Berserk: The Golden Age arc of the manga really deconstructs the idea relentlessly pursuing one's dream. While the story shows the importance of finding and achieving a purpose for oneself, it also shows just how dangerous and self-destructive it can be if the ambition is too great and laser-focused. and the means you set out to fulfill it are that costly. Griffith seems like a heroic and romantic figure, especially when he espouses his philosophy on a man's need to make his dream come true that you can almost ignore some of the darker things he does to bring his own to reality, but not only does the emotional toll ultimately prove too great for him, but his refusal to ever let it go leads him to becoming the figure of great evil that we saw him become in the Black Swordsman arc.

The Witcher: There are too many instances to count (and unlike A Song of Ice and Fire, it didn't go full retard in trying to deconstruct every fictional trope under the sun), but I'd say the big one is the idea of the oppressed minority. While the nonhumans, particularly the elves, do indeed deal with unfair discrimination in some parts of the Northern Kingdoms, they're shown to be assholes as well, especially when they form the Scoia'tael to fight the North on behalf of the Nilfgaardian Empire. And the Scoia'tael is only making things worse for the law-abiding nonhumans as the humans are looking at them with even greater suspicion and hostility. Oh, and the Nilfgaard Empire, that promised to reward the Elves handsomely for their work by giving them a land of their own to rule autonymously? Yeah, it screws them over and shows it never gave a damn about them or their plight; it just used them to fight Nilfgaard's battles for it.

Fallout 3: It did a similar thing. While the game is poorly written overall, I love what it did with the "twist" of the Tenpenny Tower quest, and showcased why you should pay attention to what individuals actually say and do, and not get caught up in sympathy because they belong to a poor and oppwessed minowity. The people of Tenpenny Tower don't like ghouls, so they don't want Roy and his goons to come in. But you can convince them to see the light and learn to get along with and welcome the ghouls into their home. Happy end for all, right? WRONG! Not long after moving in, Roy kills all the humans in Tenpenny Tower and populates it with ghouls. But you should have known from the beginning that was a bad idea because when you talked to Roy beforehand, he showed what a murderous unrepentant asshole he was, he was always a hair's breath away from killing you if you simply misspoke, and he was planning on killing everyone in the tower just because they wouldn't let him in. What the fuck did you think was going to happen when you let the psychopath in?! In the end, he never wanted to live in harmony with the humans; he just wanted to take their stuff. Just like a lot of so-called oppressed minorities in the real world.

No Matter How I Look At It, It's You Guys' Fault I'm Not Popular: Or "Watamote" for short. This deconstructs the cute shy girl and "cool otaku" character archetype in manga and anime (like Konata from Lucky Star, whom Watamote's protagonist, Tomoko, kind of resembles). It shows that socially-awkward people aren't these adorable little moeblobs you just want to hug and protect; a lot of time, they're actually assholes with a lot of built-up resentment towards other people, whom they're likely to project their own flaws upon, and that social awkwardness is not a cute or desirable trait. It's uncomfortable to watch, can come across as creepy, and is very crippling. That being said, the manga eventually reconstructs those conventions; the protagonist, Tomoko, through sheer persistence and force of will, brute forces her way to becoming a somewhat functional individual, and shows herself to be an eccentric-enough person that catches the interest of multiple people and allows her to make friends.

The Hobbit: Yes, even the codifier of modern fantasy got in on this, particularly with the idea of a dragon's hoard. Hurray, Smaug was slain and the Dwarves can now reclaim their ancestral home and wealth! Except now that the dragon's gone, many interested parties are beginning to emerge seeking to claim a part of the now unguarded treasure for themselves, which almost causes total war to break out between them. It's also quite unexpected because up until this part, the story was very straightforward, with the (mostly) sympathetic Dwarves and Hobbit dealing with hardships and (seemingly) unsympathetic antagonists. But when we get here, the Dwarves, Men of Laketown, and Mirkwood Elves all have valid and understandable reasons to come to blows, leading to a very complicated political situation that has even the unambiguously good Bilbo resorting to shady tactics in a desperate effort to broker peace between the feuding factions.