Deconstructor Fleet: Difference between revisions
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* ''[[Cannon Fodder (series)|Cannon Fodder]]'', which takes the [[Military and Warfare Tropes]] page and systematically tears it to pieces.
* ''[[Dragon Age]]: Origins'' is a gleeful deconstruction of just about every trope listed on the [[Standard Fantasy Setting]] page.
** Mages frighten the people with their powers, which also makes them more susceptible to demonic possession. As a result, they are kept under close watch in the Circles, where many of them are oppressed by the Templars. Mages living outside the Circle are generally considered a recipe for disaster, and many of them end up turning into Blood Mages, which fosters the common people's fears and forcing the Templars to keep them under closer watch to prevent accidents, perpetuating the cycle. The sequel bases its whole plot around this.
* ''[[Dragon Age II]]'', by contrast, deconstructs many common tropes seen in the [[Western RPG]] genre.
** {{spoiler|When Anders blows up the Chantry and "removes any chance for compromise"}}, the protagonist is forced to choose between one of two different parties. There is no [[Take A Third Option|third option]] that can be taken, nor there is any way to avoid a conflict. In fact, trying to weasel your way out of making a choice will result in Hawke being called out by the heads of both parties.
* ''[[Final Fantasy]]'', starting from roughly ''[[Final Fantasy VI|VI]]'' on, has been subtly doing this, poking holes in the concepts of [[The Chosen One]], the characters' dependency on [[Green Rocks]] or phlebotinum to solve their problems, cheerful heroes, sullen heroes, [[Heroic Sacrifice]]s, and so on, all while diving deeply into [[Genre Busting]] waters. ''[[Final Fantasy VII]]'' is perhaps the most extreme example.
** ''[[Final Fantasy VIII]]'' deconstructs the common JRPG archetype of [[Kid Hero|the world being saved by teenagers]]. Squall acts in the way he does as a reaction to his past and to the hardships of military life.
** ''[[Final Fantasy XII]]'' does this with various tropes and archetypes. The [[MacGuffin]] that can end the war is compared to a modern-day WMD like a nuclear bomb, and Ashe's single-minded quest for revenge on the Archadian Empire ends up alienating her from the rest of the party on more than one occasion, as her behavior means she's more than willing to commit actions that would screw over her people just for the sake of getting back at Archadia.
** ''[[Final Fantasy XIII]]'' is arguably the biggest example, as it highlights how horrible it would be to live as a Final Fantasy protagonist. The people chosen by the fal'Cie are effectively torn from their families and loved ones to go on a quest with being trapped in a [[Lotus Eater Machine]] until you are needed once again. Because of the powers bestowed onto them, the l'Cie are considered dangerous by the government, which quarantines whole towns on the suspicion that one of them may be present between the inhabitants. The protagonists are all [[The Chosen One|l'Cie]] themselves, running away from place to place while trying to figure out what their purpose is; however, this doesn't mean that they will immediately all agree with each other (all compounded by the fact that they were mostly strangers to each other prior to the events of the game, and those who did know each other already had their own issues), and indeed at the start of the game they are all [[Teeth-Clenched Teamwork|at each other's throats]].
*** The game has a linear environment, which is justified by the fact that the heroes are too busy running away from the government to stop in a town and restock on supplies; most people also hate them, meaning that it doesn't make logical sense for the people to spill their problems for them to solve.
** Even before that, a common interpretation of ''[[Final Fantasy V]]'' is that it was meant as a long, but loving, series of jabs and comedic deconstructions at common themes, characters, and plot points in the first four games. The GBA port only amplifies this.
* ''[[Metal Gear Solid]]'' as a whole is known for this. The first one deconstructs the original [[Metal Gear]] games as well as the [[Die Hard on an X]] formula, ''Sons of Liberty'' practically deconstructs the [[No Fourth Wall|entire concept of video gaming itself]] ([[Metal Gear Solid 2: Sons of Liberty/Recap|See here for more details]]), and ''Snake Eater'' does it for spy thrillers and Bond movies. Hell, the intro music, ''Snake Eater'', sounds like it came straight out of a Bond film.
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* ''[[Fire Emblem Tellius]]'' does this to Fire Emblem. Setting and Backstory aside, the 9th game (Path of Radiance) pretty much starts off as a [[Cliché Storm]] for ''[[Fire Emblem]]'' games. However, it starts to play with the tropes before the game's over. Radiant Dawn starts off as a deconstruction of the events of Path of Radiance, showing that Begnion is [[Not So Different]] in treating their newly acquired country well; and that even Crimea, whose victory in the Mad King War went like a fairy tale for them, was again [[Not So Different]]. The country was united during the Mad King War against a common energy, yet when that was over, things went back to normal with nobles and senators squabbling for power, beginning to doubt whether or not their new queen was truly fit to rule. After all, she ''was'' unknown to the general public until the Mad King's War.
** ''[[Fire Emblem Tellius]]'' was preceded by ''[[Fire Emblem Jugdral]]'', which went along to deconstruct common character tropes of the series.
== [[Web Comics]] ==
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