"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."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 Darker and Edgier. 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. Please note that this is not an academically recognised term or concept, having grown out of TV Tropes' own style of media analysis. In academia, a reconstruction would simply be a second deconstruction. Compare the Genre Throwback, which usually involves Reconstruction, and Troperiffic works. See also Decon-Recon Switch, which is a single work which sets up a deconstruction only to reconstruct the same tropes later on. Often confused with Adaptation Distillation. Reconstruction is when a genre is rebuilt after being hit with a criticism; Adaptation Distillation is when a specific work is revitalized, without any new objections needing to be answered in the process. See also Reimagining the Artifact, a much more localized phenomenon. Not to be confused with the Freeware RPG The Reconstruction, season six of Red vs. Blue, or, for that matter, with the Reconstruction Era after The American Civil War. Before labeling something as a reconstruction, doublecheck that there has been a deconstruction, that it's not a deconstruction that makes a work Lighter and Softer, and that it's actually realistic.
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- The Post Cyber Punk genre is practically a perfect Reconstruction to Cyber Punk's Deconstruction of technological advancement and its effect on society.
- Solar Punk also serves as a positive alternate to the dark and gringy Cyber Punk.
- Remodernism essentially is a Reconstruction of what Post-Modernism challenged. The authors of the Remodernist manifesto called Post-Modernism "brainless destruction of convention" and argue for a new spirituality in art as opposed to the nature of Post-Modernism, which they describe as nihilistic. Similarly, metamodernism acts as a middle-ground between Modernism and Post-Modernism that reexamines the latter while reviving ideas from the former.
Anime and Manga
- This is a Cyclic Trope, especially in the Humongous Mecha genre: every decade or so when the genre is reaching the point of seriousness. Pre-EVA, there was also Giant Robo (though this was at least partially due to the manga being made in the '60s).
- Yuusha-Oh GaoGaiGar was a direct, deliberate reaction to Neon Genesis Evangelion.
- Koutetsushin Jeeg likewise appears to be an attempt to make an old cartoon like Mazinger Z and Getter Robo in its entirety (and specifically, of course, to remake Kotetsu Jeeg), but with modern production values and techniques.
- This seems to have come full-circle in the closing year of the decade with Shin Mazinger, the first full-length remake of Mazinger Z, the show that created the Super Robot subgenre.
- Other earlier reconstructions include the '80s show Dancougar, which combined the old-school Super Robot formula with Real Robot-style sensibilities, and GunBuster, which has been described as "A Super Robot show disguised as a Real Robot show", and succeeds in once again getting viewers to marvel at the title robot's awesome power.in fact, if Mazinger Z was not the Trope Codifier for the Super Robot genre, it would seem like a Deconstruction or parody. note
- Tengen Toppa Gurren Lagann:
- The series is a reconstruction of the entire history of mecha, starting with The '70s era of Super Robot anime with Kamina as the voice of the seventies, then came Nia and The '80s "Real Robot" style storyline of The Empire vs the Rebels and The '90s with the whole Evangelion deconstruction type era with Rossiu leading the way.
- Kamina is a Reconstruction of the Hot-Blooded All Loving Idiot Hero stereotype. It's made clear that he only acts this way because he's just as afraid as everyone else, but needs to put on a brave face to inspire the others. Also, characters always point out exactly how suicidally stupid his actions are and how they'll get him killed, which they eventually do in Episode 8, though ironically this was the one time he followed a set plan rather than improvising so that itself was played with. However, the Reconstruction comes in that, A) he lives in a universe where Rule of Cool and excessive manliness actually translates into tangible power, and B) the degree to which he inspires the other protagonists, even years after his death, cannot be overstated. His reasons for doing so are also explored. In Episode 8, he explains how he does all of this not just for the love of the fight, but to ensure a better future for the next generation. Furthermore, he also places a good deal of faith in others, best represented how his belief in Simon brought out the unfanthomable amount of potential he had. Where no one else believed in him, not even himself, Kamina believed in Simon and Simon could believe in that, which helped him learn to believe in himself.
- Kill la Kill serves as a counter-argument to shows like Puella Magi Madoka Magica, which Deconstruct the Magical Girl genre. Not only is it a Reconstruction of the incredible power of hope, friendship, family, love, acceptance, and the very idea of Order Versus Chaos with Ryuko's rivalry against Satsuki (and later their combined rivalry against Ragyo), but it is also a Reconstruction of the very idea of Fanservice itself. It takes the ridiculously skimpy outfits most Magical Girls wear and gives a justified reason for it: The less a Kamui comes in contact with its wearer's skin, the less likely it is to overwhelm them, thereby feeding the wearer its power instead of vice-versa, the way all other Life Fibers do. Not stopping there, the show also Reconstructs the absolute sense of feeling shame by watching something that has nudity in it. As Satsuki explains in episode three, nudity is nothing to be ashamed of as long it serves a purpose, and that to feel embarrassment from it proves nothing but a lack of conviction, which the entire rest of the show goes out of its way to justify.
Ryuko: Not sure how I feel about you laughing at me in your exhibitionist get-up.Satsuki: Exhibitionist? Nonsense! To unleash the most power this is the form a Kamui must take! You cling to the puritanical views of the masses, proving just how inferior you are! But I won't be ashamed! If it means I can fulfill my ambitions, I will bare my breasts for all to see! I will do whatever it takes! For I know that my actions are utterly pure!
- RahXephon examined the darker, serious sensibilities of Neon Genesis Evangelion's well-known deconstruction of anime and mixed it with more idealistic Super Robot tropes.
- Cross Game seems out to do this with Replacement Goldfish.
- Dual! Parallel Trouble Adventure managed to give us all the Evangelion-esque action without the Evangelion-esque drama and Mind Screw by featuring well-adjusted protagonists and incorporating lots of humor.
- Naoki Urasawa's 20th Century Boys 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.
- Gundam ZZ can be seen as a Reconstruction in the Gundam franchise, where Mobile Suit Gundam put forth the original concept layout of Gundam, and Zeta Gundam became a Deconstruction of those concepts, such as Falling into the Cockpit. Though not everyone saw it as such.
- As well as various AU series like Gundam Wing, After War Gundam X and Gundam 00, which addressed the fundamental causes of why the Universal Century was doomed to constant infighting and never improves.
- The movie of Mobile Suit Gundam 00, A Wakening of the Trailblazer, is a reconstruction that follows right after the Deconstructor Fleet TV series.
- 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 supervillain, 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 Played for Laughs. 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 Hero Association's bad side.
- Yu-Gi-Oh! 5D's' reconstruction returns to playing tropes straight that were deconstructed in Yu-Gi-Oh! GX.
- Yu-Gi-Oh! ARC-V is mostly Deconstruction, but it also includes a lot of reconstruction as well in order to make the world seem more realistic (Ex: since the Magic Poker Equation doesn't exist, duelists simply use balanced decks and strategies similar to the ones found in real life).
- Rebuild of Evangelion implies reconstruction right in the title. It essentially takes the main cast of the original series and shows how the series would play out if they asked themselves "Angst? What Angst?" But it is by no means Lighter and Softer.
- Tiger & Bunny 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 Anti-Hero and a Smug Snake mock them for it.
- Puella Magi Madoka Magica is a show that first deconstructs the basic tropes of the magical girl genre, 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. And then proceeds to deconstruct the reconstruction in Rebellion.
- The anime version of The Three Musketeers 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 Fate/Zero and Fate/stay night: Heaven's Feel horribly deconstruct the concepts of what it means to be a "hero", Fate/stay night: 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. It also happens in The Last Episode ending of the Realta Nua version.
- Popotan reconstructs itself. Throughout the series, the characters experience the consequences of Limited Destination Time (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.
- Hime Chen Otogi Chikku Idol Lilpri is one of the very few straightforward, non-ironic Magical Girl shows to come in later times (even if it is The Anime of the Game).
- Samurai Flamenco is this towards the 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.
- Inevitably, this trope will be in effect post-New 52, thanks to the multitudes of drastic changes to the classic DC Comics mythos (such as Lois Lane being Put on a Bus in favor of Wonder Woman, and Superman's costume change as an example in one franchise). Ultimately proven with DC Rebirth, starting with DC Universe: Rebirth #1 is a reconstruction of the idea of the Legacy Character, showing that without these people on both ends of the spectrum, you end up with a universe that just feels a lot empty. It also reconstructs the idea of a Hope Bringer, showing that you can plunge the world into darkness, but someone will show up to light the way.
