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Reconstruction
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Deconstruction demonstrates what happens when tropes in fiction are played for realism by revealing all of the trope's possible assumptions after analyzing it. 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 and ends up losing value. This is where Reconstruction comes in. A Reconstruction acknowledges the flaws and assumptions of a trope that has undergone Deconstruction, so it either modifies the trope in a way that resembles the original and still work in reality, or finds a solution for the trope to become useful again. Or in other words, if you view a Deconstruction as a critique of a trope, then a Reconstruction is a critique of the Deconstruction. So instead, 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. In a way, this is a response to Once Original, Now Common; taking something nowadays considered to be "old hat", and making it "new hat" again. 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 recognized 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. 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, double check that it lets a trope resume its function despite becoming more realistic. |
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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 it proceeds to deconstruct the reconstruction in Rebellion. | |
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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. | |
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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 inherit 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 become darker (yet not so much edgier due to duels becoming outdated). | |
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Samurai Jack The final season of the show reconstructs the series. At the beginning of the season and primarily towards the end, many of the elements deconstructed are slowly put back together. While things have overall seemed lost and Jack had lost himself to despair and rage, it is shown that one man can make a difference and that many small actions over time can produce huge results. While Jack became horrified that he had to kill, he still killed in self defense. Moreover, he gave his attackers plenty of warning and the chance to walk away with their lives. Regardless of the Daughters of Aku's circumstance and how much choice they had in their actions, Jack was justified in his actions and conducted himself as a hero showing concern for his foes and only used lethal force as a last resort. Even Ashi, a former Daughter of Aku turned ally to Jack, acknowledges that while Jack may have killed her sisters, he bears no fault or blame for the act (that falls squarely on their terrible mother). It turns out that going around helping people all of the time in spite of (or because of) the world being a terrible place does make a difference: people will be grateful for the little bit of hope that you've given them. Do it enough and word starts to spread a about a man dressed in white saving people from the forces of evil incarnate. A man who can't be stopped or beaten. A man who (so far as the general population knows) can't be broken. You're not just a guy going around helping people and fighting Aku's forces anymore. You've become a folk hero: a legend to inspire everyone who dreams of being free from Aku. |
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The Cosby Show: The show's patriarch Cliff Huxtable was a reconstruction of the Standard '50s Father for The '80s, created in response to what Bill Cosby saw as the awful father figures (especially Black fathers) in the sitcoms and Blaxploitation films of The '70s. | |
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Andor: The impact the Empire has on the citizens of the galaxy has often been demonstrated as simple armed responses to the smallest infraction, and opposing the Empire is similarly demonstrated as simply killing stormtroopers. The show goes to great lengths to demonstrate some of the more nuanced cultural oppression between religions factions dwindling in numbers to local police hoping to stay on the Empire's good side by being equally brutal. The show focuses more on smaller acts of disturbances and the first major attack is stealing a sector's payroll. Notably, not a single stormtrooper is seen in the first six episodes. When they do show up it is a sign of worse things coming. | |
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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. | |
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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. | |
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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. | |
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Rosario + Vampire is this to the Unwanted Harem, as we see that some of the girls that are Hopeless Suitors Tsukune (who has already chosen Moka aka both of them) have more realistic, non-comedic, non-I Want My Beloved to Be Happy reactions to them getting together, rather than a typical use of the trope. Kurumu in particular has had a few heartbreaking scenes, especially when we learn that she (like other heartbroken succubi) can potentially fall victim to Death by Despair. However, everyone in the harem are still True Companions who want to stay together. Even Kurumu realizes she doesn't care only for romantic love anymore and now wants to keep enjoying her life with all of her friends instead of just Tsukune. | |
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Miraculous Ladybug reconstructs the Magical Girl Warrior shows aimed at girls (Similar to Sailor Moon and Tokyo Mew Mew) being one of the very few series that play completely straight many of the common tropes from the genre in a time where said tropes are often subject to dark deconstructions (Like Puella Magi Madoka Magica) or parodies (Like Star vs. the Forces of Evil). The problems inherent to the genre aren't absent, the fate of the world is at stake, teenagers holding the fate of the world on their shoulders is stressful as all hell, not every person who is trusted with power turns out heroic, and the genre is not without silliness, but the goals and drive to be a hero with magic are as noble as ever. | |
