independent and capable anyway, with a meaningful artistic career in fashion.
** Afterwards, the series flip-flops between this trope and [[{{Deconstruction}} its opposite]], although not necessarily from one episode to the next.
* ''WesternAnimation/{{Archer}}'' does this to a whole lot of SpyFiction tropes;
** Its {{Jerkass}} Franchise/JamesBond {{expy}} protagonist is self-centred, [[ReallyGetsAround can't keep it in his pants]], [[OvertOperative can't maintain a cover identity to save his life]], all his colleagues hate him and he displays [[PingPongNaivete at times profound stupidity]]... [[BunnyEarsLawyer but he's incredibly competent in certain areas of his job.]]
** The show also reconstructs the trope AmusingInjuries - characters repeatedly have to deal with the long-term ramifications of the injuries they suffer (usually at Archer's hands) but it never stops the initial accidents being PlayedForLaughs.
[[/folder]]

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