Follow TV Tropes

Following

Deconstruction Game

Go To

A form of Deconstruction that specifically deconstructs Video Games tropes including those relating to characters, storylines, genre or game mechanics.

At the minimum, it takes one aspect, and blows it up to such ridiculously exaggerated proportions that it simply becomes laughable, as if to make a point that "You can't make a game based just on this!" or with some, "If you enjoy games because of this one reason then you are an idiot!"

Advertisement:

In order to qualify, a single part of the game at the minimum must take at least one single trope, mechanic, or gimmick, and either explore it exhaustively to the possible point of Mind Screw, or play it far too simple and flat to be taken seriously.

They often make use of Playing the Player and can range in length from short flash games that exist to make a short point about the trope involved, indie projects written and coded by one or a handful of people, all the way up to high quality blockbuster AAA titles that utilise their high budgets & technology to make statements within the context of mechanical similarity to the games they are deconstructing.

Compare and contrast this with Comedy Video Games and Parody Video Games.


Advertisement:

Examples

    open/close all folders 

    General 

    Action-Adventures 

    Action Games 
  • Harvester: A deconstruction of Evil Is Cool and Video Game Cruelty Potential. However, it's not an anti-videogame tract relying on heavy-handed moralizing, but actually a mockery of the accusation that video game violence causes real violence by making the violence cartoonishly bleak, unrealistic, and improbable to follow through on. Even the bad ending outright states that censorship of otherwise fictional violence is moronic.
  • ICEY: The narrator will not so subtly hint that your whole purpose in the game is to kill the "final" boss, and that you should ALWAYS follow the floating guide arrows, and NEVER stray from the path laid out before you. In actuality, disobeying the Narrator and breaking the game flow is the only way to uncover the true ending... among other things.
  • META: Amateur adventure game design.
  • Flower, Sun and Rain: Sidequests, convenient puzzles, event flags and adventure game mechanics in general. The game, and often even the characters, will deliberately waste your time while your actual mission is to stop a terrorist from blowing up a plane. No one's really clear on why you need to solve math puzzles at every turn, either, but they seem to accept it as normal. In the end, your reward is mostly mockery.
  • Takeshi's Challenge was specifically designed to piss off the type of completionists and Easter Egg hunters who would beat a spectacularly bad game just to see if they could.
  • The Stanley Parable deconstructs linear games that Railroad the player while giving the illusion of a living, explorable world. The creator of the game explains, "You will make a choice that does not matter. You will follow a story that has no end. You will play a game you cannot win." The HD remake also deconstructs the line between author and narrator, narrators themselves, and binary morality and lose-lose morality plays.
  • Pyst was meant to be a deconstruction of Myst by showing the game's world to have degenerated into a glorified tourist attraction, but that didn't completely pan out due to it being more of a half-hearted Shallow Parody.
Advertisement:

    Fighting Games 

    First-Person Shooters 

    Interactive Fiction 

    Platform Games 
  • You Only Live Once: Platformers in the vein of Mario. True to the game's name, if the protagonist or the antagonist dies, their death is permanent, and the other one of the two gets arrested depending on which of the two dies.
  • DLC Quest: Overreliance on Downloadable Content.
  • Level Up: Leveling up in games.
  • Braid: The classic Save the Princess story is followed to the letter, even being called out by name, until the last few levels, when your motives become increasingly questioned, and the princess is revealed as fleeing you the whole game.
  • Getting Over It with Bennett Foddy: Checkpoint Starvation and Some Dexterity Required. Made by the same person as QWOP.
  • Sonic the Hedgehog OmoChao Edition: Annoying Video-Game Helper (This game actually has added challenge — you have to avoid everything that triggers Omochao's comments as much as possible for Rank Inflation, and for Speed Run enthusiasts, there's the fact that the timer won't freeze whenever Omochao speaks.)
  • While not otherwise a deconstruction, Banjo-Kazooie: Nuts & Bolts opens with a Gotta Catch 'Em All sequence played ludicrously simple. The fact that this is coming from Rare makes it all the more painful.
  • Default Dan takes every convention of the genre, and flips them around. Coins, cute enemies, cupcakes and other power-ups are bad, pits, spikes, and other normally lethal things are good, the princess kidnaps the hero's monster friend instead of the other way around... However, it's all Played for Laughs.
  • The Simpsons Game: The Crapsack World nature of living inside a video game, as well as older games becoming obsolete as newer games from the same franchise or license are made. Worth noting this game does not opt for You Bastard!, with the Simpsons family pinning the blame squarely on the creator instead of the player, with the semifinal level being a Rage Against the Author.