- Jackie Estacado, the protagonist of The Darkness, is a reconstruction of the '90s Anti-Hero. Whereas most Nineties Anti-Heroes are loud, bombastic and shallow, Jackie is complex, subtle and intelligent. He has no moral quandry with killing bad guys, but freaks out if he kills an innocent person. He has the personification of darkness and evil inside of him, but views this as a curse rather than a blessing. He's also Lawful Neutral, sticking to old-school codes of New York mob crime families, and genuinely caring about those who work for him.
- Astro City is a series built on the repeated reconstruction of comic book superheroes. While most of Kurt Busiek's works involve nuanced reconstruction on some level, Astro City has it as its lifeblood. You will be hard-pressed to find a single issue that doesn't reconstruct one Comic Book trope or another, whether it's the Crisis Crossover, the Badass Normal, Mundane Utility, the Intrepid Reporter, Secret Identities, the Nineties Antihero, Post-Modern Magik...
- In 1986, DC's big two heroes, Superman and Batman both received Deconstructive treatments, with Batman: The Dark Knight Returns and Whatever Happened to the Man of Tomorrow? These were followed almost immediately with Reconstructions with Batman: Year One and The Man of Steel.
- Kingdom Come was a particularly famous comics reconstruction that delivered a rather heavy-handed denouncement of the '90s Anti-Hero. Though it should be noted that the story ended up with all the super-heroes realizing they were flawed, removing their masks, and joining normal human society.
- 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.
- Grant Morrison's Final Crisis is increasingly interpreted as an attempt to redeem Silver Age idealism and high concepts in order to subvert the Darker and Edgier style and "realism" of The Dark Age of Comic Books.
- A good deal of Grant Morrison's stuff at least addresses the need for a reconstruction, such as in Animal Man, where the titular character complains that his entire family was killed off for the sake of "character development"; at the end of the series, the author returns them to life. The Flex Mentallo mini-series can also be seen as a celebration of how unabashedly weird The Silver Age of Comic Books could be, and how that's not necessarily a bad thing.
- Morrison's All-Star Superman is this trope distilled.
- Batman R.I.P., 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.
- Tom Strong does something similar with the pulp / comic book 'science hero' archetype.
- While the first two volumes of The League of Extraordinary Gentlemen were definitely deconstructions of Victorian adventure fiction (and for that matter, the concept of the Massive Multiplayer Crossover), 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 Alan Moore 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 Bronze Age and reconstructed during the Dark Age. For one example, Genre: Superheroes Wear Capes because of the Rule of Cool. Decon: Capes are silly stuff that's just for show and can get in the way, therefore practical superheroes don't wear capes. Recon: Superheroes Wear Capes for a variety of useful purposes, or are given explanations deeper than the Rule of Cool.
- Also, Genre: Heroes don't kill because of The Comics Code. Decon: Superheroes kill, and those who don't wind up getting beaten by the villain. Recon: Superheroes don't kill because they are not (usually) 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.
- Captain Atom: Armageddon was this as well. By the time it came out, the Wild Storm characters had come to embody all the excesses of the Dark Age, so DC brought Captain Atom, who, while hardly what you'd call a traditional superhero, nonetheless was a much more wholesome, positive character to set the WildStorm Universe to rights.
- Superman: Secret Identity. 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.
- Reconstruction: 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 Darkest Hour, 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 Call to Adventure 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 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.
- Kick-Ass shows that if you have Heroic Spirit, you train properly, and you're prepared to get your ass kicked on occasion, then you can indeed put on a costume, fight crime and be a superhero.
- The Superior Foes of Spider-Man reconstructs Amusing Injuries; the characters always have to deal with the long-term consequences of their injuries and behavior, but not only does this not prevent the initial incident from being funny, but the comic also plays the consequences for humor (for example, Speed Demon injures his leg in issue 5 and has to spend the next several issues wearing a cast. The gang solves this by strapping his injured leg into a roller skate so he can move around for the big heist).
- G.I. Joe (IDW) comics reconstruct What Measure Is a Mook?. Random Cobra troopers and operatives are frequently given hints of backstory and personality to show that they're people too, but it's repeatedly pointed out that this doesn't automatically mean that they're sympathetic people who don't deserve to get injured or killed by the heroes. After all, why would a moral and mentally stable person be willingly working for a ruthless criminal organization that's trying to take over the world?
- The Rogues Reloaded storyline from The Flash does this for the Flash's villains. Though beloved for their sympathetic backstories, likable personalities, and code of honor, the Rogues are often overshadowed by the more threatening villains like the Reverse-Flashes and Gorilla Grodd, to the point where they're almost considered "Flash's sidekicks" (even in-universe). Rogues Reloaded shows that while the Rogues have redeeming qualities, they're still ruthless, unrepentant criminals who are only out for themselves and while they don't go out of their way to hurt people, they have zero sympathy for those affected by their crimes.
- Doing It Right This Time: After a glut of deconstructive Peggy Sue fics this story gleefully reconstructs what they tore down:
- Shinji can not possibly outsmart Gendo or SEELE... but he will try anyway since he has nothing to lose.
- Gendo figures the Children are up to something... so they confront him from the start and tell him his scenario to reunite with Yui will fail.
- The Children are unstable for having gone through it once... and they are aware of it, so that they try to channel their craziness into productive ways.
- People notices the Children are having out-of-character moments... and they use it to their benefit.
- Hottie 3: The Best Fan Fic in the World is a Reconstruction of both Fan Fics and Massive Multiplayer Crossovers.
- Super Milestone Wars and its sequel is a reconstruction of the Deconstruction Crossover trope itself.
- While Hunting the Unicorn is largely a Deconstruction Fic, it's also reconstructive since it portrays Blaine as a believable character rather than a Relationship Sue. In-story, it reconstructs how damaged he is by showing how Kurt and Blaine genuinely care about each other, averting There Are No Therapists, and using a healthy dose of The Power of Friendship and love.
- Ultimate Sleepwalker: The New Dreams and 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 Writing for the Trade is notably absent.
- Peculiarly, Child of the Storm. On the face of it, it's a classic Deconstruction Crossover that neatly takes apart every single trope associated with the Lord!Harry, DifferentParents!Harry, Super!Harry and God!Harry and a fair few superhero tropes, introducing a hefty wodge of moral ambiguity of the Grey and Black Morality flavour, with an epic Gambit Pileup featuring chessmasters galore, while demonstrating the kind of carnage that superpowered violence can potentially wreak and the psychological damage that Harry has suffered thanks to the Dursleys and a lingering sense of abandonment (not that Thor had any choice about it. He didn't even remember being James Potter thanks to a really very necessary mind wipe) while not being a major feature, is ever present. Yet, in doing so, it also reconstructs the idea of heroes in general. In the deconstruction of the Fandom-Specific Plot, it demonstrates that ultimately, Harry is Harry. Yes, the circumstances are going to lead to some changes - he's more of a snarker (possibly of the Stepford Snarker variety), he's more assertive and more confident, expressing his emotions more (this is not always a good thing). He's got more power to call on. But he is very recognisably the same person, not automatically becoming nigh invincible, super intelligent and The Casanova. As the story repeatedly stresses, despite everything going for him, he is a damaged teenage boy making his way in the world, and he's sometimes a little overwhelmed by it all, but he will ultimately always try to do the right thing. As Big Good Stephen Strange puts it,
"You are who you choose to be. In every timeline, in every could-be and might-have-been, you are who you choose to be, Harry James Potter. Mantles of power, genetic gifts, cosmic protections...they're all window dressing. You are a hero not because of the powers you have, but in spite of them."
- Furthermore, while there are plenty of characters who are morally grey, and while even the nicest and sweetest characters are forced into battles and hard decisions, genuine heroes like Captain America and Michael Carpenter, not to mention Harry himself, really do exist. They don't ignore their own personal weaknesses, but they stand up against them, overcome the darkness, and provide moral standards for everyone else anyway, even and especially because they know what it's like to have personal flaws.
- The story also beautifully reconstructs the idea of the typical Romance Arc. Harry and Carol are falling in love with each other, and both of them more-or-less admit it in time (because pretty much Everyone Can See It). However, this does not lead to them falling into each other's arms and making out, or else bottling up the issue; what she needs most is a friend, not a boyfriend, and Harry has plenty of issues and emotional baggage to deal with as it is. However, they both acknowledge their love for each other (although still somewhat in denial), and want to move forward, together. If they do end up together, which they almost certainly will, it will be all the better for the fact that they've taken the time to wait and figure things out.
