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** Rorschach embodies morally absolutist vigilante SuperHero characters like the original ComicBook/TheQuestion. He is so morally absolutist that he will stop at nothing to enforce his view of justice and will commit heinous acts as a means to an end; ultimately it turns out he is a StrawNihilist with a {{Woobie}}-worthy past.
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** Rorschach [[Characters/WatchmenRorschach Rorschach]] embodies morally absolutist vigilante SuperHero characters like the original ComicBook/TheQuestion. He is so morally absolutist that he will stop at nothing to enforce his view of justice and will commit heinous acts as a means to an end; ultimately it turns out he is a StrawNihilist with a {{Woobie}}-worthy past.
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* ''ComicBook/{{Watchmen}}'' deconstructs the entire [[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]] superhero genre. The premise of the comic is exactly like any other SuperHero comic; some people put on strange costumes in order to fight crime. However, it didn't start with [[Franchise/{{Superman}} an alien child coming to earth]], but rather, with a bunch of off-duty cops wearing masks to counter mask-wearing criminals. Along the way, every trope associated with SuperHero comics of the time is {{deconstructed}}: ImpossiblyCoolClothes turn out to be fatally impractical, [[UsefulNotes/AmericanPoliticalSystem politicians]] get involved and deputize and weaponize superheroes, these superheroes end up changing the course of history (arguably for the worse), and the main cast of SuperHero characters are all rather screwed up. Specifically...
** Rorschach embodies morally absolutist vigilante SuperHero characters like the original ComicBook/TheQuestion. He is so morally absolutist that he will stop at nothing to enforce his view of justice and will commit heinous acts as a means to an end; ultimately it turns out he is a StrawNihilist with a {{Woobie}}-worthy past.
** The Comedian is the UnbuiltTrope of the NinetiesAntiHero. [[SuperheroPackingHeat Big guns]], wisecracks, big muscles, and badass mannerisms abound... as do [[BreadEggsMilkSquick attempted rape, misogyny, murder of innocents, and moral nihilism]]. All these are merely his emotional shields. He has a breakdown when he discovers [[spoiler:Adrian Veidt]]'s plot because it was so horrifying [[EvenEvilHasStandards even to him]] [[spoiler: and CrazyEnoughToWork]]. He also doubles as a critique of the CaptainPatriotic and MilitarySuperhero – as a superhero working for the authoritarian US government, he's bound to get involved in political assassinations and international destabilization.
** Doctor Manhattan is a true superhuman with control over matter, the ability to teleport, see the future, see subatomic particles, and is so detached from the human condition that he is indifferent to human life, out and out saying "A dead body and a living body have the same number of particles, there's no difference". He also deconstructs the OmniscientMoralityLicense. One of his superpowers is his capacity of living in the past, the present, and the future at the same time. Instead of having ''more freedom of choice'' than the average human, knowing that everything he will do will turn okay, he has ''none''. [[PrescienceIsPredictable He knows what will he do in the future and cannot change it]]. He is still a puppet, like everyone else, but ''(only)'' a puppet who can see the strings.
** Ozymandias, the "smartest man alive," and a Marvel-style super-genius in the mold of [[ComicBook/FantasticFour Reed Richards]] and [[ComicBook/XMen Professor X]] taken to the trope's logical conclusions. He becomes a superhuman athlete [[CharlesAtlasSuperpower through sheer force of will]] and a training program he designed himself, and is also the world's wealthiest self-made businessman. He's driven by such ruthless consequentialism that certain actions of his can be... morally debated. He feels right with himself being alone, but has rage about the whole world being so stupid to be engaged in a UsefulNotes/ColdWar that only will end in MutuallyAssuredDestruction. How would you feel if you were the smartest man alive and UsefulNotes/RichardNixon sent you his enforcer, the Comedian, to tell you not to mess in his business? How much of Ozymandias' actions are trying to save the world, and how much are nothing more than petty revenge?
** Nite Owl II and Silk Spectre II, the most healthy individuals in the team, are driven not by moral ideals but by, respectively, [[AscendedFanboy fanboyism]] and [[WellDoneSonGuy a desire to follow in one's mother's footsteps]].