    Role-Playing Game 

    Shoot 'em Ups 
  • DonPachi takes apart the concept of the One-Man Army commonly present in single-player video games, showing that in order to be able to take on enemy forces by themselves, prospective recruits have to slaughter their own military forces as training exercises. Only after seven years of this training is the player character finally fit to enter the elite DonPachi Squadron.
  • Tyrian also deconstruct the concept of One-Man Army in a different way. The protagonist, Trent, is supposedly just an escapee that witnessed a corrupt Mega-Corp killing his friend and said Mega-Corp, Microsol, decided He Knows Too Much. Trent then made contact with Microsol's enemy, Gencore, and singlehandedly won a lot of decisive victories. Later it turns out that Gencore's head is a Corrupt Corporate Executive that, after four episodes worth of missions, decided to exploit the protagonist's One-Man Army credentials further to expand Gencore's own influence. Trent naturally got sick of this and went MIA after tying up the loose ends against Microsol.

    Simulation Games 
  • Desert Bus from Penn and Teller's Smoke and Mirrors deconstructs Misaimed "Realism". The game's mechanics are so "realistic" that the game is somehow less fun than it would be to actually drive a bus through a desert. Part of the point is making fun of how Moral Guardians claim video games to be ultra-realistic gore fantasies - a video game always takes some liberties with real life, or you get Desert Bus.
  • Cart Life is a deconstruction of business simulators. You play the role of a small business owner attempting to start and maintain a retail business in a city. However, just like in real life, you don't get an objective menu, and there are no directions on where you need to go and what you need to do. Most importantly, it completely averts the expectation that you can pause the game by bringing up the menu screen. Just like in real life, there is absolutely no way for the player to pause the flow of time even when you are trying to read the description on a product or chat with a customer. And that is before even getting into the actual business part, in which you need to doing everything from getting the products from a supermarket to getting a permit yourself, all the while trying to balance and maintain the basic needs and addition of your character. In other words, the game demonstrates just how not fun and difficult it is to run a small business (and being a new immigrant/single mother) is in real life.
  • Oiligarchy does this to the notion of the Golden Ending. As per Word of God, playing optimally, like a hardcore gamer would, gets you the worst ending, Mutually Assured Destruction, since you are the Villain Protagonist after all. The happy ending has the world transition to a cleaner, more sustainable society, but that's your losing condition where you are rendered obsolete and are forced to retire. The other endings are getting fired for not expanding oil production enough, and an unintentional case of Earn Your Bad Ending where the Western nations' economy collapses.

    Stealth-Based Games 
  • Metal Gear Solid 2: Sons of Liberty: Sequels with suspiciously similar premises to the original, linearity and the illusion of choice in video games, and the concept of video games as a power fantasy, among many other things.
  • The original Manhunt deconstructs and satirizes the conventional relationship between the player and the player character in violent video games. The protagonist James Earl Cash is being controlled from the outset by Starkweather, a weird, creepy guy sitting in a dark room in front of a computer screen, who watches him through cameras and urges him to commit unspeakably horrific acts. It's pretty obvious who Starkweather is meant to represent. And why does Starkweather urge Cash to carry out these shockingly violent murders? Because he's making a Snuff Film to sate the sick desires of people who find brutal violence entertaining (not to mention sexually arousing) — a camp that, going by his own creepy comments over the course of the game, he himself is part of.

    Survival Horrors 
  • Nanashi no Game uses the cursed, nameless game to deconstruct RPGs. There's no battles to win, levels to grind or heroics to engage in — you just walk around, talk to people and collect hidden items that must be found to reach the good ending.
  • Spooky's Jump Scare Mansion appears to be at first a deconstruction of horror games and their ever-increasingly usage of Jump Scares... but when you reach room 100 the creepy stuff happens.

    Third-Person Shooters 
  • Spec Ops: The Line is a far more successful deconstruction of military shooters compared with the aforementioned Haze, stating that, for all their pretense of gritty realism, they are still escapist, dehumanizing, unrealistic power fantasies. One sequence in particular becomes exponentially more horrifying if you've played the similar, yet more throwaway "Death From Above" level in Modern Warfare. While it's at it, it also deconstructs playing shooters as a Power Fantasy, "moral choice" systems and the America Saves the Day trope. It can lose some of the impact of the above as it still contains a typical achievement system, that forces you to complete the game repeatedly, including the railroaded dehumanising incidents.

    Visual Novels 
  • Air Pressure: A romance visual novel where the male protagonist can improve his relationship with a cute girl — except that said relationship is toxic and the best ending comes from the protagonist realizing this and breaking up with her.
  • I Hate You: Dating sims. Exactly What It Says on the Tin, as no matter what you do or how hard you try, none of the girls in the game will ever see you as anything more than an obsessed loser.
  • Danganronpa V3: Killing Harmony doesn't seem to start off this way (though there is foreshadowing that it is) but the final chapter decides to deconstruct the entire Danganronpa franchise and everything that it stands for (Hope vs Despair, hope always winning, etc).

    Web Games 

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report