- Blue Sky 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.
- Shattered by Time starts out as a deconstruction of many Naruto Peggy Sue 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 "reconstructed," and it takes YEARS for him to get back to anywhere near normal again. But once he does, the story progresses closer to the classic versions, where he still takes in Naruto and "makes" Sasuke a good guy, etc.
- Although The Legend of Total Drama Island 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 explaining things, a generally higher level of realism than in the original, and a tone change from comedy to drama.
- The aptly-titled Captain America: The First Avenger fanfic Reconstruction (still in-progress) applies the familiar Gender Flip 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.
- When the Sun Comes could be considered a reconstruction to the deconstructive genre that is the The Conversion Bureau series. Despite the simplicity, the situation presents where Celestia and the ponies genuinely go and offer humanity as much salvation as they can. No side is treated as being better than the other and the disaster that prompts was not man-made, but a natural disaster (supervolcanos erupting.) Despite being a short oneshot, a Verse is quickly being made around it.
- Sonic X: Dark Chaos starts as a deconstruction of Sonic the Hedgehog, from the concept of Chaos Energy and the Chaos Emeralds to throwing the kid-friendly characters into a not-so-kid-friendly universe filled with Black and Gray Morality. However, the second half - especially in the rewritten version - is spent showing that The Power of Friendship and The Power of Love can prevail even in the face of cosmic terror.
- Heroes For Earth is a Darker And Grittier reboot of Captain Planet, set in the not too distant future. It takes the concept of how hard it would be to be chosen by a mysterious godlike entity and have the power of the elements, and be tasked with stopping those who are constantly endangering the Earth through their carelessness or greed. However, the heroes are all three dimensional characters, who remain hopeful once given a chance at changing the world's fate, and bring hope to the world, and bring about a better era.
- The Bridge acts not only as a crossover between Godzilla and My Little Pony: Friendship Is Magic, but a massive reconstruction of the former franchise's more light hearted aspects. After several stories of the same crossover focused solely on the Darker and Edgier side of kaiju franchises and ignores the lighter aspects in hopes of making it more "mature". This often resulted in a Dark Fic involving a Sugar Apocalypse for Equestria. Instead, The Bridge focuses on the things that make the kaiju franchise appealing to some, especially children, not ignoring but instead embracing the upbeat aspects of the often ignored Showa Era. Instead of treating the kaiju as unknowable, forces of nature like most fics and films have, it instead gives them a fully fleshed out personality and voice; allowing them to interact with both each other and the MLP cast.
- Bait and Switch (STO) does a lot of this for Star Trek.
- The Federation is stated in From Bajor to the Black to favor Enlightened Self-Interest (providing humanitarian aid to beleaguered Romulan worlds partly because it improves their image and screws with the Imperial government), rather than Realpolitik (as in more deconstructive works) or straight-up altruism.
- The series is also extremely critical of the Berman and Braga-era shows' use of the Prime Directive as an excuse for not intervening in humanitarian crises (one of the major viewpoint characters is Bajoran, a race that was screwed over by that approach in Star Trek: The Next Generation), with characters preferring to bend the rules or twist them to their advantage rather than follow the PD to the letter.
- Jaleh Khoroushi is one for Middle Eastern Muslim characters in general, after the author got tired of how they were nearly always Islamic terrorists in contemporary fiction. Khoroushi doesn't wear hijabnote and states she gave up trying to keep Islamic dietary laws on deployment years ago (in particular it would be extremely inconvenient in her current position as an exchange officer on a Romulan ship), but she is highly devout and is a devoted Starfleet officer, and sees no conflict between them at all.
- While the story No Chance For Fate goes out of its way to tear down lots of stuff in the Fuku Fic and the canon of both series', the characters at the same time also get reconstructed. Ranma, the Senshi and other people are shown to grow with their responsibilities and develop realistically. In the end, the battle against the forces of darkness is still shown to be a noble and just cause, only now with way more realism in it.
- Pokémon Reset Bloodlines is inspired by Ashes of the Past, and as such the story takes on several aspects of canon and fanon and makes them work in a way that retains the spirit of and fits with the original show. For example:
- Instead of Ash just being forgetful, the reason for him never going back for Pidgeot was a side-effect of climate shifts from the second movie causing the flock to move, and the Counter-Shield wasn't used in Unova because his attempts to teach it to his Unovan Pokémon ended in failure.
- Ash's somewhat fan-disliked habit of leaving his Pokémon in Professor Oak's ranch whenever he goes to a new region helps them in keeping in shape, given that they have plenty of space to train by themselves and stay active.
- The league ability of un-evolved mons is also reconstructed: Scott notes to Yellow that an unevolved Pokemon, while less durable, also has the advantages of learning moves much faster, plus trainers might be less familiar to fight them at higher levels, as they would be used to fighting their more advanced forms.
- There are benefits for evolving Pokemon, and there are benefits for not evolving them. Chapter 30 explores this in depth by taking an episode with the anime's common evolution based argument, The Battling Eevee Brothers, and expanding it. The Brothers have legitimate reason to want Eevee to evolve that are entirely based on wanting the best for their brother, and their belligerent attitude is noted to be fueled by an outside pressure. While Ash and Karen are able to make a strong point, their points are treated as just as valid as concerns the brothers have.
- One of Those Days takes the usual plotline of Snape becoming Harry's legal guardian and bonding and simultaneously tears apart the idea and builds it back up. Harry and Snape are both adamant against being forced to live under the same roof, and even though they do find connections with one another in the beginning, it doesn't mean Snape will stop hating Harry for his father's actions or that Harry will put his faith in a man who has bullied him for years. The reason they manage to bond in the first place is simple: they have to. A spell that was cast in the beginning makes it impossible for either of them to be far apart from each other and the only way to break the spell is to work together and overcome their hatred unless they want to be stuck with the spell forever.
- Eventually, the spell weakens overtime as both parties begin to trust and like one another to the point where Harry is able to feel comfortable in Snape's presence and Snape starts seeing past his childhood grudge and recognize that Harry is Not So Different from himself.
- Forgotten Bonds, which is written by the same author who wrote One of Those Days, also shows how Slade forcing Robin to become his apprentice can still work. In other fics, Slade's actions would have successfully turned Robin evil or simply failed. His butler, Wintergreen, states that Slade's methods attempts will simply destroy Robin and cost Slade his perfect student. The solution is to use Robin's neglectful childhood thanks to Batman as an opportunity to connect with the hero. As a result, Slade's character is peeled away both literally and metaphorically as he uses Wintergreen's method. Instead of it being a case of Stockholm Syndrome, Slade eventually wins Robin's trust and finds himself truly remorseful for his previous attempts at gaining control. Meanwhile, Robin still retains his heroic morals and refuses to throw away Thou Shall Not Kill not because of Batman's teachings, but because of his mother's beliefs that all life is precious. The end result? The fic turns from a cliche plotline to a father-son story where Slade ultimately retires as Deathstroke to be a father and to help Robin improve as a hero and a kid and starts reconciling with his family.
- The kicker? Robin's mom, Mary Grayson, instigated the plot as Slade's guardian angel to help both the man and her son heal. On the other hand, she is far from pleased with Slade's initial attempts, either and calls Slade out on it in the sequel.
Films — Animated
- The Incredibles 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.
- The LEGO Movie. Sometimes, people can seem conformist and unoriginal in their lives. However, everyone has the potential to be a hero. Also The Prophecy was made up, but it was made so 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 Everyone IS awesome.
- In the 2010s (although it arguably started earlier with 2007's 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 Shrek and 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 Character Development and/or aren't even actual princes in the first place, and True Love's Kiss and Love at First Sight don't work as they used to, but The Princess and the Frog, Tangled, and Frozen all still end with the villain being defeated, The Power of Love saving the day in some way, and the main characters living Happily Ever After.
- Even as far back as 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 of a Princess.
Films — Live-Action
- The Dark Knight Saga:
- Batman Begins 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.
- The Dark Knight reconstructs how a superhero can operate in, and have an effect on, a larger society.
- The Dark Knight Rises ends up reconstructing what happens to a superhero in the long term.