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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, before culminating in the post-GaoGaiGar era, re-embracing victory through hot-bloodedness and the Rule of Cool, even if the final conclusion is that it should be used responsibly. 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, However, when he actually does get killed in Episode 8, it's the one time they're following a plan, though an unexpected development forces Kamina to deviate from it. 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 unfathomable 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. |
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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. | |
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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.) |
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In RWBY, Deceased Parents Are the Best is reconstructed. Compared to Raven who abandoned her family outright and Taiyang who struggled to care for them in the wake of losing two wives, Summer appears to have been the perfect parent for both Ruby and Yang. This is because she disappeared when Ruby and Yang were very young, enabling them to create idealised versions of her in their minds. This is deconstructed in that Ruby died young enough that she remembers Summer less as a person and more as an ideal, namely an ideal that she not only can't live up to, but also darkly twisted in that she very much is frightened that she will have no choice but to do so, being stuck in a deadly role of being The Paragon against an unstoppable opponent forever until she either manages to somehow win, or she dies a miserable failure. This is reconstructed when learning about her mother's flaws in Volume 9; this is a rude awakening for her, but she eventually realizes that Summer was simply human and so is she, and thus allows her to begin to realize that she doesn't have to hold herself up on a pedestal. | |
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Another Yu-Gi-Oh series, Yu-Gi-Oh! SEVENS reconstructs the franchise in general (both the anime and the game). After spin-off after spin-off of introducing new summoning methods and complicating the rules of the game, the new gaming format, Rush Duels, brings the fun back into the game by simplifying the rules and providing more opportunities for players to draw more cards and summon more monsters. | |
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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 many of the antics he goes through are Played for Laughs. Except when they're 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. | |
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Neoclassicism (think of Benjamin Britten) is a reconstruction of pre-romantic 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. | |
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Star Trek: Strange New Worlds serves as a Reconstruction for the Star Trek franchise in general, deliberately harkening back to the episodic Wagon Train to the Stars format of the Original Series and The Next Generation with modern production values, delivering on the promise of its title to portray some of the most impressive Planet of the Week settings and adventures ever seen in the franchise's television format. | |
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Cho Chang in Harry Potter serves to deconstruct the Relationship Sue trope by being Harry's perfect match — with whom he ends up being incompatible. Ginny Weasley on the other hand reconstructs the idea. She realizes Harry will never be interested in her and instead settles 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. | |
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The movie of Mobile Suit Gundam 00, A Wakening of the Trailblazer, is a reconstruction that follows right after the Deconstructor Fleet TV series. | |
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Gundam ZZ can be seen as a reconstruction of 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. | |
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Dilbert reconstructs the Pointy-Haired Boss with, weirdly enough, the man responsible for the term in the first place. PHB is unquestionably an idiot, to the point where the animated series sees him lose a game of chess to a pineapple, and a jerk, blaming his own blunders on the other employees not hearing him correctly, among other things. But he's still the boss because, even if he doesn't understand technology or his subordinates, he has a very thorough understanding of office politics. In fact, some strips where he and Dilbert deal with other executives have the former as the Straight Man undermined by the latter's social ineptitude and bluntness. | |
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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.) | |
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If My Favorite Pop Idol Made It to the Budokan, I Would Die reconstructs the Idol Singer; the culture that it forms and the fandom that is spawned as a result. Even as obsessed the fans of ChamJam can get (best embodied by The Protagonist, Eripoyo, herself), it comes from a genuine place of true love and devotion from a group that legitimately see the idols as actual people first and throw them their full support no matter what endeavors they get up, even if they don't involve being an idol. The idol members of ChamJam are consistently shown to be happy and touched by such faithful loyalty put into them and this in turn gives them the motivation to succeed at their goals. | |
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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 positive genre element of celebrating honorable conduct, but jettisons the genre's stance that love only exists outside of marriage. | |
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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. | |
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Summerland reconstructs adolescent High Fantasy like The Chronicles of Narnia by giving it a fresh setting - in this case, a fantasy-world based on a fusion of Norse mythology and American culture and folklore. | |
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Summerland | hasFeature |
