An unbuilt trope is a work that seems like a trope is deconstructed, a subversion, or even Played for Laughs. In reality, it is the Trope Maker itself, or at the very least the work that popularized the trope and often Misblamed for the current saturated use of the trope itself.
Picture the following scenario:
Because the work was the trope maker, it could freely explore the ramifications of the trope before it solidified (or in some cases, congealed) into its current form. It seems like a deconstruction, but at the time there was no trope to deconstruct; there was just an interesting idea to explore. It wasn't expected to conform to a certain pattern because the pattern had not yet been established. It's like showing a chair to someone who doesn't know a thing about the concept and asking them to describe it; without understanding the primary characteristics of what makes a chair "a chair", they draw from all of their observations, like the material it's made of or its specific shape - the fact that it makes for a nice sitting apparatus may cross their minds, but only as one factor among many.
The trope could have taken on its current form for many reasons: the imitators could have been part of the Misaimed Fandom of the work they drew inspiration from; they may have consciously decided that the original was unsatisfying and thus needed to be Lighter and Softer or Darker and Edgier; later appearances of the trope may have decayed (or been Flanderized) compared to the original, defining appearance; they may simply have decided to take what they wanted from the story, and calling the original their inspiration caused people to assume the original was similar plotwise; or the imitators may not have had the talent required to depict the trope with the same depth that the original author did. After all, frequently a genius invents the trope and works it out with skill, and the hacks come after, only able to vaguely copy it or intentionally simplify it to make it easier to work with.
It can also go the other way around: the original is bland and unappealing (even The Lord of the Rings was considered such, by some critics, when it first came out), and the later authors are the ones that constructed the mythos and the popular cliches. Alternatively, the deconstructed or parodic form of the trope, rather than the original, became more popular and accepted over the long run.
Remember that this trope is not to gush about "the original" and how the rest of the works "don't get" the genius. Only about the source of the conventions in a certain genre. Just because a work came early doesn't make it better or more genuine, in the same way that sketches are not better than the final work. If a work simply is an example of a trope that's more commonly associated with a later, more well known work, you may be looking for Older Than They Think or Ur-Example.
The reverse of "Seinfeld" Is Unfunny and Dead Unicorn Trope. See Audience-Coloring Adaptation and Lost in Imitation for the process of how an idea can gradually lose nuance with new incarnations. Sister trope of Early Installment Weirdness. Related to "Funny Aneurysm" Moment, Hilarious in Hindsight, and Harsher in Hindsight, if it predicts a problem that won't be relevant until well after it's first shown.
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- Films Live-Action
- Live-Action TV
- Mythology & Religion
- Video Games
- Western Animation
- When people think of a sport-utility vehicle, or SUV, they're likely thinking of a massive, imposing truck with an enclosed bed, room for nine, and single-digit gas mileage. They're likely not thinking of a vehicle not much larger than a normal station wagon (most of its extra size coming in ride height), built on a unibody structure like a regular car in order to give it a smoother ride; that is known as a crossover. Yet it is also a perfect description of the Jeep Cherokee XJ, the car credited with inventing the modern SUV, and still remembered as one of the greatest SUVs of all time! Auto writer Doug DeMuro has even credited it with inventing the crossover as much as it did the SUV. The association of SUVs with bulky truck bodies and drivetrains mostly came from the later Ford Explorer and Chevrolet Tahoe/Suburban of The '90s, both of which were built on truck platforms and decked out with creature comforts previously restricted to top-of-the-line sedans and wagons. As if to illustrate how much things have changed, the modern KL model of the Cherokee, despite being similar in size to the XJ and similarly capable off-road, is marketed as a crossover rather than an SUV.
- Steve Harvey, a pioneer of the White Dude, Black Dude routine, went to great lengths to show how the Black Dude was just as messed up and irrational as his white counterpart, as his antics were likely to have him end up in far worse shape than if he wasn't so focused on the 'Black' way of doing things.
- Many old Fairy Tales are subject to Grimmification, being deconstructed into Darker and Edgier stories. However, many of the tales that The Brothers Grimm recorded were never meant to be kid-friendly. Some were horror stories, written by and for adults, or cautionary tales meant to scare children straight. What English readers got is actually toned down from the German; several stories were omitted in their entirety for the early English editions because they were considered too offensive, and others were changed to be more palatable.