- Batman v Superman: Dawn of Justice starts out as a deconstruction of the two characters, however it eventually gives way to being a reconstruction in how it brings both of them back to something closer to their classic forms. Consider how much each's characterization at first aligns to how a bunch of people complain about them on the internet, often in the name of "realism". Superman is a figure with so much power that people have trouble relating to him on a human level, and without it completely under control, accidentally contributes to the loss of lives during the battle between him and Zod in Metropolis. Batman, rather than being the noble hero with a strict no-killing policy, is here more unhinged at first, being more jaded and perfectly willing to kill even someone like Superman. However by the end Superman proves that he can live up to the ideal he's supposed to represent by willingly sacrificing himself to destroy Doomsday, which brings about him the adoration of the masses that he usually receives. Batman begins to renounce his more extreme ways, as shown by his decision not to give Lex Luthor the Bat-Brand and how he's now willing to work with metahumans, to the point that he decides to put a team of them together in order to continue Superman's mission in his stead. Justice League completes the Reconstruction by showing Superman as a more genuinely heroic figure.
- Buffy the Vampire Slayer 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.
- Clueless is a reconstruction of Teen Movies after the bitter deconstruction of Heathers, while also taking some time out to reconstruct Jane Austen by way of adapting Emma into a modern-day setting where it actually more-or-less works.
- Hard Boiled features every single police officer character as unambiguously heroic, as an apology by John Woo 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 Heroic Bloodshed.
- Hot Fuzz 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 Lock, Stock & Two Smoking Barrels) 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 Westerns seem to be attempts at this (3:10 to Yuma (2007), Appaloosa) in contrast to some of the more post-modern examples of the genre (such as No Country for Old Men and The Proposition). Or they may be seen as straddling the middle ground between Deconstruction and Reconstruction.
- Silverado reconstructed the Western in The '80s.
- James Bond:
- When the series appeared dead (and had been somewhat deconstructed in the Timothy Dalton era), True Lies appeared to reconstruct the spy-action-adventure genre by way of Affectionate Parody. Ironically, it is a remake of a French parody of Hollywood action-adventure movies.
- The Daniel Craig movies gradually undergo this process; Casino Royale (2006) begins the process of deconstruction by placing Bond in a more gritty, 'modern' setting, and 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. As M argues during her Parliamentary hearing, the end of the Cold War has not made the intelligence services irrelevant; if anything, MI-6 is even more relevant in the age of The War on Terror, when Britain's enemies can hide anywhere and strike at any time. By the time of Spectre, Craig's Bond has returned to classic!Bond form with gadgets like an exploding watch or a car-exhaust flame jet, and even the classic Nebulous Evil Organization has returned to plague the current era.
- The film version of Kick-Ass reconstructs its own original comic's deconstruction of the superhero genre. In the comic, the hero is a sorry loser who never trains, gets beaten up all the time, and 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.
- Due to the dark nature of the material to begin with, the line between Deconstruction and Reconstruction is often blurred with horror films.
- Scream (1996) was, itself, a Deconstructive Parody of the Slasher Movie, one that director Wes Craven hoped would be a Genre-Killer for slashers by making them impossible to take seriously anymore. However, it 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 a large number of slasher flicks that played it completely straight.
- Hatchet and All the Boys Love Mandy Lane deconstructed the Slasher Movie genre, albeit in two very different manners (Hatchet was a more comedic form of horror, while Mandy Lane was far more serious and gritty).
- This became increasingly true in the post-Scream era, simply because many of the things that originally set Scream apart became the new cliches, to the point where even Scream 4, released fifteen years after the original, noted it. It became increasingly normal for characters to be at least somewhat Genre Savvy, almost all killers were shameless self-promoters and/or ideologically driven.
- Series like Saw began deconstructing their own franchises within a few entries, simply because deconstruction was the norm.
- You're Next, 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 Genre Savvy (i.e. the house is under siege, begin barricading).
- Cloverfield does this to kaiju movies. Ironically, people believed it to be a deconstruction, forgetting what a horrific anti-atomic weapons allegory the Trope Codifier 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.
- Star Trek could be seen as a Reconstruction not only of the Star Trek franchise, but also the Space Opera genre as a whole. While the franchise had been heavily deconstructed to begin with, the later series had moved away from many aspects of the original series. The genre as a whole had suffered from certain works (including Star Trek: Enterprise and the Star Wars prequels) becoming notorious for generating a Hatedom and Broken Base, and undergone Deconstruction with the remake of Battlestar Galactica in 2000.
- Although it didn't stick, The Outlaw Josey Wales 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.
- Goodbye Lenin 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.
- Star Wars
- Rogue One: A Star Wars Story:
- The movie reconstructs Darth Vader and reverses the infamy he got at the end of the prequel trilogy. In the original films, Vader was depicted as an extremely powerful and dangerous, but ultimately beatable antagonist, but after decades of parodies, references and a very ill-handled Start of Darkness, he lost much of his mystique and aura of threat. However, Rogue One depicts him as a borderline Humanoid Abomination, a vast, unknowable force of pure death which even his nominal allies are visibly frightened of.
- Psychic Strangle. Director Krennic's look of visible terror as Vader chokes him shows just how horrifying an attack like that, which he can barely comprehend and couldn't possibly fight against, would be.
- The Last Jedi both deconstructs and reconstructs classic Star Wars tropes at the same time. Your heroes can make mistakes, and sometimes aren't what you thought they were, but in the end, prove why they became such legendary heroes in the first place. Blindly jumping into a battle you have no chance of winning gets people killed, but fighting to the end to save what you care about is never foolish. Looking to bloodlines and families to find heroes can create a ruthless Knight Templar, but heroes can emerge from the most unlikely of places. DEFINITE YMMV and Rule of Cautious Editing Judgement on whether these elements made the film a masterpiece that restored the franchise to its roots, or a cynical mess that doomed it forever... Or, you know, anywhere in between?
- Rogue One: A Star Wars Story:
- The Joshuu Sasori films are a reconstruction of the 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 Joshuu Sasori films thoughtful, vicious, artful and surreal works with an overtly feminist message, without even changing the basic common plotline.
- 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.
- Cinderella (2015)
- The film reconstructs Disney's own animated version by playing the story straight - but addressing any issues people might have with the original; Cinderella's role as The Pollyanna is born out of a desire to follow her late mother's wishes to be good to everyone, the Wicked Stepmother is given an excuse for her abuse, the lovers get to have actual conversations and get to know each other, the quest to try on the slipper is Lampshaded repeatedly and the Fairy Godmother is given a reason to help the girl.
- The film as a whole reconstructs the Prince Charming character. Since the 90s, parodies and subversions of this character spawned their own trope. Kit here is indeed an actual Prince Charming - but with character growth and development.
- The King was given more depth than his animated counterpart. In the animation he was the Plucky Comic Relief, wanting his son to get married because of his obsession with really wanting grandkids. In this film, it's established that their Kingdom is actually a small nation and he's invested in his son getting married to a Foreign Princess both for the good of the kingdom and his own peace of mind knowing that there will be someone to take care of Kit when he's no longer around..
- The Marvel Cinematic Universe is essentially a reconstruction of not only Marvel characters but of the superhero genre in general, giving the characters and stories more realistic/fleshed-out styling while still not losing the idealism, mysticism, and fun of superhero comics. No matter what challenges the protagonists face, in the end they're still bigger-than-life heroes going on adventures and fighting villains. It also defies many of the common criticisms/deconstructions that superhero comics face. For example, the darker implications of Thou Shall Not Kill are averted by having the superheroes be willing to kill but only if absolutely necessary, preserving their moral codes while preventing "Why doesn't Batman just kill the Joker?" situations.
- Captain America: The First Avenger is a reconstruction of Golden Age Captain America comics, and do-gooder superheroes in general. It specifically addresses common quibbles with the character (Patriotic Fervor, Invincible Hero, Unfortunate Implications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the Captain Patriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually flanderized into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
- Iron Man 3 reconstructs how grandiose villains with a thing for theatrics and terror can be adapted to operate in the real world. The Mandarin, the flashy Big Bad adapted from the source material, is actually a fictional character played by an actor, Trevor Slattery, made to distract the public from the real villain, Aldrich Killian, who instead takes advantage of anonymity to perform his manipulative deeds. However, after this went over very badly with the fans, the short film All Hail the King reconstructed the Mandarin further (without showing him just yet) by revealing that he actually does exist and leads the Ten Rings, and Killian merely stole his name without realizing the consequences.