** And the rest of the superheroes are shown to have great flaws and the common prejudices of their time, many being racist, sexist, homophobic (and [[ArmouredClosetGay hypocritical homosexuals]] themselves) and equally riddled with issues and neuroses.
** It also showed that there would be far fewer 'costumed criminals' since they would either be in jail, killed, or even find redemption. Many criminals would go into more profitable and yet less showy pursuits, like drug trafficking.
** The idea of the NebulousEvilOrganisation was also targeted for deconstruction. Who has the resources to kill The Comedian, engineer Dr. Manhattan's exile, frame Rorschach for murder, and [[spoiler:engineer the destruction of New York]] other than [[spoiler:Ozymandias, the world's smartest man?]]
** Rorschach embodies morally absolutist vigilante SuperHero characters like the original ComicBook/TheQuestion. He is so morally absolutist that he will stop at nothing to enforce his view of justice and will commit heinous acts as a means to an end; ultimately it turns out he is a StrawNihilist with a {{Woobie}}-worthy past.
** The Comedian is the UnbuiltTrope of the NinetiesAntiHero. [[SuperheroPackingHeat Big guns]], wisecracks, big muscles, and badass mannerisms abound... as do [[BreadEggsMilkSquick attempted rape, misogyny, murder of innocents, and moral nihilism]]. All these are merely his emotional shields. He has a breakdown when he discovers [[spoiler:Adrian Veidt]]'s plot because it was so horrifying [[EvenEvilHasStandards even to him]] [[spoiler: and CrazyEnoughToWork]]. He also doubles as a critique of the CaptainPatriotic and MilitarySuperhero – as a superhero working for the authoritarian US government, he's bound to get involved in political assassinations and international destabilization.
** Doctor Manhattan is a true superhuman with control over matter, the ability to teleport, see the future, see subatomic particles, and is so detached from the human condition that he is indifferent to human life, out and out saying "A dead body and a living body have the same number of particles, there's no difference". He also deconstructs the OmniscientMoralityLicense. One of his superpowers is his capacity of living in the past, the present, and the future at the same time. Instead of having ''more freedom of choice'' than the average human, knowing that everything he will do will turn okay, he has ''none''. [[PrescienceIsPredictable He knows what will he do in the future and cannot change it]]. He is still a puppet, like everyone else, but ''(only)'' a puppet who can see the strings.
** Ozymandias, the "smartest man alive," and a Marvel-style super-genius in the mold of [[ComicBook/FantasticFour Reed Richards]] and [[ComicBook/XMen Professor X]] taken to the trope's logical conclusions. He becomes a superhuman athlete [[CharlesAtlasSuperpower through sheer force of will]] and a training program he designed himself, and is also the world's wealthiest self-made businessman. He's driven by such ruthless consequentialism that certain actions of his can be... morally debated. He feels right with himself being alone, but has rage about the whole world being so stupid to be engaged in a UsefulNotes/ColdWar that only will end in MutuallyAssuredDestruction. How would you feel if you were the smartest man alive and UsefulNotes/RichardNixon sent you his enforcer, the Comedian, to tell you not to mess in his business? How much of Ozymandias' actions are trying to save the world, and how much are nothing more than petty revenge?
** Nite Owl II and Silk Spectre II, the most healthy individuals in the team, are driven not by moral ideals but by, respectively, [[AscendedFanboy fanboyism]] and [[WellDoneSonGuy a desire to follow in one's mother's footsteps]].
** And the rest of the superheroes are shown to have great flaws and the common prejudices of their time, many being racist, sexist, homophobic (and [[ArmouredClosetGay hypocritical homosexuals]] themselves) and equally riddled with issues and neuroses.
** It also showed that there would be far fewer 'costumed criminals' since they would either be in jail, killed, or even find redemption. Many criminals would go into more profitable and yet less showy pursuits, like drug trafficking.
** The idea of the NebulousEvilOrganisation was also targeted for deconstruction. Who has the resources to kill The Comedian, engineer Dr. Manhattan's exile, frame Rorschach for murder, and [[spoiler:engineer the destruction of New York]] other than [[spoiler:Ozymandias, the world's smartest man?]]