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The direct-to-video miniseries Kamen Rider 4 reconstructs Card-Carrying Villain with the titular character, Kamen Rider Yongo. He was specifically built to aid the villains (who are straight examples of the trope themselves) to achieve their goals, is aware of this and embraces his function with pride. While not explicitly acting in a For the Evulz way, he does talk a lot about things commonly associated with villains, like power, death and "looking out for number one". | |
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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. That character, in turn, reconstructs just how much a person would have to survive in order to become a Memetic Badass. |
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Maoyu: The relationship between the Hero and the Demon Queen is key to bringing peace and prosperity to their peoples, thus reconstructing Arranged Marriage and Altar Diplomacy. Hero is well aware of his status as a Propaganda Hero, and increasingly he takes control of his own propaganda. Initially, by instinct or by Head Maid's prompt, he grows his reputation as Demon Queen's loyal and fearsome Dark Knight; later on, consciously, praising Demon Queen as a diligent monarch of the demons. |
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Spellbound! Magical Princess Lil'Pri 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). | |
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Wizards of Waverly Place: The special Alex Vs. Alex reconstructs the Be Yourself moral. Throughout the special everyone wants Alex to change, except Harper who has learned to accept and appreciate Alex the way she is. When Alex decides to just use magic to rid of her negative qualities which creates an evil clone, that an evil wizard named Dominic makes his partner to take over the world. Alex eventually realizes that everyone should be more like Harper and learn to accept and appreciate her the way she is, and after giving up her wizard powers she says is not going to change but her showing gratitude to Harper pays off and Alex gets her powers back, for showing she can be a better person in some ways, showing if you try to force someone to change who they are it wouldn't work out too well, and that people will always have their flaws but it doesn't mean they don't have or can't gain positive qualities. | |
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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. | |
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Gentlemen of the Road reconstructs Two-Fisted Tales and pulp adventure stories. | |
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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. | |
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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. | |
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Koutetsushin Jeeg 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. | |
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Fate Series: 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. | |
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Reconstruction | |
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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. | |
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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 90s; 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. | |
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Jackie Chan Adventures has been cited as a reconstruction of the Celebrity Toons subgenre. Notably, it manages to avoid most of the pitfalls of similar shows by being more of a tribute to Jackie Chan's movies than an attempt to promote the man himself, and it makes absolutely no pretense about the main character being the real Jackie Chan. Instead, he's a kung fu-trained Adventure Archaeologist who moonlights as a secret agent, and just happens to be named "Jackie Chan". The series has all of the fast-paced action, goofy slapstick, and East Asian-inspired fantasy that one would expect from one of Chan's martial arts comedies, but it also boasts a full supporting cast of colorful original characters, plus an epic original storyline featuring international crime syndicates, mystical talismans, and demon sorcerers—so it never feels like the showrunners are using Chan's star power as a substitute for good writing. There's a good reason the show managed to last five whole seasons, which is extremely unusual for a Celebrity Toon. | |
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Jackie Chan Adventures | hasFeature |
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Shadiversity acknowledges that fantasy barbarians going into battle dressed only in a Loincloth or Chainmail Bikini are a bit silly, but they look AWESOME. This video examines the ways that such characters could be realistic, and how they could be made to work. Wearing a lot of armor doesn't restrict freedom of movement, but it can risk overheating, especially in hot climates. A good shield can replace a lot of body armor. Leg and arm armour will fill in the gaps left by the shield, and barbarians are often drawn with this. In conclusion: go for it! | |
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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 and dead workers can't buy anything). It also spends 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 that 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. |
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Archer does this to a whole lot of Spy Fiction tropes: Its Jerkass James Bond expy protagonist is self-centered, 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. |