- As noted by Ralph Garman, the MCU also reconstructs the superhero costume, notably averting Movie Superheroes Wear Black. While none of the outfits are actual spandex, and most make plenty of concessions to practicality, they also tend to be very colorful, and as faithful as possible to their comic-book origins - the Winter Soldier even retains his '90s Hair.
- The Falcon was a rare case where an MCU hero was stuck in a drab grey version of his costume - until Avengers: Age of Ultron, when his outfit was revamped to feature more of his signature red.
- While Cloverfield isn't 100% Deconstruction, Pacific Rim 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 Humongous Mecha a comeback in the big screen and they are as awesome as they are big.
- Godzilla (2014):
- The movie takes a Revisiting the Roots 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 Lighter and Softer "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.
- While staying mature and serious, it also reconstructs the idea that a kaiju doesn't need to be outright villainous, and can be sympathized with. This incarnation of Godzilla coming off more of a Destructive Savior than a villainous enemy, and the M.U.T.O.s act like normal animals more than they do super villains.
- 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 Nightmare Fuel: 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 Running Scared (2006) is basically a scary fairy tale about a boy who ran to The Lost Woods and met numerous monsters, including The Big Bad Wolf and a witch living in a Gingerbread House. Credits make sure you got the reference with animated sequence showing the boy's misadventures in that light.
- The whole airplane disaster genre has been spoofed thoroughly by Airplane!, and for a long time, audiences have been unable to take them seriously. United93 is a reconstructed work of said genre, ultimately for the simple fact that many of the events actually happened...
- Dracula Untold is the first live-action movie in a long time to take the idea of a vampire turning into a bat seriously. Vlad transforms into a rather massive flock of bats, enough to account for his size and weight. It actually does a good job of making the idea not seem cheesy.
- Saving Private Ryan is this for war movies. Following The Vietnam War, most war movies focused on the futile or dehumanizing nature of war. Ryan definitely has a War Is Hell mentality, with the sheer brutality of the D-Day landings and honest portrayals of shell-shocked soldiers clearly communicating the horrors of war. Yet, this all only served to further highlight the valor of the soldiers. Several of the more heroic Military and Warfare Tropes are played without irony. Captain Miller is a classic Father to His Men, and none of the military leaders are portrayed as foolish, cowardly, mean-spirited or dangerously gung-ho. Though the soldiers mock Upham for trying to apply the Band of Brothers trope to them, they all essentially interact this way. Finally, the movie is bookended by scenes at Normandy, which honors the sacrifice of American soldiers, alongside a huge American flag.
- Chicago and Moulin Rouge! are credited with reconstructing The Musical in movies. Both films employ a Framing Device to justify all the singing - Chicago featuring the songs as figments of Roxie's imagination, and Moulin Rouge has Christian narrating the story and emphasising the surrealist nature of the songs. Both had the darkness of the earlier deconstructions, but still plenty of throwbacks to the fun and frivolity of classic musicals.
- Hitch reconstructs the notion of 'pick-up artistry' - as in teaching Dogged Nice Guys how to score with beautiful women. Hitch is a date doctor of course, but he encourages guys to be themselves and overcome their fears in order to let the women get to know their best selves. However he refuses to work with a Handsome Lech who just wants to use his methods to score one night stands. And when the female lead mistakenly thinks this about him - and wrecks his career in the process - he calls her out for it.
"This is exactly why falling in love is so goddamn hard!"
- Kingsman: The Secret Service reconstructs and affectionately parodies Roger Moore's Bond spy films, and also campy spy films in general. It's got it all: the silly (but still quite dangerous) villain with an evil plan to destroy the world as we know it, the exotic foreign henchwoman, the wacky disguised weapon gadgets, the Tuxedo and Martini, the Soundtrack Dissonance and the unapologetic old British Tory ethos that even the Bond films only hinted at. On the other hand, the villain is Genre Savvy, every female character is three-dimensional and written and presented in a highly respectful fashionnote , and class conflict is a recurring themenote .
- Michael Chabon 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.
- The Amazing Adventures of Kavalier and Clay reconstructs Golden Age superheroes by telling a story from the POV of the men who created them, showing how important they are to American culture.
- Summerland reconstructs adolescent High Fantasy like The Chronicles of Narnia by giving it a fresh setting - in this case, a fantasy-world based on American culture and folklore.
- Gentlemen of the Road reconstructs Two-Fisted Tales and pulp adventure stories.
- The Yiddish Policemen's Union reconstructs traditional Film Noir and Hardboiled Detective stories, again, by giving it a fresh setting - an Alternate History version of America where a thriving Yiddish culture exists on the Alaskan frontier.
- The Canterbury Tales 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 deliberately sucky Tale of Sir Topas (which Chaucer assigned to himself). The Franklin's Tale Reconstructs it by keeping the postive genre element of celebrating honorable conduct, but jettisons the genre's stance that love only exists outside of marriage.
- The Dark Tower series began as a reconstruction of the Westerns the author enjoyed.
- Boris Akunin's Erast Fandorin 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' A Christmas Carol 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.
- 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 Harry Potter served to deconstruct the Relationship Sue 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 they end up Happily Married with three kids. It goes to show that the Relationship Sue 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.
- Simona Ahrnstedt:
- Despite how all her first three novels are about the upper classes and their extravagant parties and their beautiful clothes, Simona 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!
- Lily Tremaine in "Överenskommelser" is a reconstruction of the Gold Digger. She was stupid enough to turn down Seth's proposal and ends up in an abusive marriage with a British lord, but she can later find happiness with a new man.
- Seth himself becomes a reconstruction of Looking for Love in All the Wrong Places. He has been searching for love so badly, that he eventually gets an wrongful reputation as a Casanova, but he can find true love when he and Beatrice finally work things out in the end.
- Beatrice and Seth are a reconstruction of Can't Spit It Out and Wrong Assumption. They have misunderstood each other completely over and over (she believed that he was a Casanova, he believed that she's a Gold Digger), and it has awful consequences especially for her. But they can work things out eventtually and have a Happy Ending.
- Seth also serves as a reconstruction of the Nouveau Riche. Many people think that he's an irritating upstart, who spends an insane amount of money on women, and the Old Money generally despise him. And it does not help that he can be unnecessarily mean and proud. But it soon becomes clear to the reader, that there is more depth to him than that, and in the end, he becomes happily married to Beatrice
- As a whole, "Överenskommelser" is a Genre Deconstruction of the Romance Novel. Many of the old clichés are there, but we get good reasons as to why these clichés would happen. Why exactly is it so hard for Beatrice and Seth to admit their feelings for each other? Well, Beatrice is too afraid to tell Seth the truth about her awful situation because her Evil Uncle has threatened her and her friends. And as for Seth, he is too afraid to take chances because Lily Tremaine had dumped him and broken his heart in the past. And we also have Beatrice's uncle and cousin, who will do anything to destroy their happiness. So it becomes very hard for them to untangle all the misunderstandings. And we also see the consequences of this, when Beatrice in particular has to suffer from it. But it becomes a Reconstruction in the end, when Beatrice and Seth can work things out and have a Happy Ending.
- The First Dwarf King could be seen as this for the High Fantasy genre. A lot of the old tropes are there - there are dwarves, elves fighting dwarves, and dwarves wielding axes and warhammers. Yet upon inspection, it becomes apparent that the novel is providing good reasons for why these tropes exist, and is ultimately all about having fun with them.
- A lot of Princess Holy Aura deals with the ethics and morality of sending young teenagers into battle, and how such a girl would have to interact with school and family. The working title for the novel makes this explicit: "The Ethical Magical Girl".
- Worm is one for the superhero genre, showing how shared social norms could result in a society with many common superhero tropes, including genius inventors who don't share their tech, the consequences of lacking Required Secondary Powers, and why criminals aren't outed while also showing how quickly it could collapse if people started to ignore those norms.
- Doctor Who:
- After the years and years of mockery and criticism of the Daleks, mainly regarding their impractical design and their weapons, the episode "Dalek" addresses these criticisms to return the Daleks back to their previous threat level, by taking these criticisms and turning them on their head.
- The earlier "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, "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. Afterwards, he resolves to "step back into the shadows," and while this lasts about as well as you'd expect, it does reconstruct the idea of the Doctor as "just a man in a box, travelling, helping out" after previous seasons had him become The Dreaded and an in-universe Memetic Badass.