- For example, early versions of "Little Red Riding Hood" had the wolf kill the grandmother, trick Red into drinking her blood and eating her flesh, and, ultimately, eat Red.
- Little Red Riding Hood is often portrayed as the archetypal "Stranger Danger" story. However it features elements that nowadays seem like not only a deconstruction, but a particularly angry one at that. The attack happens not outside, but in a house belonging to the girl's grandmother, a place where one would think she'd be safe, and the Big, Bad Wolf preys on her by assuming the grandmother's identity. Furthermore, the attacker gaining entry into said house is not the sole responsibility of the girl. Had it been written today, "Little Red Riding Hood" would've been seen as a stinging critique of the idea of "Stranger Danger", a reminder that most child predators are relatives of the children they prey on.
- One of the older versions of Sleeping Beauty had the prince rape the comatose woman. Darker and Edgier versions that take the nonconsensual kiss and turn it into a rape are less original than the author might think.
- The Prince Charming in many fairytales is not actually that charming, when you take a closer look. Sometimes he is so stupid he goes against the heroine's counsel and is thus tricked into forgetting her, is so easily influenced by his mother that he is willing to kill his wife because his mother says she committed a crime, and doesn't notice the servant girl forced the princess to change clothes with her and is about to marry him. Modern versions that try to deconstruct the trope by portraying the prince as Sheltered Aristocrat, or empty-headed prettyboy may be closer to the original tales than adaptations that play the trope straight.
- The push for more "feminist" fairytales generally supposes that all heroines wind up getting rescued by a Love Interest or other male character. That may be true for most of the famous ones, but plenty of counter examples, including quite a few where the girl rescues a Distressed Dude: "Kate Crackernuts," "The Snow Queen," the various "sister helps her transformed brothers" stories (like "The Six Swans" and "The Seven Ravens")...heck, even "Hansel and Gretel."
- A Trekkie's Tale for its original Mary Sue character, the eponymous Mary Sue. If anything, she lacked most Mary Sue traits and was a Parody Sue in a Self-Insert Fic, despite being the Trope Namer. Makes sense given that this trope is Older Than They Think.
- The Draco Trilogy codified and named the Draco in Leather Pants trope, in which a villainous or otherwise unlikeable character from canon is depicted in a more flattering light. However, unlike most later examples, the story actually gives focus to Draco's HeelFace Turn, explaining why he's hanging out with the good guys.
- Classic Disney movies are associated with Prince Charming rescuing the Princess Classic from distress. Yet the princes in Snow White and the Seven Dwarfs and Cinderella don't do much in the way of rescuing, aside from whisking the princess away to a happy ending. The first Disney prince to actually resemble the character archetype didn't appear until the 16th movie of the Disney Animated Canon - Prince Philip note from Sleeping Beauty (and even then he would have failed miserably if he had not had help from supernatural beings).
- Additionally Princess Classic in the first three Disney films has one major difference from the commonly associated list - none of the three princesses were raised in a privileged life. Snow White and Cinderella were servants, while Aurora was raised in the forest. None of them enter royal life until the end of their films.
- Parts of The Little Mermaid make it feel almost like a Reconstruction of later Disney Princess films that follow it. For one, the musical elements are purposely integrated into the story so as not to feel out of place: the heroine having a beautiful singing voice is actually a plot point rather than a stock character trait, and the elaborate musical numbers are fully justified by having Sebastian be a concert composer. For another thing, Eric is one of the straightest examples of Prince Charming in the Disney Animated Canon since Sleeping Beauty, only differing from previous princes in that he has more Character Development. But The Little Mermaid was the film that started Disney's renaissance in the 1980s: it set the template for what became the "standard" Disney movie by being an elaborate Broadway-style musical (with the music being the primary storytelling method) rather than a simple fantasy story with a few musical numbers note , and it came out before later movies like Aladdin and Beauty and the Beast started purposefully subverting the Prince Charming trope. So it reconstructed the Disney formula before anyone thought to deconstruct it.
- The first animated film to popularise Anachronism Stew - Aladdin - had a justification for it that its numerous imitators ignore. The reason that The Genie Knows Jack Nicholson is because Genie has the power to look through time, which is why he makes a lot of contemporary pop culture references.