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Rocket Age serves as this to Two-Fisted Tales and Raygun Gothic in general, alongside some elements of Affectionate Parody. Humanity invented the technology to travel cheaply and quickly between planets in the early 20th century, finding that many of the other planets and moons of the solar system to be populated and perfect for John Carter of Mars-style adventures. Unfortunately, we brought our prejudices with us and everyone from Those Wacky Nazis to the Dirty Communists to the Brits and Americans are involved in some level of imperialism throughout the Solar System, and the game not only starts in 1938, but also lies in the shadow of the Europans and their threats to disintegrate humanity, and with some pyschics aware of a threat which may make them all look small in comparison. But nonetheless the setting is optimistic, with some legitimately progressive organizations such as the Rocket Rangers, a fully desegregated special forces organization, and the contact with other life in the solar system has legitimately helped many people become more accepting. As well, once you drop a group of PC's into the mix, they will rapidly turn the tide toward the forces of good if given half a chance, from fighting the Mecha-Nazis to prevent them from claiming Ancient Martian relics, thwarting an attempted Soviet takeover of Venus, or helping the beings of the Jovian system stand a fighting chance under the shadow of the Europans. And you'll never be in want for a jetpack. | |
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Rocket Age (Tabletop Game) | hasFeature |
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Reconstruction | |
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Crashing (UK) is about a group of 20-somethings living in a big city — a Roommate Com — and it reconstructs the financial aspects of the trope. It Averts the usual "Friends" Rent Control and instead has its character living in a disused London hospital under a scheme called Property Guardians where tenants pay cheap rent in exchange for watching over uninhabited buildings that might otherwise be occupied by squatters or fall prey to vandalism. | |
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Reconstruction | |
Reconstruction / int_7f8a38b6 | comment |
Various AU series like Gundam Wing, After War Gundam X, and Gundam 00 address the fundamental causes of why the Universal Century is doomed to constant infighting and never improves. | |
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Mobile Suit Gundam Wing | hasFeature |
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Reconstruction / int_81f5d35d | type |
Reconstruction | |
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Kamen Rider: 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 reconstructs 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 was going back to the classic nature of the Showa era at the time. It also reconstructs several themes deconstructed by previous shows, especially that of Gaim. |
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Reconstruction | |
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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 (e.g. The Magic Poker Equation is downplayed a lot, as the Duels featured use multiple copies of their best cards and use combos that match gameplay in real life). | |
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Reconstruction | |
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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. That character, in turn, reconstructs just how much a person would have to survive in order to become a Memetic Badass. | |
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The Paladin | hasFeature |
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Reconstruction | |
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Gundam: Gundam ZZ can be seen as a reconstruction of 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. Various AU series like Gundam Wing, After War Gundam X, and Gundam 00 address the fundamental causes of why the Universal Century is 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. |
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Gen V: While the main series is a Genre Deconstruction of super heroes, Gen V reconstructs this by emphasizing that there are supes who genuinely want to be heroes and manage to hold on to their humanity as opposed to becoming image-obsessed walking time bombs. | |
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Red vs. Blue. Notable in that the sixth season 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. | |
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Reconstruction | |
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My Hero Academia: The manga reconstructs a lot of superhero tropes, but top of the list is The Paragon. The man who would become All Might was born quirkless in a world just a couple steps up from a Crapsack World, with superpowered villains tearing things down, heroes desperately trying to keep everything together, and civilians caught in the middle. All Might resolved to make a world where people didn't have to be afraid any more, and his boundless drive to do so impressed the woman who possessed the most powerful ability to pass it onto him. Decades later, All Might is known as the "Symbol of Peace," largely credited with single-handedly beating back the villains who had been making the world progressively worse for decades. Even though All Might is Secretly Dying at the start of the series, he is still fighting to make sure the world stays safe. When his injuries become public and he is forced to retire, no one blames him, and despite the consequence of losing the world's greatest hero he is still considered the Symbol of Peace. Related, All Might's catchphrase is "Everything is all right—I am here!" What initially appears to be a silly and kind of tone-deaf Pollyanna turns out to be a very calculated Hope Bringer. In a practice rescue, Deku freaks out and says things look bad, only for the judge to berate him for scaring the victims. They need someone telling them everything will be all right. |
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Bob's Burgers reconstructs the Dom Com after older animated sitcoms like The Simpsons and Family Guy deconstructed it, by showing the Belchers as deeply flawed and individually dysfunctional people, who nevertheless make up a loving family. | |
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Reconstruction | |