- In a bizarre example of this, the TV movie of Harrison Bergeron reconstructs the viewpoint that the original story was parodying, which would be a case of Completely Missing the Point were it not done so well.
- After facing criticism for the unhealthy nature of the food on The Galloping Gourmet 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.
- Star Trek: Deep Space Nine:
- It took a hard look at Proud Merchant Race 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, nor have they ever practiced slavery of their own kind (unpaid workers can't buy anything.)
- 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 The Empire. 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 Gray and Gray Morality setting can still have genuinely evil characters.
- Power Rangers RPM's Lampshade Hanging of two recurring elements of Power Rangers that are often mocked also reconstructs them. Why are there explosions behind the rangers after they've morphed? Residual energy runoff to clear the suit's bio-channels during the morph (the explosions are even used to attack several foot soldiers). Why do they scream their morph call? Vocal recognition safety feature.
- While Kamen Rider Gaim is more of a Deconstruction than a Reconstruction, it manages to take two tropes that the fanbase hates and gives us a reason why we enjoyed them in the first place. The tropes it reconstructed are Poor Communication Kills, which shows the audience clear reasons why people would effectively shoot communication in the foot, and the Monster of the Week format, in which, while it still sticks to the format somewhat, it doesn't do it in a way that derails the plot and make it feel more like two-part stories than a one episode story that was forced to drag on to two parts.
- On the other hand, Kamen Rider Drive reconstructs many concepts of the franchise itself, since the show is going back to the classic nature of the Showa era. It also reconstructs several themes deconstructed by previous shows, especially that of Gaim.
- The entire point of genre revivals like Post-Punk revival or Garage Rock revival.
- Neoclassicism (think of Benjamin Britten) is a reconstruction of pre-romatic classical music. Its composers didn't follow the daring harmonic approach of Richard Wagner or Arnold Schoenberg and continued to compose "beautiful" music unlike their dissonant or even atonal contemporaries.
- Composer Igor Stravinsky had a Decon-Recon Switch: His most popular work is the dissonant and initially highly controverial Le Sacre du printemps, while his later work cofounded Neoclassicism.
- Sufjan Stevens' 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.)
- Tenacious D'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 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" defied this with radio friendly songs like "In da Club", "Candy Shop" etc.
- Similarly rap group Dead Prez tried to reconstruct rebellious, hardcore, socio-political rap.
- Would Flipsyde count as something related?
- Similarly rap group Dead Prez tried to reconstruct rebellious, hardcore, socio-political rap.
- 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 Heavy Metal that Black Sabbath used to play: a Darker and Edgier turn on Heavy Psych, which was Blues Rock and Psychedelic Rock turned Up to Eleven.
- 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 Cyclical Trope).
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 Sliding Scale of Idealism vs. Cynicism 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).
- Existentialism was a direct, deliberate reaction to the Darkness-Induced Audience Apathy promoted by Nihilism and Moral Relativism.
- In the wake of such incidents as the steroids scandal, numerous sudden deaths of wrestlers under fifty and the Chris Benoit murder-suicide, the WWE started trying to distance itself from the dark and gritty Attitude Era and clean up its image, moving back to the cartoonish and family friendly programming of The '80s and Early Nineties; banning blading, pushing squeaky-clean stars like Rey Mysterio and John Cena, 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.
- The women of NXT went a long way towards reconstructing women's wrestling in WWE. After years of Chickification and emphasis on Fanservice, the women were allowed to wrestle. The women had the talent and tenacity of the stars of the 80s, combined with the glamour and character of the Divas of the Attitude Era.
- The Ibsen Follies has a sufficiently loose relationship with the fourth wall for the Interactive Narrator to discuss this. She's based on a real-life woman whom Henrik Ibsen 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 dropped handkerchiefs and humorous misunderstandings - but Ibsen did everything he could to 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, The Book of Mormon 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.
- While the 2013 stage musical Charlie and the Chocolate Factory presents the character of Willy Wonka - long notorious for his Callousness Towards Emergency, Skewed Priorities, and lack of sympathy for those who disobey his warnings - as an Ambiguously Evil Anti-Hero who may actually be mentally ill, unlike other adaptations it explores why he's devoted his life to making absurd, whimsical sweets and turning a factory into The Wonderland, and the reasons given turn out to be rather beautiful. As well, while the novel and most other versions have him seeking a good, obedient child who won't change the way his factory is run to serve as his heir, this version has him seeking a child who is kind, knows better than to fool with what he shouldn't...and has his own creative ideas and determination to share them even if it means breaking a silly rule or two. The show ends with Mr. Wonka immediately making Charlie the new boss and leaving so that the boy, with the help of his family and the Oompa-Loompas, can continue Mr. Wonka's work in his own unique way.
- 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/dystopia Cyclic Trope. So if the original concept of utopian fiction was supposed to be a hypothetical world that looked perfect, and indeed actually was, and the original concept of dystopian fiction (back when it originally started, with works like Brave New World) was supposed to be a hypothetical world that looked perfect on the surface, but if you dug a little deeper, was actually a lot darker than it seemed, and then later examples of dystopian fiction (works like Judge Dredd and Warhammer 40,000) have completely ditched the idea of looking perfect on any level and become total Crapsack World futures; then with Chaos, this "anti-dystopia", the concept is a hypothetical world that seems, at first glance, as dark and brutal as any dystopian future...with endless war, bloodshed, horror, all of that… but if you dig a little deeper, is actually a lot happier and brighter than it seems on the surface.
- Warhammer: Age of Sigmar to Warhammer Fantasy Battle, the original setting comes as a deconstruction of many classic fantasy tropes, with the Forces of Chaos eventually winning, killing the order-aligned gods and destroying the world despite the heroes doing their best to stop them. In the new setting it seems the scenario is repeating itself and Chaos is taking hold of the new reality once more, having conquered 7 of the 8 Mortal Realms, that is until Sigmar, one of the surviving heroes of the previous setting and now a fully empowered celestial god, launches a massive counter-invasion from his previously isolated Realm, literally sending The Armies of Heaven to take on the enemy, every one of his Stormcast Eternals is a nearly-killed hero saved by Sigmar and empowered to match the worst Chaos can throw at them, while a real victory over Chaos is in no way certain and the war is far from over as Archaon, the main champion of the Gods of Chaos, is starting to move against Sigmar's armies, hope and civilization has finally returned to the once lost Mortal Realms.
- After becoming famous for making the dark Real Robot game series, Metal Gear Solid, Hideo Kojima went on to produce the much more un-ironic mecha game series, Zone of the Enders. Afterwards, he went on to make Metal Gear Solid 2, one of the most extensive deconstructions of video games ever. He then reconstructed them with Metal Gear Solid 4, taking the same deconstructive plot and putting it - and with it, many of the same genre presumptions - back together.
- The Darkness Goes even further in Reconstructing the '90s Anti-Hero then the comic, after over a decade of deconstruction and parody. Taking the criticism that most Dark Age characters are shallow and over the top, the game makes Jackie complex and subtle, while playing many of the Dark Age tropes straight and for realism, minus the ridiculous Liefeldian costume.
- The Mass Effect series is a reconstruction of classic science fiction tropes (especially Space Opera), even down to the visual styling.
- Mass Effect 2 reconstructs the concept of a Proud Warrior Race, after deconstructing it in 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 Can't Argue with (Space) Elves and associated tropes like Our Elves Are Better and Proud Scholar Race Guy 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 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, Javik reveals the Asari were chosen for this role 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 Blue Space Babes is part of the reason they avoided many of the wars and divisiveness of other species' early history, which has some Unfortunate Implications. (However, it is entirely possible that Javik, being a pragmatic Jerk Ass, is just telling Liara what she needs to hear. We never find out.)
- In general, the series takes multiple opportunities to subvert the Planet of Hats trope to show that there's plenty of room in the traditional Space Opera setting for alien species every bit as complex as humanity. Case in point: the Big Bad of the first game, Saren Arterius, and Shepard's most consistent ally and right-hand man, Garrus Vakarian, are both members of the same species. And Tali'Zorah nar Rayya, your loyal squad-mate for all three games (and possibly your Love Interest), is a member of the species that created the evil machine race that you spend the whole first game battling. And that machine race? One of them joins your party in the second game, and it's revealed that your enemies in the first game were actually a minority of violent radicals that broke off from a peaceful culture.