- Sleeping Beauty is the first Disney movie to use True Love's Kiss as the solution to a spell (earlier in Snow White, the cure was actually Love's First Kiss). But it has a completely justified in-story reason for it; as Maleficent has cursed the princess to die, Merriweather can only soften the spell by turning it into an enchanted sleep with the kiss as the escape clause. The fact that she is able to do this illustrates that Maleficent is so evil, she can't imagine someone saving the princess that way - the same reason they are able to successfully hide Aurora from her for sixteen years. So the kiss has a reason for working, rather than being a Deus ex Machina it would often be used as.
- Despite often being labeled as "cute and harmless", some of the classic movies from the Disney Animated Canon had several dark elements, such as Family-Unfriendly Violence, and nightmarish sequences. The first few movies of the canon, such as Snow White and the Seven Dwarfs, Pinocchio, and Bambi had pretty dark atmospheres and were more focused on drama than on comedy, being considerably more serious than most of the animated movies that came later. The Night on Bald Mountain segment from Fantasia was exactly the opposite of what could be normally expected from a Disney film, being darker and edgier than most of the animations produced in the same time. It even went so far as to unashamedly display female frontal nudity, something that not even the PG rated Disney films of the last few years would ever consider doing.
- This is especially evident for Bambi which became the Trope Codifier for many cutesy baby forest animal franchises, so much many forget the ominous tone of the film, particularly the latter half where Bambi is no longer an innocent fawn, but a badass buck that nearly perishes repeatedly against a storm of rivals, hunting threats and natural disasters. There are also at least two deaths in the film, neither of which are a Disney Villain Death. It is telling that the midquel released over half a century later is Lighter and Softer with more cute banter, though even then follows the unexpectedly dark construction of the original far more than nearly any of the film's copycats did within that time.
- In a way, Fantasia provides the Ur-Example of Conspicuous CG. The snowflakes at the very end of the "Nutcracker" segment were actually filmed in live-action with the animated sprites composited on top of them, evoking the same kind of jarring contrast as in this trope.
- Terkel in Trouble is a relatively obscure Danish movie from 2004 in a similar vein to South Park, but if you were to mistake it for a movie made today (discounting how the animation very obviously dates it to the early 2000s, it would be very easy to interpret it as a parody of the usage of Evil All Along in animated movies, a trend that didn't really kick off until The New '10s. Justin is friendly and likable at the surface, but he is in fact an Ax-Crazy murderer on a mission to kill Terkel for the crime of sitting on a spider.
- The Brave Little Toaster: The film seems like a pretty chilling deconstruction of living inanimate objects and Toy Story. The main characters, most of whom are the typical household appliances, are in constant peril in their journey, from dismantlement, obsolescence, and disposal.
- The Trollface.jpg has been used countless times across the Web to illustrate the act of, well, trolling. Yet, the comic that it originated in◊ was a demonstration of how trolls want to believe that they're driving people incoherent with rage, while the troll is actually being little more than a minor annoyance. It also implies that most "trolls" are just people retroactively claiming they were trolling after other people criticize their opinions for being utter nonsense, totally bigoted, or just plain idiotic. And the phrase most associated with Trollface.jpg ("Problem, officer?") originally had nothing to do with trolling (and the troll face was actually referred to as the person's "cool face").
- Many people who read Adam Smith's The Wealth of Nations, the book that codified free trade and capitalist economics, are often surprised to see Smith's belief that the invisible hand of the market was not applicable in all situations (such as provision of health care and education), his endorsement of unions (then illegal) as a means of preventing workers from competing against each other and thus driving down wages, and his criticism of acting purely on self-interest. Read today, The Wealth of Nations seems less like the Ayn Rand-style endorsement of laissez-faire capitalism that its reputation suggests, and more a critique of such (if not by an out-and-out Marxist, then certainly a left-leaning progressive or an old-school Tory).
- Marx himself was also far more enthusiastic about capitalism than is often appreciated today, and often praised its virtues at length in his writing. His point was he saw capitalism as a phase of human economic development that mankind was now destined to progress beyond, not something entirely without merit as an idea in any context. This comes off as quite modern, academic, and pragmatic in contrast to the revolutionary Marxism of the 20th century.
- Economic theories' principal ideas are often explored first in literature before being codified: The Wealth of Nations (published in 1776) codifies Division of Labour, RealPrice, and Nominal Price. Coinage was first explored in Robinson Crusoe, published in 1709. The idea of every human activity (including art) being dependent on its economic value was first exposed by Le Père Goriot, published in 1819, before The Communist Manifesto (published in 1848) was published by Karl Marx.