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* ''ComicBook/AstroCity'' is a deconstruction ''and'' a reconstruction; it focuses on the impact of superheroes on regular people, but also on the inner thoughts of heroes and villains. Even more so, it deals with those issues in ways that are not just negative or cynical as deconstructions often are. For example, one story deals with a parent bringing his children to Astro City, only to be greeted with a chaotic night full of angry weather elementals; yet despite the danger, he decides they should stay, as the strength and idealistic community of the city were values he wanted his children to have. Other stories deal with a hero trying to balance the needs of his neighborhood and the needs of his unborn child, or a lawyer leveraging superhero tropes to benefit his client but endangers his family. Kurt likes to keep his fans guessing.
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* Deconstruction in comics is even older than that, dating at least back to UsefulNotes/{{the Bronze Age|OfComicBooks}}. In TheSeventies, DC came out with ''Franchise/GreenLantern[=/=]ComicBook/GreenArrow'', in which the title characters do superhero stuff while at the same time arguing about the morality and political implications. As a result, the more lawful Franchise/GreenLantern and the more chaotic ComicBook/GreenArrow butted heads many, MANY times.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of UsefulNotes/{{the Silver Age|of Comic Books}} was accomplished by deconstructing UsefulNotes/{{the Dark Age|of Comic Books}}, bringing it to its most extreme conclusion: the {{Nineties Anti Hero}}es, having killed all the villains, have become crazed {{Knight Templar}}s and pretty much taken over the world.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of UsefulNotes/{{the Silver Age|of Comic Books}} was accomplished by deconstructing UsefulNotes/{{the Dark Age|of Comic Books}}, bringing it to its most extreme conclusion: the {{Nineties Anti Hero}}es, having killed all the villains, have become crazed {{Knight Templar}}s and pretty much taken over the world.
to:
* Deconstruction in comics is even older than that, dating at least back to UsefulNotes/{{the MediaNotes/{{the Bronze Age|OfComicBooks}}. In TheSeventies, DC came out with ''Franchise/GreenLantern[=/=]ComicBook/GreenArrow'', in which the title characters do superhero stuff while at the same time arguing about the morality and political implications. As a result, the more lawful Franchise/GreenLantern and the more chaotic ComicBook/GreenArrow butted heads many, MANY times.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction ofUsefulNotes/{{the MediaNotes/{{the Silver Age|of Comic Books}} was accomplished by deconstructing UsefulNotes/{{the MediaNotes/{{the Dark Age|of Comic Books}}, bringing it to its most extreme conclusion: the {{Nineties Anti Hero}}es, having killed all the villains, have become crazed {{Knight Templar}}s and pretty much taken over the world.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of
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* "[[Recap/JusticeLeagueUnlimitedS2E13Epilogue Epilogue]]" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
to:
* "[[Recap/JusticeLeagueUnlimitedS2E13Epilogue Epilogue]]" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
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* "Epilogue" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
to:
* "Epilogue" "[[Recap/JusticeLeagueUnlimitedS2E13Epilogue Epilogue]]" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
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* The ''WesternAnimation/YoungJustice2010'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
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* The ''WesternAnimation/YoungJustice2010'' episode "Disordered" "[[Recap/YoungJusticeS1E17Disordered Disordered]]" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
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!!Films
* ''Film/TheDarkKnightTrilogy'' for ''Franchise/{{Batman}}'' in particular and the SuperheroTropes in general.
* ''Film/TheDarkKnightTrilogy'' for ''Franchise/{{Batman}}'' in particular and the SuperheroTropes in general.
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*
%%* ''Film/TheDarkKnightTrilogy'' for ''Franchise/{{Batman}}'' in particular and the SuperheroTropes in general.
