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- Alan Moore loves this trope.
- League of Extraordinary Gentlemen 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 Trope Codifier. Note that in the movie version a similar Massive Multiplayer Crossover is made mostly for Rule of Funny and Rule of Cool, rather than Deconstruction. Thus, it's not an example of Deconstruction Crossover.
- Albion (created with Alan Moore's assistance) did this with 1950s-'70s British comics published by IPC.
- In The Twilight of the Superheroes, a script submitted by Alan Moore to DC, he wanted to do the same with the DC Universe.
- The original script for Watchmen was this: a crossover of several Charlton Comics characters intended for deconstructing the superhero genre from a modern viewpoint. The final work uses Captain Ersatzes of the Charlton characters instead.
- Lost Girls, with art by Melinda Gebbie, crosses the stories of Alice in Wonderland, Peter Pan and The Wonderful Wizard of Oz. 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 and sometimes with family members.
- The Youngblood: Judgment Day crossover Moore wrote for Awesome Comics was this in spades, creating an enormous history for the Awesome universe apparently populated entirely by the Captain Ersatz novelty assortment. Among other things, it deconstructed Image Comics' early 90s period, showing it to be a product of a troubled teenager's ideal of what superheroes should be like.
- The Sandman does this with every comics, mythological or historical figure Neil Gaiman could work into the story.
- Kingdom Come: It starts with the idea "everything ever produced for DC Comics was canon". All of it, Watchmen, Vertigo Comics, the experimental comics of The '70s, one shot characters from anthology comics, the Super Friends Cartoon, all of it. Then, it took all the contemporary trends in comics, morally questionable storylines, badass Nineties Anti Heroes, heroes and villains being replaced with Darker and Edgier Legacy Characters, and extrapolated them to their logical extremes. Then it took the 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.
- Planetary did this with various fiction characters and genres. Most of the characters there are pastiches or Captain Ersatzs, and most genres are deconstructed in self-containing stories, regardless of the series' Massive Multiplayer Crossover premise.
- J.Michael Straszynski's series The Twelve did this with twelve various WWII-era Timely Comics superheroes, exploring the differences between modern and 1940s culture — and the darker aspects of the later.
- Fables does this with fairy-tales and nursery rhymes.
- Twilight, by Howard Chaykin, did this with DC Comics' Silver Age science fiction characters. No relation to Twilight of the Superheroes. Or that book with sparkling vampires.
- The JLA/Avengers miniseries. The plot of the series was all about the differences between the Marvel Universe and The DCU. Compared to the DCU, Marvel is a Crapsack World, and compared to Marvel, DC heroes are just one bad day away from Beware the Superman.
- Hybrid Theory by Blade and Epsilon does this for the classic anime Mega Crossover and Self-Insert Fic.
- A Dark Knight over Sin City explores the similarities and differences between the two comic franchises.
- Child of the Storm emerges as this, deconstructing the popular conceits of Harry having different parents and the clichés of Super!Harry, Lord!Harry and Sex God!Harry, in which Harry mysteriously becomes hypercompetent at everything and usually changes his personality for the worse, leading to a classic Gary Stu. Instead, as the story demonstrates, he's very leery of more fame, cautiously happy about new/rediscovered family, and while he does develop new abilities, they tend to be rather difficult to get under control and cause more problems than they solve. In other words, he's still Harry Potter, albeit one who has to grow up rather quickly, though he does learn to assert himself more. He has massive potential, but for now the main issue is staying alive long enough for that potential to be realised. As for the sex god thing, as Word of God frequently points out, while Harry is a thirteen year old boy (the story starts in third year) who is quite cute once he loses the malnourished look and on course to be very good looking, very sweet in an Adorkable sort of way and has a functioning sex drive that he's just beginning to become aware of, he is still thirteen years old. On top of that, the new family, allies and powers is all very well, but it just leads to lots and lots of new enemies and him being thrust into situations where he is very much out of his depth.