- The first well-recognized discussion of The Singularity (called the Omega Point) came to be in the writings of Pierre Teilhard de Chardin, a Catholic priest, and it was more like "achieving a complete union with God" rather than "becoming God".
- The Spartan Way, when an army uses a horrifically brutal training regime, sometimes recruiting from young teens, to create the ultimate Badass Army. When the actual city of Sparta tried this some 2500 years ago, they were tactically inflexible to the point of being outright crippled. The army existed mostly to scare the Slave Race into complacency, so they couldn't operate very far from home. Since their system only produced elites, it took forever to replace losses, which in turn meant they ended up having a rather small army made up almost entirely of heavy infantry. An enemy army with a detachment of hit-and-run skirmishers - or worse, cavalry - could run circles around the Spartans, and if the Spartans lost more than a few hundred soldiers, they would have to consider surrendering the entire war. Plus, with a Proud Warrior Race Guy mentality, they didn't see any reason to adapt and evolve their fighting style. This came back to bite them in the ass in the Battle of Sphacteria (425 BCE), where Athens had the entire Spartan playbook on file and could just walk all over the precious Spartan hoplites. Also, since all Spartan men were expected to be soldiers, and all Spartan women were expected to stay at home and produce strong Spartan babies, this meant that almost every job in Sparta itself had to be done by slaves that the Spartans kidnapped from other villages. When there were slave revolts (not "if" - "when" - the slaves revolted against the Spartans quite often), the army would have to drop everything it was doing and race back home to get their slaves under control, then raid other villages for more slaves to replace their losses. As a result, Spartans were rarely on the offensive, and if they were, it was to raid more slaves. And this is not even getting into Persian accounts, which described Sparta as thoroughly corrupt and easily bribed for allegiance.
- Grant Wood's 1930 painting American Gothic was the trope maker of The American Gothic Couple. Contemporary and later audiences have seen it as a caricature of American countryside conservatism (Eagleland). Wood however intended the painting to be an earnest tribute to the simple countryside life, and a realistic reconstruction of The American Dream.
- Somebody who thinks that celebrity tabloids are nothing but vapid, pointless gossip would likely be shocked if they were to read old issues of Confidential, the magazine that invented the modern celebrity tabloid in The '50s. It was as gossipy as any of its heirs, but its reporting on celebrity misdeeds was meant to serve a point: namely, to whip up outrage and moral indignation about the "corruption" in Hollywood through muckraking journalism of a sort that they felt the rest of the press was too afraid to touch. In particular, it was a driver of The Hollywood Blacklist, with editor Howard Rushmore (who had previously been a director of research for Senator Joe McCarthy himself) seeking to destroy alleged communists and fellow travelers in Hollywood by smearing them as sexual deviants. For all the stereotypes of the tabloids being major players in the Hollywood Hype Machine, they were originally a reactionary effort to demolish that system.
- Suppose you saw a heel wrestler who wasn't all that muscular and put bobby pins in his bleached-blond hair and entered the arena to a neoclassical music score and had Chanel perfume sprayed all over his body before the match so it would disinfect any germs his opponent got on him. Wow, a Sissy Villain in wrestling! Sounds like a subversion of the big, macho, ugly Wrestling Monster, right? Well, it's Gorgeous George - the very first gimmick wrestler to become nationally popular, back in the late 1940s.
- The poetry-spouting "Superstar" Billy Graham defied the Dumb Muscle stereotype as early as 1977, despite being one of the first major bodybuilders in wrestling. Suddenly Triple H's "blue-blood" gimmick from the mid-'90s doesn't seem so weird, does it?
- The very first evening gown match between Sable and Luna Vachon had a different 'psychology' than the Cat Fight the rest would become known for. As it was a Distaff Counterpart to the Tuxedo Match, the gowns were torn off piece by piece - rather than in one go as in later matches.
- The ideal WWE Diva is thought of as a Statuesque Stunner who's a slim blonde All-American Face Plucky Girl. Likewise Trish Stratus is recognised as the Trope Codifier. While she ticks the blonde Plucky Girl parts, she's rather short, more of an Amazonian Beauty (as a former fitness model rather than glamour model) and Canadian to boot. The other tropes seem to come from Madusa who was the All-American Face but not particularly glamorous and Sable who was a Statuesque Stunner but also a Faux Action Girl. What's notable is that none of those three were Ms. Fanservice inside the ring. While Sable and Trish were dressed sexily outside the ring, their actual gear was fairly modest.