- Paragon Shepard is a reconstruction of the Ideal Hero. Shepard knows that Humans Are Flawed, but still believes in the importance of his/her ideals and striving to do the right thing. And in the end, this hard work and faith in others pays off almost every time.
- Even though the idea was something of a Dead Unicorn Trope in the first place, Commander Shepard is the closest thing to a straight example of "Captain Space, Defender of Earth!" that you'll ever see in modern fiction. He/She starts out as a garden variety Space Marine, but manages to display enough courage, leadership, intelligence and integrity to get tapped as the first human member of an interspecies peacekeeping organization, and later becomes singlehandedly responsible for driving off an alien invasion that threatens all life in the galaxy - for the simple reason that nobody else believes that it's really happening. With the fully fleshed-out setting and characters, it almost becomes believable that one starship captain with a loyal crew could end up as the savior of the universe.
- The "Paragon vs. Renegade" mechanic is a reconstruction of the Karma Meter trope. Around the time that original game came out, some gamers had begun to criticize games that hyped up the ability to make tough moral choices, which usually turned out to be simplistic "Good or Evil?" decisions that had little bearing on the story. In Mass Effect, Shepard has no choice but to fulfill his duty by saving the galaxy from the Reapers, but he's forced to choose between pragmatism and idealism, and he can either pursue a policy of isolationism or build alliances with potentially untrustworthy cultures. A Paragon is friendly, even-tempered, diplomatic, trusting, and willing to do the right thing at any cost; a Renegade commands respect, assumes the worst about others, and will do anything to get the job done.
- Red Dead Redemption deconstructs every single Western genre trope, then reconstructs every single one throughout the game into a massive Moment of Awesome by the end.
- 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 Tactics Ogre.
- Half-Life 2 reconstructs the Zombie Apocalypse in a few areas, specifically the near-totally infested town of Ravenholm. Said zombies are created by a huge Puppeteer Parasite 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, Zombie Apocalypse. Many of the best scenes consist of exploring seemingly abandoned buildings next to the road.
- If you see the original as a deconstruction of Doom and A Space Marine Is You, Half-Life 2 reconstructs the idea by showing how one man and his Power Armor really could save the world.
- Planescape: Torment reconstructs many old RPG cliches, from An Adventurer Is You to You All Meet in an Inn to Warrior Therapist to "The Reason You Suck" Speech to Magnetic Hero to City of Adventure to Death Is a Slap on the Wrist. It even reconstructs many of the concepts of Dungeons & Dragons which Planescape specifically deconstructed, reconstructed, or parodied (Offscreen Afterlife, What Measure Is a Non-Human?, Always Chaotic Evil, What Measure Is a Non-Cute?, Planet of Hats, etc.) Players who pick up this game today are often surprised to see this take on all the old Role-Playing Game tropes in a game released in 1999.
- Skies of Arcadia rebuilt the heroic, swashbuckling fantasy RPG hero and world after Final Fantasy VII's deconstruction and fleet of imitators.
- When viewed from the perspective that it's essentially a sequel to Knights of the Old Republic II, Star Wars: The Old Republic is an attempt bring Star Wars back to its space fantasy roots.
- Knights of the Old Republic: Troperiffic as all get out and played most of the Star Wars tropes straight. KOTOR II: The Sith Lords was an Up to Eleven Deconstructor Fleet as everyone from no-name NPCs to the mentor were ripping a new one into everything from the Expanded Universe to George Lucas's moral compass with a zeal not seen since David Brin, noting among other things that there's clearly inherently something wrong about everybody's assumptions if the Sith philosophy can be so diametrically opposed to the Jedi philosophy and yet the resulting Space Magic still works just as well. Star Wars: The Old Republic? Acknowledges the arguments made in the second game, runs with Gray and Gray Morality (You can be a light-sided Darth or a Knight Templar 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 Omnicidal Maniac).
- The two first opus of the Diablo franchise were basically doing a massive deconstruction of the Heroic Fantasy genre with a butcher knife: the story takes place in a Crapsack World where Demons are running around murdering everyone in gruesome ways For the Evulz Angels are Knight Templars who hardly care about humanity, and humans heroes who try to slay demonlords only end up helping them, being corrupted or becoming Axe-Crazy, if not all of those at the same time. Come Diablo III, while the Darker and Edgier 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.
- Diablo II presents the first stage of reconstruction, although it takes a Retcon: Turns out, while the heroes ended up helping the demons unwittingly, they did not go Ax-Crazy, and instead went their separate ways with their sanity, allowing them to pass in peace and pass their mantle to the next generation heroes. However, in the expansion of III, the story is in a trial whether the reconstruction will stay or it will be deconstructed again: Malthael, a high ranking angel, went insane and undid the efforts of defeating evil in the vanilla game, but then, your hero still kicked his ass anyway. However, at that point, Tyrael became aware that the Nephalem has defeated the champions of Heaven and Hell and if they would ever get tempted into evil, that'll doom everyone. That has yet to be revealed, but throughout the game, the Nephalem has always sided with humanity and protecting them so they may have a mean to resist the temptation...
- Singularity manages to simultaneously deconstruct and reconstruct the Last-Second Ending Choice, 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 Take a Third Option.
- Fire Emblem series-wide tends to reconstruct the romantic depictions of the Royals Who Actually Do Something and The Wise Prince tropes. Many of the lords depicted throughout the series tend to be a kind and compassionate prince/princess, but rather naive on the workings of the world. While franchises like Game of Thrones and Berserk would waste no time savagely deconstructing these tropes, Fire Emblem acknowledges that there's undoubtedly flaws in the lord's naivete and compassion, but also points out that this tends to help a lot better than it would hurt: many instances of the blue-blooded hero/heroine's charisma and compassion ends up attracting other soldiers to their cause, while also having their heroic intentions end up paying far better than pragmatism. And even though the lord's naivete may be the response of troubles in the future, their charisma and ability to create an entire army of loyal friends and allies makes attempts on the lord's life unsuccessful for the majority of the time. The only exception to the series-wide reconstruction of both tropes is Fire Emblem: Genealogy of the Holy War, which shows the deadly consequences of being too trusting... then proceeding to show the deceased lord's son successfully wage a rebellion to liberate the continent from The Empire. As a whole, Fire Emblem acknowledges that being a good, kind-hearted prince/princess can be impractical and even dangerous at times, but it also shows that this mentality helps far more than it does to be distrusting and pragmatic.
- Fire Emblem: Path of Radiance is, bizarrely enough, a rather large Reconstruction of For the Evulz Omnicidal Maniacs. King Ashnard, for the first 80% of the game, looks like a non-too-subtle mockery of JRPG villains like Kefka, as characters frequently find themselves, particularly in the last couple of chapters, 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 a far more impressive villain than the usual power-mad psychotic. 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 the way in which the Laguz choose their rulers.
- Fire Emblem Jugdral is a deconstruction and a reconstruction at the same time. The first part of the game ends up with 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, 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.
- Fire Emblem Fates: Conquest manages to reconstruct a lot of tropes surrounding Mordor, The Empire and Dark Is Not Evil with the Kingdom of Nohr. At an initial glance, Nohr seems to be an archetypical quote-on-quote "evil empire": the land it inhabits is a desolate wasteland full of natural disasters and roaming bandits, the common people are starving, and to make matters worse, it also has a tyrannical, militant king at the helm of this messed-up situation. Instead of doing what most set-ups like these would do and make the setting Black and White Morality in comparison to the Arcadian Hoshido, Fates goes to excruciating detail to depict that things aren't as they seem: most Nohrians you meet in Conquest are outright Nice Guys/Girls at best (Arthur, Benny, Effie, Elise, Leo and Xander) and Creepy Good at the very worst (Niles, Keaton, Charlotte, Camilla and Peri). Even the unnamed Nohrian soldiers are merely doing their jobs, and the aforementioned tyrant and his lackeys are an explicit minority - even more damningly, the tyrant was Good All Along and only turned evil due to expiring and being possessed by a literal God of Evil. While Nohr seems to be the perfect set-up for blatant Black and White Morality, Conquest goes out of its way to heavily examine many tropes associated with so-called "evil empires", even to the point of defying widely-held conventions with them.
- Warhammer 40,000: Space Marine reconstructs the portrayal of the Ultramarines chapter of Space Marines, who take a lot of flak for being a Creator's Pet (and Matt Ward elevated them to Canon Sue until he discovered the Grey Knights, but that's another discussion). This game's version of the Ultramarines are still Nice Guys,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 Codex Astartes doesn't have a specified solution for.note 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 precedents to use in case a new scenario showed up.