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* The ''WesternAnimation/YoungJustice'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
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* The ''WesternAnimation/YoungJustice'' ''WesternAnimation/YoungJustice2010'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
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!!Franchise/TheDCU
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!!Comic Books
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* A story from Creator/GrantMorrison's ''Comicbook/AnimalMan'' run (noted for its PostModernism) deconstructs ''WesternAnimation/LooneyTunes'' and similar cartoons: in "The Coyote Gospel," a grotesquely anthropomorphic coyote is repeatedly and brutally killed by an Elmer Fudd-style hunter obsessed with his destruction, and continuously reforms/regenerates in a most disturbing manner. Finally, in a scene reminiscent of the classic "Duck Amuck" short, the malevolent animator paints his blood in as he dies for the last time.
to:
* A story from Creator/GrantMorrison's ''Comicbook/AnimalMan'' run (noted for its PostModernism) deconstructs ''WesternAnimation/LooneyTunes'' and similar cartoons: in "The Coyote Gospel," a grotesquely anthropomorphic coyote is repeatedly and brutally killed by an Elmer Fudd-style hunter obsessed with his destruction, and continuously reforms/regenerates in a most disturbing manner. Finally, in a scene reminiscent of the classic "Duck Amuck" short, the malevolent animator paints his blood in as he dies for the last time.time.
!!Films
* ''Film/TheDarkKnightTrilogy'' for ''Franchise/{{Batman}}'' in particular and the SuperheroTropes in general.
!!Western Animation
* "Epilogue" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
** It also deconstructs the classic Batman origin: Waller plans to kill Terry's parents when he's a boy, but when the assassin she hires ([[ContinuityNod Andrea Beaumont]], [[WesternAnimation/BatmanMaskOfThePhantasm the Phantasm]]) refuses to go through with it, Waller realizes that whatever her goals, it wasn't worth it, and she's pleased that Terry has become a much more sane and stable superhero because he had a chance for a normal childhood.
*** It's also a deconstruction of what being Batman would lead to. The members of the Bat-Family have washed their hands of him, Terry's relationship with Bruce even becomes strained due to Terry barely able to cope with being Batman, and Bruce is going to end up dying alone.
* The ''WesternAnimation/YoungJustice'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
** Later episodes try to convey that being a teen superhero is not all fun and games, as we learn that [[spoiler: Aquagirl, Jason Todd, and the previous ComicBook/BlueBeetle]] have all been killed in action during the five year TimeSkip between seasons one and two. Upon this revelation, the line between superheroes and ChildSoldiers begins to blur even more.
----
!!Films
* ''Film/TheDarkKnightTrilogy'' for ''Franchise/{{Batman}}'' in particular and the SuperheroTropes in general.
!!Western Animation
* "Epilogue" of ''WesternAnimation/JusticeLeagueUnlimited'' can be taken as a deconstruction of the superhero genre by having a Amanda Waller deliberately try to engineer [[WesternAnimation/BatmanBeyond another Batman]] in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
** It also deconstructs the classic Batman origin: Waller plans to kill Terry's parents when he's a boy, but when the assassin she hires ([[ContinuityNod Andrea Beaumont]], [[WesternAnimation/BatmanMaskOfThePhantasm the Phantasm]]) refuses to go through with it, Waller realizes that whatever her goals, it wasn't worth it, and she's pleased that Terry has become a much more sane and stable superhero because he had a chance for a normal childhood.
*** It's also a deconstruction of what being Batman would lead to. The members of the Bat-Family have washed their hands of him, Terry's relationship with Bruce even becomes strained due to Terry barely able to cope with being Batman, and Bruce is going to end up dying alone.
* The ''WesternAnimation/YoungJustice'' episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Comicbook/{{Robin}} deciding that he no longer wants to be Batman.
** Later episodes try to convey that being a teen superhero is not all fun and games, as we learn that [[spoiler: Aquagirl, Jason Todd, and the previous ComicBook/BlueBeetle]] have all been killed in action during the five year TimeSkip between seasons one and two. Upon this revelation, the line between superheroes and ChildSoldiers begins to blur even more.
----
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!!Franchise/TheDCU
* Creator/FrankMiller's ''ComicBook/BatmanTheDarkKnightReturns'' takes straightforward superhero action and makes it look absurd by having real-world politics interfere. Batman's work becomes a tool for debates about "toughness on crime," while Franchise/{{Superman}}'s idealism makes him an easy dupe for the US government's plans for nuclear war. It also asked the question: "What sort of a man would dress up in a bat outfit and fight crime?" The answer: "A man who isn't very pleasant or sane." Though, it's not really clear the work is intended or often taken to be a deconstruction.