- Money in the Bank as a gimmick match is known for featuring a couple of wrestlers that everyone knows won't win the briefcase or get pushed as a serious title contender - but will provide some nice highspots in that kind of match. The first MITB match at WrestleMania 21 however is notable in that its only participants were guys who had either already held the title or been pushed as title contenders. Shelton Benjamin was the only mid-carder in the match and even he was enjoying a bit of a serious push as the Intercontinental Champion.
- I'm Sorry I Haven't a Clue comes across a Deconstructive Parody of the comedy Panel Game format, with (implicitly) cheap production values, a voraciously sexual Lovely Assistant who never shows up, a panel lineup that's barely changed since 1972, players who don't even get points, games that range from Hurricane of Puns to excuses to force the panelists to sing (with one regular guest being genuinely tone-deaf) to pure Calvinball, impenetrable Running Gags and a host who loathes everyone and everything on the show and spends most of his/her time subjecting it all to the most withering snark imaginable. It even bills itself as 'the antidote to panel games'. It was actually one of the first comedy panel games to get big in the UK. Its original parodic target were the contemporary serious panel shows, and the original joke was that it used the format as a space for doing silly and rude things rather than witty and erudite ones. Nowadays, the panel show format is almost exclusively a comedy genre and the serious games have either got Denser and Wackier (Just a Minute) or just disappeared, changing the central joke to be a swipe at the format itself.
- Despite being the Trope Namer of "Get out of Jail Free" Card, Monopoly jail is a Cardboard Prison that only requires you to roll doubles, pay $50, or use said card to get out. Furthermore, since people in jail can still collect rent and trade properties without fear of paying rent to others, staying in jail as long as possible is a good late-game strategy. In fact, players are required to leave jail after three turns whether they want to or not, whether by rolling doubles, paying the $50 bail, or playing the card. (A common House Rule is to disallow a player in jail collecting rent.)
- Space Hulk, the 1989 board game spinoff of Warhammer 40,000, takes the time to deconstruct the Rule of Cool that would later come to define the series. The huge bulky Terminator Armor suits were originally designed for servicing plasma reactors, not military boarding actions, which you can imagine is a problem when the marines are trying to navigate claustrophobic service tunnels. The suits look awesome, sure, but that isn't doing squat against the Genestealers. What's more, the armor doesn't even work, and the Genestealers can tear right through it. It wasn't until later editions that a justification was thought up: most space hulks are filled with radiation far more lethal than the Genestealers, so the Terminator Armor is seen as a necessary handicap on the occasion it's used at all.
- Dungeons & Dragons:
- One of the earliest settings, created by Gary Gygax himself, is Greyhawk - a setting which spotlighted a lot of military conflicts and citystate-based realpolitik (think the Renaissance) in its background. One of its adventures, The City of Skulls, is kicked off when the good-aligned king recruits adventurers to go on a politically motivated rescue mission (the pregenerated PCs even have political ambitions and personal grudges as their motivations for accepting the mission). This is a stark contrast to the cliche assumption of adventurers being noble, heroic figures — or at least that their dungeon-crawls have no significant political impact.
- Early D&D has a lot of this going on, due to its true roots being in pulpy sword-and-sorcery rather than the Tolkien-esque aesthetic that many people ascribed to it. Motivations were often nakedly mercenary, characters were expected to assume meaningful responsibilities as they grew stronger, combat was grungy and lethal, and many dungeons were designed with thoughtful solutions in mind. Some of the first player characters created were Mordenkainen and Robilar, a Well-Intentioned Extremist and a Blood Knight, respectively. And for all its role in codifying Medieval Stasis, the aforementioned Greyhawk featured both a crashed alien spaceship and an order of paladins wielding guns.
- Lysistrata created and named the Lysistrata Gambit. The play was however written as a farce; the point was to ridicule the idea of women in politics. A modern audience might however read the feminist interpretation as Serious Business. Also while many depictions of this portray it as easy for the women, due to the idea All Men Are Perverts and All Women Are Prudes, the women in Lysistrata find it just as difficult as the men and when Lysistrata first suggests the idea are horrified. The play also shows that the sex strike on its own isn't enough to stop the war; the women also seize the treasury to prevent the war from progressing, the idea being that the war is being prolonged by corrupt politicians so they have opportunities to enrich themselves. The sex strike helps but there are other factors.
