A form of Deconstruction
, which has apparently become a rising fad in flash games
A deconstruction game is a game that deconstructs aspects of Video Games
in general. At the minimum, it takes one aspect, and blows it up to such ridiculously exaggerated proportions
that it simply becomes laughable, as if to make a point that "You can't make a game based just on this!" or with some, "If you enjoy games because of this one reason then you are an idiot!"
In order to qualify, a single part of the game at the minimum must take at least one single trope, mechanic, or gimmick, and either explore it exhaustively to the possible point of Mind Screw
, or play it far too simple and flat to be taken seriously. Typically they rely heavily on their nature as a parody to be entertaining, but on rare occasions they're fun to play as well. They often make use of Playing The Player
- Shadow of the Colossus: Boss Battles. The game is almost nothing but boss fights, and what little bit of plot the game has makes most players question whether they're really doing the right thing by killing them.
Hack And Slash
- Harvester: A deconstruction of Evil Is Cool and Videogame Cruelty Potential, not through heavy-handed Videogame Cruelty Punishment, but through a heavy-handed ending that asks, What the Hell, Player?
- META: Amateur adventure game design.
- Flower, Sun and Rain: Sidequests, convenient puzzles, event flags and adventure game mechanics in general. The game, and often even the characters, will deliberately waste your time while your actual mission is to stop a terrorist from blowing up a plane. No one's really clear on why you need to solve math puzzles at every turn, either, but they seem to accept it as normal. In the end, your reward is mostly mockery.
- Drakengard deconstructs a variation of Level Grinding showing us just what kind of person would slaughter armies of enemies in order to strengthen his weapons.
- You Only Live Once: Platformers in the vein of Mario.
- DLC Quest: Overreliance on Downloadable Content.
- Level Up: Leveling up in games.
- Braid: The classic Save the Princess story is followed to the letter, even being called out by name, until the last few levels, when your motives become increasingly questioned, and the princess is revealed as fleeing you the whole game.
- Sonic the Hedgehog OmoChao Edition: Stop Helping Me! (This game actually has added challenge — you have to avoid everything that triggers Omochao's comments as much as possible for Rank Inflation, and for Speed Run enthusiasts, there's the fact that the timer won't freeze whenever Omochao speaks.)
- While not otherwise a deconstruction, Banjo-Kazooie: Nuts & Bolts opens with a Gotta Catch 'Em All sequence played ludicrously simple. The fact that this is coming from Rare makes it all the more painful.
- The Modron dungeon in Planescape: Torment: Dungeon crawlers in general. Complete with enemies who don't know their motivation and leave items like, "A goody!" The game at large is a very thorough deconstruction of Protagonist Without A Past and Death Is a Slap on the Wrist. Instead of being simple gameplay mechanics, these things are the wheels that drive all character development.
- Planescape: Torment as a whole also serves a large-scale deconstruction of RPG tropes. Among others, the point of the game is to die, you get your name at the end of the game, there are no elves, dwarves, or swords but you do get to equip eyeballs and your own intestines, the nicest people you get to meet are undead, and so forth.
- Recettear: An Item Shop's Tale. Item shops.
- Progress Quest: RPGs that assign players randomly generated quests and don't require any real strategy. The game automates grinding and fetch quests which is all the game is.
- Ginormo Sword: Arguably, grinding and the emphasis on weapon upgrades.
- Yume Nikki: Exploration and sandbox gameplay. The entire game is a Beautiful Void and there is no plot to speak of, which has prompted elaborate Fanon and Wild Mass Guessing on behalf of the players, in an attempt to invest the game with externalised meaning.
- Super Press Space To Win Action RPG 2009: RPGs in general, and overly-linear Quick Time Event-heavy action RPGs in particular. The credits specify that the game was "inspired by God of War".
- Parameters is all about distilling an RPG to its purest bare-bones form: all the enemies and quests are represented by simple boxes and numbers and all you need to do is to click repeatedly on them. It manages to be pretty enjoyable nonetheless.
- Progress Quest takes it even further, with no degree of player interaction beyond creating your character (which actually has no effect on "game" "play" anyway...) It could be argued that it's more of an exercise in waiting rather than a game.
- Knights of the Old Republic II: The Sith Lords is a deconstruction of the entire Star Wars franchise, especially the traditional Light/Dark dichotomy, as well as a variety of RPG concepts.
- Dragon Age II has been called a deconstruction of BioWare]'s usual fare or of adventure [=RPGs in general. The protagonist is stuck between two ancient factions with reasonable people and dangerous fanatics present in both. Unlike, say, Commander Shepard, they ultimately fail to resolve the situation peacefully (though not for lack of effort) and a costly civil war breaks out. It also ramps up the amount of disposable relatives fantasy heroes tend to have - it's entirely possible to be the only surviving member of your family by the end.
- DonPachi takes apart the concept of the One-Man Army commonly present in single-player video games, showing that in order to be able to take on enemy forces by themselves, prospective recruits have to slaughter their own military forces as training exercises. Only after seven years of this training is the player character finally fit to enter the elite DonPachi Squadron.
- Nanashi no Game uses the cursed, nameless game to deconstruct RPGs. There's no battles to win, levels to grind or heroics to engage in — you just walk around, talk to people and collect hidden items that must be found to reach the good ending.
- Spec Ops: The Line is a far more successful deconstruction of military shooters compared with the aforementioned Haze, stating that, for all their pretense of gritty realism, they are still escapist power fantasies. One sequence in particular becomes exponentially more horrifying if you've played the similar, yet more throwaway "Death From Above" level in Modern Warfare. While it's at it, it also deconstructs playing shooters as a Power Fantasy, "moral choice" systems and the America Saves the Day trope.