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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, parody, or some combination thereof. note The Professor (in the original manga) is a Mad Scientist nearly as mad as the Big Bad, and said Big Bad is a Woobie, Destroyer of Worlds; the main character nearly destroys the town while he's trying to figure out how to pilot the mecha (and in the anime he comes close to accidentally stomping his little brother into paste), he almost gets killed in his first battle because he has no idea of how to handle it (and he only survives because Mazinger-Z is so powerful) and takes a long time to learn how to pilot Mazinger; Kouji gets his Cool Helmet and and Latex Space Suit to protect his body because the mecha, though nearly indestructible, doesn't provide much safety for the pilot inside; Mazinger needs to be constantly upgraded and improved because the Big Bad mechas keeps on getting stronger and more dangerous and attacking its weak points; The Hero and his Love Interest nearly get killed several times due to their quarrels diminishing their combat effectiveness; people DO NOT appreciate the destruction and death toll caused by the battles between Humongous Mecha, and often blame the heroes; and the Big Bad is smart enough to send the "Mechanical Beasts" in groups to attack Mazinger, try alternate strategies, or improve on effective tactics. And that's before the villains take over a Japanese village in a very Nazi-like manner, including a systematic slaughter of the civilians that they consider "useless" and usage of the women of the village as human shields for their latest Mechanical Beast. And then you have that, at the end, the heroes are defeated, Mazinger Z and all mechas are destroyed, and the base is demolished. Keeping in mind Great Mazinger being Darker and Edgier, Go Nagai's penchant for Gorn, Getter Robo being in reality is a Cosmic Horror Story, and Zambot 3 having already deconstructed the genre back in 1977, we can conclude that the Humongous Mecha genre has been going through a constant cycle of Deconstruction and Reconstruction since its birth. | |
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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. | |
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Metamodernism acts as a middle-ground between Modernism and Post-Modernism that reexamines the latter while reviving ideas from the former. In a sense, it uses the ironic and insincere approaches found in Postmodernism to communicate genuine and serious matters. Wisecrack explains here: https://www.youtube.com/watch?v=6dsECbVahBw | |
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Adam Ruins Everything: The show often takes a giant sledgehammer at the Edutainment Show, with Adam's facts annoying and antagonizing the people he interacts with. Some episodes, however, point out the necessity of showing off uncomfortable truths. In "Adam Ruins Malls," Adam breaks a promise not to ruin something to Emily, in order to point out the dangers of unregulated supplements. While Emily does in turn ruin something for Adam, she does acknowledge it was the right thing to do. | |
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The Good Place reconstructs Humanity Ensues. At first, Janet is just a basic, generally helpful drone, like a humanoid Siri. After being rebooted over 800 times, she gains emotions, sophistication, and wisdom, describing herself as the most complex Janet there has ever been. Over the course of the show, she learns and grows and suffers and triumphs, even falling in love, just like a person. While this is deconstructed in that it leads to glitches in the Neighborhood and some weird things happening (because Janets aren't supposed to understand heartbreak), it's eventually reconstructed when she learns to grow and improve as a person, with her wisdom and sophistication proving central to helping the heroes succeed several times over. As a direct result, all of humanity is saved because of her abilities. | |
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I'm a Marvel... And I'm a DC seems to have gone this way. It started off with heroes discussing their movies, to heroes discussing their movies while socializing, to Lex Luthor attacking the heroes while they're trying to socialize, and has since built up a canon of jokes and joke-threats and 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 Spider-Man 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. The latest season started with Deadpool trying to play internet troll and revitalize the constant arguing the heroes and villains once got up to, but everyone agreed that in light of today's toxic environment surrounding the debate over Marvel Vs. DC, it just wasn't fun anymore. But when reality gets wiped out as Rorschach's old self shoots his newer self and impersonates him in order to Make Wrong What Once Went Right, in order to prevent the toxicity from ever occurring, the entire season explores why Marvel vs. DC was so popular to begin with, and why the interactions at Stan's Place were so important: the characters learned from each other and grew. As it stands, everyone left have all agreed to return time to the way it was, knowing that as toxic as it was, it was the time in which they all made friends among enemies. |
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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 is reconstructed. When Jonas Jr. tries to kill The Monarch while the latter is 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 at dealing with the Guild, it keeps an army of supervillains from wreaking havoc. Colonel Gathers returns as head of the OSI because he complains about how thing are going. It's basically 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 more 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 former Ineffectual Sympathetic Villain and Mauve Shirt Henchman 21 Took a Level in Badass, turning into The Dragon and Hypercompetent Sidekick Two-Ton Twenty-One, an utterly devoted badass both in personal performance and boosting the morale of the rest of the Monarch's troops. The Monarch's obsession with opposing Rusty Venture for reasons neither man properly remembers is treated as ridiculous and self defeating at first, but as the series goes on, it turns out that The Monarch being one of the few villains in the game out of genuine hatred instead of playing politics makes him much more capable, determined and threatening than those who initally pushed him aside. 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. However, a combination of events keeps them away from adventure and forces them to confront how much their lives suck, and their attempts to normalize themselves make them actual heroes, able to save the day. In one episode, Red Death reconstructs supervillain death traps like chaining people to railways. Turns out, getting kidnapped, tied up, and left near something dangerous that's getting progressively closer is actually pretty goddamn terrifying and deadly for anybody who isn't a badass superhero who's Seen It All. On a larger scale, the series has gradually reconstructed the entire concept of superheroes and villains. Is it silly and bizarre for a bunch of grown men and women to dress up in costumes and battle each other for the fate of the world? Yes. Does that change the fact that these are unhinged, superpowered psychopaths who could potentially destroy the planet if not stopped by equally powerful heroes? No. And for every Fake Ultimate Hero or Harmless Villain out there embarrassing themselves, there are just as many real heroes and villains who genuinely believe in what they're doing. |