- Don Giovanni has an example of Playing Cyrano that predates Cyrano de Bergerac by a century. The example is pretty complicated, but what it boils down to is that Giovanni acts as Playing Cyrano to his servant, Leporello, and Donna Elvira. The only reason he does this, though, is so that he can get Elvira out of the way; he wants to seduce her chambermaid. What's more, Leporello doesn't even want Elvira; Giovanni is forcing him to seduce her. Might be worth noting that Rostand, the author of Cyrano, wrote a Fan Sequel to Moliere's Don Juan which has substantially the same plot. While this work was written several decades after Cyrano, it could have been in his mind when writing Cyrano.
- Also, the trope Playing Cyrano is Lost in Imitation: always A Simple Plan that inevitably crashes because Who Would Be Stupid Enough? to fall for it? The Trope Codifier is the only work that really explores that question: the ruse works Despite the Plan for more than a decade, setting Cyrano and Roxanne to a sad, unfulfilled life. This is because Cyrano is so ugly he cannot conceive Roxanne could love him, Roxanne is a monomaniacal fan of beauty that cannot think the fair Christian could be the Brainless Beauty, and Christian, literally the Only Sane Man in this Love Triangle, dies before he can save his best friends from their own hypocrisy.
- George Bernard Shaw's Pygmalion is the Trope Maker for the Pygmalion Plot, but its view of Eliza's transformation is more cynical, and, unlike in the adaptations, she has no final reconciliation with Henry Higgins. Although Shaw remained as the writer for both the play and film versions, the 'happy' ending in the film is a case of Executive Meddling.
- Karel Čapek's classic drama R.U.R. single-handedly coined the term "robot" and invented a lot of robot-related tropes in science fiction. The catch? If you've actually read the play, you know the robots are more like vat-grown Artificial Humans, not machines. The idea of robots being non-organic only appeared in some of the early stage productions of the play, and for some reason, the image stuck, even though it contradicted the original text. It also hit a lot of other robot tropes before they were tropes. Sapient beings created by assembly line? Check. Commentary on the dangers of science run amok? Check. Robots analogous to slaves? Check. Inevitable robot rebellion leading to the extinction of the human race? Probably the original Robot Apocalypse plot.
- There is a play in which the rich, eccentric protagonist brings the plot to a screeching halt to address the real-life competition between the theater in which his show is playing, and the theater across the street. Beyond that, the play is suffused from beginning to end with theatrical metaphors, and one of the most famous sequences includes the characters onstage watching a play even as the audience is watching them. A radical new experiment in metatheater, playing now at your favorite off-Broadway location, and critiquing the excess of artificiality in contemporary theater? No it's Hamlet, and it's been around a while.
- Hamlet himself is one of the first instances of an Anti-Hero. An Anti-Hero who ends up getting dozens of people killed out of petty revenge, most of whom had absolutely nothing to do with the conspiracy he's taking revenge against. Indeed, Hamlet comes off as Lethally Stupid at times. Not to mention he's so obsessed with his vengeance that he ends up abusing/neglecting his girlfriend to the point of driving her over the Despair Event Horizon and into suicide.
- The Bastard Bastard is one of the most familiar tropes of Shakespearean-type stories. A story where the bastard is portrayed as sympathetic, justifying his evil by saying how society perceives him as evil and he is being treated as The Un-Favourite? Sounds like a new idea? It was done in King Lear, with Edmund, the archetypal Bastard Bastard of fiction. Also Edmund shows he isn't entirely evil, as while dying he tries to do some good and save Cordelia.
- Romeo and Juliet is the Trope Codifier for Star-Crossed Lovers, but the play also works as a Genre Deconstruction of the more upbeat typical Commedia dell'Arte plot. So the Zany Scheme doesn't work out, and five young people come to die. The survivors get at best a Bittersweet Ending, as the sudden deaths of their beloved children can finally make the two families lay their stupid feud to rest.