- Fantasy of Utter Ridiculousness can be considered a deconstruction of the Fandom-Specific Plot of Yukari sending an outsider to Gensokyo. When the said outsider is Coop, the girls are begging for him to leave.
- Sleeping with the Girls brutally deconstructs the Self-Insert Fic by demonstrating just what would happen if a person from the real world got sent to various anime worlds, but the rules of the real world applied to that person. It also demonstrates why having a Genre Savvy person from the real world in an anime world may not be the best thing for said anime world.
- Between My Brother And Me: The characters aren't getting along, and are not opening up to each other (Yugi and the others don't tell about Battle City, May and Max can't tell about Atem and his past), Pokemon are being subjected to monsters and power far worse than Team Rocket can do to them, and the characters are dealing with a world that will literally kill them without guilt.
- Zulu Squad No Tsukaima is a deconstruction of The Familiar of Zero crossovers in that the OC does not become Louise's familiar. Appropriate since the OC is an elite mook from Spec Ops: The Line, which is a deconstruction of the military first person shooter.
- Children of Time. The first season deals alternately subtly and heavily with the blood on the Doctor's hands, and the Big Bad deconstructs him thoroughly every chance he gets. Sherlock Holmes as a Companion starts out well... and then his own caring, protective nature is turned against him, his need for control is played like his violin, and what he turns into shows just how far wrong a Companion can go. The Power of Love and The Power of Friendship are played against the heroes in some truly terrifying ways... And then it all gets healed if not quite Reconstructed in the end.
- Kings Of Revolution breaks down the idealistic world of Lyrical Nanoha by mixing it with Code Geass. Which then proceeds to take what Nanoha lost to rebuild its world.
- No Chance For Fate is a serious deconstruction of not only the Fuku Fic but also of the source material Ranma ½ and Sailor Moon. The standard plots for this kind of crossover are either outright averted or subverted, often mixed with lampshade hanging or snarky mocking. The absurd plot points of the source material are dissolved in Reality Ensues and of course add more snarking. Yet, all this manages to show the true strength of the heroes, who still fight for the right cause.
- The Code Mars Trilogy is this for Sailor Moon in the world of Code Geass. The former is usually stuck with Black and White Morality and are screwed up when choosing between the oppressive Brittanians and the Black Knights. Adding to this is how the Black Knights are an exception to the Dark Is Evil and Light Is Good tropes. Moreover, they're in a world of Humongous Mecha instead of normal supernatural monsters. Unless the shots are well-placed, Knightmare Frames No-Sell the Scouts attacks.
- In the course of the story, the Scouts get over this. They start in episodes 19 and 20 by showing their true selves and joining the Black Knights, accepting the Dark Is Not Evil trope. This is supported with incidents like the SAZ Massacre and when an actual Sailor Moon-like villain comes in to side with Britannia. Bonus points when they get their Ace Custom Knightmares, and encounter phantom-like Mooks, allowing them to fiht enemies on the ground and against the Mook Mobiles.
- Abigail and the Rats of NIMH brings together characters from The Secret Of NIMH, Once Upon a Forest, The Rescuers and Chip 'n Dale Rescue Rangers and deconstructs the Mouse World trope, exploring what would really happen if the oblivious humans in these kinds of stories actually started to notice the civilized rodents living among them. Naturally, NIMH becomes very interested.
- The Wedding Crashers is a crossover between Supernatural and Twilight that introduces the Winchesters and Castiel into the Twilght universe as friends of Leah just in time to attend Jacob and Renesmee's wedding, showing how the more-normal Sam and Dean react to a lot of things in the Twilight universe (imprinting, sparkling, the attitudes of the Cullens and their allies, the Cullens' spending habits, how little most characters in the series care about humanity) and finally blows up in the best possible way.