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Yu-Gi-Oh!: 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 (e.g. The Magic Poker Equation is downplayed a lot, as the Duels featured use multiple copies of their best cards and use combos that match gameplay in real life). Another Yu-Gi-Oh series, Yu-Gi-Oh! SEVENS reconstructs the franchise in general (both the anime and the game). After spin-off after spin-off of introducing new summoning methods and complicating the rules of the game, the new gaming format, Rush Duels, brings the fun back into the game by simplifying the rules and providing more opportunities for players to draw more cards and summon more monsters. |
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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. | |
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Saga of Soul is a reconstruction of the Magical Girl genre. | |
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Twilight of the Red Tsar: The story is unremitting in its depictions of the horrors of Stalinism. However, those horrors inspire other radical leftists to embrace syndicalism, a more democratic and workers' owned version of socialism. | |
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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. | |
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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. | |
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Impractical Jokers reconstructs the Candid Camera Prank show. The genre had largely fallen out of favor due to being seen as unkind to the random people who were secretly filmed while pranksters made fools of them. Impractical Jokers preserves the gimmick of covertly filming random people's reactions to pranks, but with the important distinction that the Jokers themselves are the targets, and people's unscripted reactions just confirm that the guys have successfully made fools of themselves. | |
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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 lose all sense of morality and even enjoy the death and pain they cause. | |
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World's End Harem: Fantasia plays with the Hero's Slave Harem trope that's become increasingly common in Japanese media. Initially the work runs into some potential trouble with Double Standard: Rape, Sci-Fi: any woman who ingests main protagonist Arc Nargala's blood becomes effectively unable to say "no" to him, since they have to continue consuming his bodily fluids to live. After an incident where he has a Phlebotinum Overdose and rapes his maid Wenna, Arc has a Heel Realization and starts actively making sure any woman he infuses with Macht gives informed consent beforehand. | |
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One of the joys of Delicious in Dungeon is taking the whole concept of Dungeon Crawling and examining how it could be made to work realistically, from its socioeconomic implications to monster ecology to the simple question of "what separates a 'dungeon' from a regular abandoned mine, fortress, etc." Then it takes that and starts extrapolating how dungeon crawling fits in on a broader geopolitical scale... | |
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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. |
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Doctor Who: "Remembrance of the Daleks" was the first time the Daleks were reconstructed on the show — 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 years and years of mockery and criticism of the Daleks, mainly regarding their impractical design and their weapons, the episode "Dalek" addressed these criticisms to return the Daleks back to their previous threat level by taking said criticisms and turning them on their head. 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, traveling, helping out" after previous seasons had him become The Dreaded and an in-universe Memetic Badass. The Nightmare Retardant Mondasian Cybermen with their silly sing-song voices, faces like carnival laughing clowns, overly bulky chest packs, and headunits like handlebars are made to look creepy again in "World Enough and Time" by showing the full horror of the cyberconversion process. |
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Monster Magnet is another reconstruction of classic rock, as are the Hellacopters, especially on their early albums. | |
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The Cape: The series seems to be an attempt at a throwback to more traditional superhero stories (with secret identities! costumes! clear-cut standards of good and evil!) after the deconstruction seen in Heroes. It also bears similarity to old serials like The Shadow and Dick Tracy. | |
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The Dark Tower series began as a reconstruction of the Westerns the author enjoyed. | |
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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. | |
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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. | |
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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 reconstructs 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. | |
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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. | |