- The Tempest:
Gonzalo: In the commonwealth I would by contraries execute all things; for no kind of traffic would I admit; no name of magistrate; letters should not be known; riches, poverty, and use of service, none; contract, succession, bourn, bound of land, tilth, vineyard, none; no use of metal, corn, or wine, or oil; no occupation; all men idle, all; and women too, but innocent and pure; no sovereignty—
- One notable scene between Gonzalo, Antonio and Sebastian is essentially a cynical deconstruction of Anarchism... written more than two centuries before it was a recognized philosophical system. While awed by the beauty of Prospero's island, Gonzalo waxes lyrical about the perfect self-governing utopia that he would build if he were allowed to stay there forever, before Antonio (the villain) points out that one can't force a whole population to conform to a "perfect" system unless one is willing to impose it on them by force - which contradicts the notion of a world with no authority figures.
Sebastian: Yet he would be king on it...
Antonio: The latter end of his commonwealth forgets the beginning!
- With his reverence for nature, Gonzalo's aforementioned utopian speech almost sounds like something out of Henry David Thoreau... but it's delivered by a drunken Absent-Minded Professor who's unaware that his "utopian" island is actually home to a temperamental sorcerer whose rules it with an iron fist. And said speech comes in a play where the very first words spoken onstage are a dialogue about how humankind will always be vulnerable to nature's fury, delivered by a crew of frazzled sailors as they weather a storm.
- Ancient Greece probably started Breaking the Fourth Wall before they invented the Fourth Wall.
- Macbeth: Lady Macbeth defined the trope for women who drive their less ambitious husbands to villainy, but the Trope Namer is quickly driven mad by her guilt, and the pressure of intrigue.
- The same play's famous "tomorrow and tomorrow and tomorrow" soliloquy inspired countless Straw Nihilist Anti-Hero characters since who've quoted it to justify their actions, and it's essentially the speech that made nihilism cool. Except that the people who write those characters tend to forget that Macbeth is the bad guy, and all the things that have driven him over the edge (like his wife's suicide) have happened as a direct consequence of his own selfish actions. It's not the speech of a an aggrieved, noble man unjustly tormented by the universe at large, but the bitter ramblings of a mad, petty tyrant who sees himself as the victim because he can't accept that what he's done is wrong.
- Pagliacci concludes with a Monster Clown stabbing people to death in front of a live audience, but the reason the drama is so effective is precisely because the trope is unbuilt and nobody expects a clown to be scary, let alone murder anyone. In fact, Canio (the clown) is trying to play a Non-Ironic Clown, while he is actually a Sad Clown but The Show Must Go On. He's not a psychopath or a monster, just a guy trying to bring a little laughter into people's hearts on the stage who finally snaps when his wife turns against him.
- Noël Coward is famous for his light comedies of manners set in upper class drawing rooms where warring couples spend the play hurling witty comments at each other. So a play in which the couple are both deeply damaged individuals in which the man is concealing a drug addiction and possibly repressed homosexuality while the woman is indulging in a stream of meaningless love affairs with much younger men...oh and the couple are not lovers but mother and son (for extra Freudian undertones). Sounds like a Darker and Edgier deconstruction of Coward's plays, right? The play is the actually The Vortex and was one of Noel Cowards earliest plays, written well before the drawing room comedies with which he made his name.
- Carmen can be viewed as a deconstruction of the Manic Pixie Dream Girl trope, as noted on that trope's page. The uptight Don José's life is ruined by his love for the free-spirited Carmen, not made better, and their clashing lifestyles and values eventually drive her to leave him for another man and him to murder her in a jealous rage. The story made its debut in novella form in 1845 and premiered on the opera stage in 1875, long before the familiar happy version of the Manic Pixie Dream Girl trope was widespread.
- Bob and George codified many of the tropes for Sprite Comics, but reading it now makes it read like a big deconstruction of the very tropes it so codified. The Author Avatar constantly gets abused, kidnapped or exploited for his control, and having him gone throws everything into chaos. The massive amounts of stupidity displayed by the cast makes them all but useless when a real threat shows up. The same characters' obsession with ice cream also leads them to making things worse when they would rather eat ice cream than stop Dr. Wily. Having No Fourth Wall means the characters constantly complain about being in a comic at all, insulting both the comic creator and its readership. Finally, the entire comic turns out to be a "Shaggy Dog" Story when it's revealed that Bob and George's mom set the whole comic up as a gigantic Gambit Roulette so that George would be willing to kill Bob if it came to that, both to scare Bob into not being such a Jerkass, and to toughen up George. The ending also skewers the inevitable, tragic deaths of the cast, which the comic ended up popularizing as a theory for what actually happened to the cast, by having them all fake the deaths and move to Acapulco, where they lived happily ever after.