- Miraculous Ladybug vs. the Forces of Evil is a crossover between Star vs. the Forces of Evil and Miraculous Ladybug. While also something of a Fix Fic, it's also a deconstruction of both franchises in different ways. It's overarching view is a Monster of the Week plot of Ladybug, but contextualizes it using Star's more arc based plotting. Compared to the akumas Marinette and Adrian fight regularly, Ludo and his monsters lack gimmicks and just use straight forward brutality tactics to overwhelm foes who aren't Star and Marco. It shows that even if Jackie and Marco had broken up in a different context that wouldn't mean Star and Marco would automatically get together. It laughs at Hawkmoth's egotism and how that's a direct contradiction to his supposedly noble intentions. And of course it's big deconstruction is on what would happen the day Ladybug and Cat Noir lost? Answer? Feelings of betrayal, secrets revealed, and the end of them being secret heroes.
Films — Animated
- Wreck-It Ralph does this for Video Games 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 Original Generation Punch-Clock Villain from a 1980s-era game get sick of being treated like dirt by the other characters from his game, and decide to sneak into a First-Person Shooter to earn a medal. Hilarity Ensues, and this being a Disney film, ends up triggering an even bigger adventure for himself and others.
Films — Live-Action
- Much like LoEG for comics (see above), Who Framed Roger Rabbit is probably the Trope Maker on the film side of things. It did this with Toons, The Golden Age of Animation, and Western Animation in general:
- First it brought together characters from the Disney Animated Canon, Looney Tunes, Mickey Mouse, Betty Boop, Woody Woodpecker, Felix the Cat, and more. Then:
- It expanded the idea of Animated Actors popularized by Looney Tunes.
- It showed how insane, harrowing, and dangerous a Toontown would be.
- How Rule of Funny affects and hinders the lives of Toons in realistic situations.
- What happens when cartoon slapstick and Toon Physics is applied to real people (Eddie's brother was killed by a Piano Drop).
- It even deconstructed the trope it named, the Roger Rabbit Effect, by showing how Toons living alongside humans are victims of prejudice, like real-world minorities.
- Murder by Death did this with mysteries.
- The novel Silverlock contains characters and settings from Beowulf, Don Quixote, and countless others.
- Jonathan Swift wrote the satirical tract A Tale of a Tub in 1694. It does this with Anthropomorphic Personifications of different sects of Christianity, deconstructing what Swift saw as the "flaws" in each.
- The Neil Gaiman novel American Gods does this, along with a healthy dose of All Myths Are True.
- This trope, combined with the Literary Agent Hypothesis, is the main premise of many works taking place in Philip José Farmer's Wold Newton Universe.
- The Anno Dracula series by Kim Newman 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.
- As previously stated, Who Censored Roger Rabbit? by Gary Wolf.
- Nursery Crime by Jasper Fforde 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?"
- Once Upon a Time, for fairy tales in general and the Disneyfied versions in particular, all while mashing up different stories together, such as Prince Charming was really 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 almost everyone to lose their memories of who they were and have memories that would closely match real life.
- The first crossover between Arrow and The Flash (2014) 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 don't take the job seriously. Meanwhile, the Flash characters are shocked by the brutal methods the Arrow uses to stop criminals. By the end of the crossover, members of both casts admit the other has a point.
- Into the Woods, containing characters from multiple fairy tales and weaving their stories together. The whole thing is deconstructed in the second act.
- There are some surprisingly convincing Epileptic Trees that interpret Super Smash Bros. Brawl as this. One theory states that Master Hand represents the forces of video game order (the rules by which video games function), Crazy Hand represents the forces of video game chaos (the unpredictability that makes video games fun), and Tabuu represents the forces of Serious Business and "Stop Having Fun" Guys, what with his efforts to imprison Master Hand and destroy the world of video games.
- Super Robot Wars 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 (Kamina and Ryoma in Z2) and rivalries (Domon and Kazuya in MX) are formed, some characters turns different that in their source material (Shinji and Shinn, very often), some events are averted, villains fight one another (Zonderians vs Radam vs Evolouders vs Eleven Lords Of Sol in W) or form alliances (Doctor Hell, Gauron and Hakkeshu in J), not to mention characters making comments about events from other series.