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Pokémon: The Series: Despite the Deconstruction present in the first episode, the importance of the trainer's bond with Pokémon is shown, with Ash risking his life to save Pikachu and Pikachu aiding Ash to defeat the Spearow. And the Ho-Oh cameo represents the wonders of finding new Pokémon yet to be discovered. | |
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Beware of Chicken at first appears to be a deconstruction of xianxia settings and their wacky, nonsensical, and often downright vicious and cruel shenanigans - and in some ways it is; Jin certainly tries to deconstruct everything in his internal monologue. But as the story progresses, it becomes apparent that the world Jin has found himself in is the way it is for a reason, and that its tropes likewise didn't spring out of nowhere, and the people in it act the way they do out of (usually) fairly reasonable self-interest. Jin turns out to be an Unreliable Narrator when it comes to the motives of people in the world around him, and him coming to realize that his assumptions about the world aren't always accurate is a major part of his character development. For example, Xianghua, being canonically autistic, realizes at a fairly young age that everyone around her is wearing a strikingly familiar mask when it comes to the typical bombastic cultivator bluster, and latches onto that to make masking her quirks and oddities far easier by just aping everyone else. Turns out that the whole "You dare? Kowtow before this daddy!" act is, well, an act that many take because it's culturally expected and an easy way to establish a pecking order, not because they actually are that way. A microcosm of this would be the Shrouded Mountain Sect. It forms one of the major overarching antagonists and in particular right after it's introduced serves as a terrifying foe looming over the protagonists, yet we learn over the course of the story that it is not ontologically evil; it was once righteous, founded by one of the greatest and kindest cultivators of its age, and descended to its jerkass status through tragedy, betrayal, and the specific machinations of a small inner circle over several millennia. Even by the time of the story, it still has many admirable traits, genuinely helps and protects the people of its province, proves itself redeemable even at the level of some of its elders, some of its nastier characters turn out to be acting on completely pure but misguided motives, and in the end hungrily attempts to reclaim its righteous honor and set right its sins when the deception is torn down. Even the irredeemable bastards at the top of it are shown to have genuine reasons as to why they are the way they are beyond simply For the Evulz and show a strong interest in preserving the strength of the sect, which they consistently bend their full and not inconsiderable cunning towards. |
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Once Upon a Time reconstructs fairytales and their conventions. The villains are not one-dimensional caricatures who do everything For the Evulz, but are actually intelligent people who carry out evil actions to advance their ultimate goals, and are revealed to have Freudian Excuses. The princesses have personal agency, possess talents beyond being pretty and nice and are capable of looking after themselves. Prince Charming is a fully rounded character with an actual personality who sometimes makes bad choices and mistakes; but is still genuinely brave and heroic. The Chosen One is bitter and emotionally distant due to having lead a difficult life and initially refuses to accept her destiny or even that the fantastical things she sees are real, but when push comes to shove she steps up to defend the people she cares about and be the hero that the world needs. | |
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Good Witch reconstructs the idea of love conquering everything. It doesn't, in and of itself—other things can get in the way, and even people who truly love each other, whether family or romantically, can drift away from each other. But over and over again, when characters take the time to talk things out, listen to each other, and understand where the other person is coming from and what they want, it's shown that doing so forges stronger bonds, which can overcome everything else. | |
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World Trigger mostly deconstructs shonen tropes, such as the power of friendship and the effects of willpower, but it finds workarounds to more conventional Shōnen tropes, such as team battles, rivalries, and timely power-ups by incorporating them into the wider worldbuilding (such as hosting simulation-based showdowns) and lore of the world, or by weaving it into the wider narrative through foreshadowing. That, or just involve Jin. | |
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Villainous: Black Hat reconstructes both Invincible Villain and Supervillainy: he's invincible and omnipotent Large Ham but he's not ignorant or overconfident about his powers and abilities so he's a No-Nonsense Nemesis who use every opportunity to win and also he actually learns as time goes. For example, he's a Modernized God and Gadgeteer Genius. But he's funny at the same time mostly because he's Chewing the Scenery and Crosses the Line Twice. So he's a Cartoonish Supervillain who always wins. | |
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Book 7 of Ranger's Apprentice reconstructs the idea of being apprenticed to a Renowned Selective Mentor. On the one hand, Will starts getting incredibly nervous about his graduation and the idea of moving out from under Halt's wing, when the latter seems to always know exactly what to do and say, and is exceptionally Shrouded in Myth even by the standards of the already Shrouded in Myth Ranger Corps. However, he comes to realize throughout the story that, having spent close to five years at his mentor's side, he is skilled enough to handle any challenge... and while he will make mistakes, he also has the maturity and the capability to learn from and grow beyond them. | |
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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. | |
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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 dropped 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. | |
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