- Marble Hornets:
- Many of the problems stem from how the protagonist lacks discretion and publicly broadcasts all his findings, actions, and plans online in a way that anyone and everyone can see what he's up to, including his (potential) enemies and allies. It would be considered a Deconstruction of the various web series in The Slender Man Mythos it wasn't the progenitor of them and is largely what the rest all follow.
- With the use of the Ax-Crazy masked people stalking the protagonists and Totheark sending confusing and vaguely threatening video messages, it became popular in other web series to give the Slender Man proxies who acted in a similar manner. However, in Marble Hornets, it turns out the crazy masked people are not necessarily working for the Operator, whereas those whom take the closest thing to its proxies are more lucid.
- The tendency for people in Slender Man stories to film everything is called out by another character when it's pointed out in-universe that the protagonist has no plan beyond "film everything and see what happens." Not only does this not really give them any answers, it ruins the lives of everyone around him over his insistence on doing it. Given what happens to the characters throughout the story, it's pretty hard to argue with that.
- The Leeroy Jenkins trope is derived from the Leeroy Jenkins Video, which has gone memetic as a descriptor of players/characters who attack impulsively without thinking. However, while the eponymous individual does display that behavior in the original video, the video also shows his teammates as fitting the opposite extreme and being overly cautious and methodical in their planning. Further, the Total Party Kill which results is in part because they stuck to their original plan despite changed circumstances. The plan itself is also completely insane, and involves intentionally sabotaging themselves at every point (pulling all the enemies at once and disabling their own casters by misusing an ability that kills the healers using it are highlights). Even though the plans was doomed to fail from the very start, Leeroy Jenkins as a trope is still synonymous with wrecking plans by being reckless.
- Nuzlocke Comics invented and popularized a certain Self-Imposed Challenge for Pokémon players, along with the tradition of writing a webcomic about their Trainer OC's adventure. Ruby, the writer for the original, lost his first challenge to Steven Stone, his Fire Red version challenge ended in a Pyrrhic Victory over Mewtwo, and his White version storyline has N actively murdering Ruby's Pokemon to blame it on him and his challenge.
- A lot of the fictional reviewers that arose on the Internet were inspired by The Nostalgia Critic and The Angry Video Game Nerd. They tend to not notice that both reviewers are also deconstructive parodies of the Caustic Critic trope. The Nerd is stuck in the past (the one time he reviewed a newer generation game, he was utterly bamboozled by it) and has major anger issues that seem to get worse as the show goes on, while the Critic is a bitter jerk who's become a Caustic Critic largely because of his incredibly screwed up childhood which was plagued with parental abuse. Both are the Butt-Monkey of their own show.
- Zero Punctuation, meanwhile, is probably the Trope Codifier for caustic criticism on the Internet, especially in the video game community. But its causticness is almost always amped up to an absurd degree — even while implying that he actually liked the game in question — and Yahtzee frequently diverges into ranting about his own fans or himself, or rambling incoherently. The character comes off as more of an eloquent loon than a critical genius.
- Most people know Ventrilo Harassment videos for featuring uptight gamers getting irrationally upset over soundboards early on, while later installments feature all but one person having a good time (or in a few rare cases, everyone's having a good time). However, in the first one (with Duke Nukem soundclips) only Peggy gets upset; the others find it amusing until she starts screaming her head off.
- Desert Bus for Hope is essentially a parody of video-gaming marathons for charity that started years before any normal ones, like GDQ, existed. The only "game" they play is a ridiculously boring bus-driving simulator—ostensibly, viewers donate to torment the hosts by making them play it longer, but the actual attractions are the sketch comedy, nerd-celebrity guests, and prize giveaways.
- Twitch Plays Pokémon had a good chunk of the lore written for Red focus on aspects of the series that would later be taken for granted by its characters. The protagonist was often seen as either a loon or a remote-controlled Ridiculously Human Robot instead of just a quirky individual, the voices in his head were very much a bad influence rather than a fun companion, centering the blame for most mishaps on someone who happened to be there was shown to hurt the poor 'mon they inflicted it on, and it was said that the moment Red returned home he collapsed from lack of sleep. His appearance in Crystal was split between isolating himself from Kanto since he was paranoid it would happen to him again, trying to fight AJ on the grounds that the voices in their heads would leave if he won, and foregoing all of it to have a friendly competition with someone for once instead of being forced to do it.