Char Aznable: Your way will never bring true peace.
- Super Robot Wars Z goes one step further by actually having some characters show in multiple versions of their animated continuities, in order to contrast the differences between them. For example, Classic Ryoma witnesses Armageddon Ryoma and is horrified by his much more violent nature.
- Breakfast of the Gods does this with breakfast cereal mascots.
- Most of Bleedman's Web Comics (e.g., Powerpuff Girls Doujinshi, Grim Tales from Down Below) do this with various Western Animation cartoons (at the same time changing their drawing styles to an Animesque one).
- Kid Radd seems to do this, but featuring Captain Ersatzes and pastiches rather than actual trandemarked Video Game characters.
- It has its own in universe versions of games like Super Mario Bros., EarthBound, Final Fantasy, 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?
- Captain SNES: The Game Masta 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, 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 comic where Magus writes of his experiences learning from Mario seems a good illustration of this.)
- 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.
- There Will Be Brawl straddles the line of this and a a Darker and Edgier Parody of Nintendo games. It uses a pre-existing Massive Multiplayer Crossover established by the Super Smash Bros. 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.
- The Final Fighting Fantasy series does a good job at this. For the various Final Fantasy characters, it starts off as what looks like a simple poorly written fan fic, but quickly grows the beard and becomes quite epic.
It turns out that the legendary weapons of the games where 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 to 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, and 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 been left unfinished
- Cheshire Crossing. Three girls believed to be insane are all sent to a new place. A 'boarding school'. But the three girls are Alice Liddell, Wendy Darling, and Dorothy Gale. And the 'teacher' is Mary Poppins. Has to be read, because it's definitely better than it sounds.
- Marvel DC After Hours, a Spin-Off of I'm a Marvel... and I'm a DC does this. Season 1 questions the validity of Superman, Season 2 deals with what the heroes would be like if they all went through what Batman did, and Season 3 revolves around the concept of the Continuity Reboot, and what it would be like to go through one. By the end, it is always Re Constructed.
- Death Battle 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 oponnents.
- Winnie The Pooh meets The Toxic Avenger is a deconstruction of the Pooh's Adventures series, showcasing the difficulties of featuring so many characters in a world not suited for them.
- Most of the humor in Robot Chicken comes from this. For example, there's Beavis And Butthead join the Teen Titans, and MTV Exposed on Barbie and Bratz. Of course this is used mostly for comedic purposes.
- The point of Drawn Together was to be like this, they took Captain Ersatzes of Superman (Captain Hero), Pikachu (Ling Ling), Link (Xandir), Betty Boop (Toot), Josie and the Pussycats (Foxxy), the Disney Princesses (Clara), SpongeBob SquarePants (Wooldoor) and vulgar flash cartoons (Spanky) and put them in one house as a Parody of every Reality Show ever made. Unfortunately it quickly devolved into dead baby humor.
- The Venture Bros.. The Monarch is a deconstruction all the Campy Supervillians of The '60s. Brock Sampson was something of a deconstruction of every Action Hero ever made, The Titular brothers themselves are a deconstruction of The Hardy Boys and Jonny Quest. They also turned the gang from Scooby-Doo into a Manson Family-type collection of 60s and 70s era Serial Killers. They also have a rather interesting take on Fantastic Four.
- Turtles Forever has the Teenage Mutant Ninja Turtles from the 1987 cartoon, the Turtles from the 2000s cartoon and the Turtles from 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 . Yet, in the end, all versions of the Turtles are deemed just as valid as the others.
- "The Simpsons Guy", a The Simpsons meets Family Guy crossover, showcases just how different the two settings are by painstakingly pointing out how much more the latter relies on Dead Baby Comedy, is Bloodier and Gorier, and overall has a much Darker and Edgier 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.