- School Days 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 Love Triangle and Unwanted Harem 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 One True Threesome.
- After years of deconstruction and discrediting, Destiny is a reconstruction of the Space Opera and Planetary Romance. More generally it's a reconstruction of the whole science fiction genre, contrasting the tendency for modern science fiction to be angsty and grimdark; the setting of the game is similar to many typical sci-fi Crapsack Worlds but the game's story is all about the John Carter-esque protagonists and their allies standing against evil and actually working to make the galaxy a better place. The game's Central Theme is keeping hope and believing that the future can turn out to be a good place rather than a horrible fate.
- The developers of No Man's Sky are touting the game as this to exploration-based Sci-Fi made popular by Star Trek. Unfortunately seems to have turned out to be an example of Tropes Are Not Good, as the game's been widely panned for being tedious and repetitive.
- Bloodborne takes every aspect of Gothic Horror that's considered old hat nowadays and makes it scary again, in large part by making sure Not Using the Zed Word is in full effect so there's no immediate familiarity to latch onto. The Beast Disease turns lycanthropy into an infectious disease that transforms people into feral creatures in a way that's permanent, disfiguring and excruciatingly painful, and it's spreading across the city of Yharnam on a grand scale. Consumption of blood is so commonplace, that vampirism is the norm. The Creepy Crows that sit on roofs and caw cease to be corny when they're as big as dogs and their "cawing" is the sound that Hell makes when it's peckish. Mobs of villagers wielding Torches and Pitchforks serve as the typical Mook, and they're completely unaware that they are the monsters they're hunting. The Mad Scientists are not satisfied with merely Playing God, they have aspirations of becoming gods, and their Transhuman Treachery is ultimately what gave birth to the Beast Disease. And at the heart of it all are the Great Ones, who in turn reconstruct the Lovecraftian Cosmic Horror Story by being Outside Context Problems who seemingly come out of nowhere and have motives and abilities that are just so alien, they cannot even begin to be understood by a sane mind.
- Bang Shishigami from Blazblue started as a Joke Character, essentially showing what would happen if a shonen Idiot Hero was dumped into a Black and Grey Morality Crapsack World. Short answer is he annoys people and gets beat up a lot. But as the series went on, he became increasingly important and powerful due to being one of the few characters Terumi didn't troll to hell and back and possessing the key to stopping the villains plans. By the time of the third game he's a bit Older and Wiser but no less hammy, genuinely inspires people (including the absurdly jaded Ragna) and helps save the world, for the moment at least, with a Super Saiyan style Theme Music Power-Up moment.
- A meta example occurs with Street Fighter V. Even though the Downloadable Content is very expensive, if you put much effort into it, you can eventually get the content for free.
- DOOM is a reconstruction of the original games. While Doom 3 took many things about the original games apart through a Survival Horror route, the newer Doom goes back to its roots and has running, gunning, ripping and tearing your foes apart with whatever you can get your hands on, which is basically everything.
- The Kingdom Hearts series is well-known for its dense original lore and its huge cast of original characters, but it's also one of the most successful Reconstructions of the Disney Animated Canon ever attempted. It came out in 2002, when Disney was in the middle of a major slump following the end of the Disney Renaissance of the previous decade, and struggling to sell their signature brand of colorful, optimistic, family-friendly entertainment to a new generation of children growing up in the shadow of 9/11. Like the best Reconstructions, it manages to tap into what made Disney films so beloved in their heyday while also accepting many of the criticisms of them—namely, that they'd become too cute and innocent for their own good, and that characters like Mickey Mouse and Donald Duck had become glorified corporate mascots with no personality. The result is a massive Crisis Crossover wherein a huge array of classic Disney characters join forces for a massive battle between Good and Evil that takes quite a few cues from classic fantasy; among other things, Mickey is reimagined as a benevolent Good King who protects the Multiverse from the forces of Darkness with the help of his royal court, and the Disney Princesses are reimagined as a coterie of angelic figures who act as the embodiments of Light and Love. The saga certainly has more violence and horror than your average Disney movie, but it's also a celebration of the wonder and innocence of childhood, starring a wide-eyed Kid Hero who always triumphs over evil through the Power of Friendship.
- The Order of the Stick:
- The webcomic first deconstructs the Always Chaotic Evil trope by showing that the goblins (and Redcloak and his brother in particular) suffer greatly because of the perception that all goblins are Evil, then reconstructs it by showing that Redcloak is still, in fact, completely evil—but because of the choices he's made, many of which were due to the goblins' circumstances in the world. He's not evil because he's a goblin, he's evil because of how he reacts to how goblins are treated.
- After deconstructing The Paladin with Miko Miyazaki with disastrous in-story consequences, the author went out of his way to showcase "everything right about the paladin" in O-Chul, demonstrating that the very same tropes that led to Miko's corruption could also be applied practically when in the right hands and create a truly heroic and righteous character.
- And that character, in turn, Reconstructs just how much a person would have to survive in order to become a Memetic Badass.
- El Goonish Shive reconstructs Always Chaotic Evil with the aberrations which are people who have given up their humanity in exchange for immortality and power. They need to feed off humans to survive and in the process of becoming an aberration they loose all sence of morality and even enjoy the death and pain they cause.
- Red vs. Blue. 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.
- The Whateley Universe is basically a reconstruction of the superhero genre, starting with kids at a Superhero School and an attempt to define realistic powers and the Applied Phlebotinum to make them work. (And Gender Benders galore.)
- I'm a Marvel... and I'm a DC 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 idealism and optimism are important in comic books. There's segments on how Superman is still relevant today, why 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 Heroic Sacrifice 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.
- Imperial Dawn reconstructs the creation of Plato's The Republic, in the sense that it introduces the idea of a philosopher-king in a fairly organic and realistic way.
- The Pokédex - Extended Fanon Edition, 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.
- Saga of Soul is a reconstruction of the Magical Girl genre.
- The Justice League episode "Legends" is both an Affectionate Parody and reconstruction of The Golden Age of Comic Books. In it, a few members of the league travel to an Alternate Universe and meet the Justice Guild of America, ersatz versions of the 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 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.
- The entire series of Batman: The Brave and the Bold acts as an Affectionate Parody and reconstruction of the The Silver Age of Comic Books. Funnily enough, it was not only wedged on both sides by Darker and Edgier animated adaptations of the character, but also between the last two films of The Dark Knight Trilogy.
- The Venture Bros., after the first two and a half or so seasons, has slowly evolved from being a Deconstructor Fleet 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. It's basically been revealed the Secret Peace between heroes and villains is really just a front to 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 Genre Savviness, Not-So-Harmless Villain, and Dark Mistress, he's climbed the ranks from lame nemesis to a truly dangerous foe.
- The brothers themselves started out as savage parodies of kid adventurers. They were useless in the real world, their very sheltered upbringing leaving them socially awkward and ignorant of how real kids behaved. They were mostly useless in the adventurer world as well, being physically weak and kind of dumb not to mention death-prone. But a combination of events kept them away from adventure and forced them to confront how much their lives sucked, and their attempts to normalize themselves has made them actual heroes, able to save the day.
- 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.
- This is the entire purpose to Scooby-Doo! Mystery Incorporated. The series takes a comically cynical approach to the Scooby-Doo mythos, but it doesn't outright parody or 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 My Little Pony: Friendship Is Magic:
- The series is spent picking up the pieces left by the parodic 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, while still keeping her quirkiness.
- Afterwards, the series flip-flops between this trope and its opposite, although not necessarily from one episode to the next.
- Archer does this to a whole lot of Spy Fiction tropes;
- Its Jerkass James Bond expy protagonist is self-centred, can't keep it in his pants, can't maintain a cover identity to save his life, all his colleagues hate him and he displays at times profound stupidity... but he's incredibly competent in certain areas of his job.
- The show also reconstructs the trope Amusing Injuries - 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 Played for Laughs.
- Milo Murphy's Law does this for Born Unlucky, by making the title character a Crazy-Prepared Action Survivor who treats his curse of bad luck as a mere inconvenience and does his best to live a life in spite of it. On a more meta level it reconstructs Celebrity Toons by having one of the more self-aware celebrities out there as a star, and very distinctly separating the character from his voice actor.