** Its sequel, ''ComicBook/TheDarkKnightStrikesAgain'', tries to deconstruct the WriterOnBoard Political superheroes by turning ComicBook/GreenArrow into a Marxist, and ComicBook/TheQuestion into a hardcore libertarian who believes that "Creator/AynRand didn't go far enough". This is HilariousInHindsight considering Miller's ''ComicBook/HolyTerror''...
* Deconstruction in comics is even older than that, dating at least back to UsefulNotes/{{the Bronze Age|OfComicBooks}}. In TheSeventies, DC came out with ''Franchise/GreenLantern[=/=]ComicBook/GreenArrow'', in which the title characters do superhero stuff while at the same time arguing about the morality and political implications. As a result, the more lawful Franchise/GreenLantern and the more chaotic ComicBook/GreenArrow butted heads many, MANY times.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of UsefulNotes/{{the Silver Age|of Comic Books}} was accomplished by deconstructing UsefulNotes/{{the Dark Age|of Comic Books}}, bringing it to its most extreme conclusion: the {{Nineties Anti Hero}}es, having killed all the villains, have become crazed {{Knight Templar}}s and pretty much taken over the world.
* Creator/DCComics' ''ComicBook/JonahHex'': Sounds like old fashioned Cowboys and Indians hijinx on the wild frontier, right? Riiight.
* A story from Creator/GrantMorrison's ''Comicbook/AnimalMan'' run (noted for its PostModernism) deconstructs ''WesternAnimation/LooneyTunes'' and similar cartoons: in "The Coyote Gospel," a grotesquely anthropomorphic coyote is repeatedly and brutally killed by an Elmer Fudd-style hunter obsessed with his destruction, and continuously reforms/regenerates in a most disturbing manner. Finally, in a scene reminiscent of the classic "Duck Amuck" short, the malevolent animator paints his blood in as he dies for the last time.
* Creator/FrankMiller's ''ComicBook/BatmanTheDarkKnightReturns'' takes straightforward superhero action and makes it look absurd by having real-world politics interfere. Batman's work becomes a tool for debates about "toughness on crime," while Franchise/{{Superman}}'s idealism makes him an easy dupe for the US government's plans for nuclear war. It also asked the question: "What sort of a man would dress up in a bat outfit and fight crime?" The answer: "A man who isn't very pleasant or sane." Though, it's not really clear the work is intended or often taken to be a deconstruction.
** Its sequel, ''ComicBook/TheDarkKnightStrikesAgain'', tries to deconstruct the WriterOnBoard Political superheroes by turning ComicBook/GreenArrow into a Marxist, and ComicBook/TheQuestion into a hardcore libertarian who believes that "Creator/AynRand didn't go far enough". This is HilariousInHindsight considering Miller's ''ComicBook/HolyTerror''...
* Deconstruction in comics is even older than that, dating at least back to UsefulNotes/{{the Bronze Age|OfComicBooks}}. In TheSeventies, DC came out with ''Franchise/GreenLantern[=/=]ComicBook/GreenArrow'', in which the title characters do superhero stuff while at the same time arguing about the morality and political implications. As a result, the more lawful Franchise/GreenLantern and the more chaotic ComicBook/GreenArrow butted heads many, MANY times.
* While ''ComicBook/KingdomCome'' was part of the mid-90's wave of {{Reconstruction}}ist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of UsefulNotes/{{the Silver Age|of Comic Books}} was accomplished by deconstructing UsefulNotes/{{the Dark Age|of Comic Books}}, bringing it to its most extreme conclusion: the {{Nineties Anti Hero}}es, having killed all the villains, have become crazed {{Knight Templar}}s and pretty much taken over the world.
* Creator/DCComics' ''ComicBook/JonahHex'': Sounds like old fashioned Cowboys and Indians hijinx on the wild frontier, right? Riiight.
* A story from Creator/GrantMorrison's ''Comicbook/AnimalMan'' run (noted for its PostModernism) deconstructs ''WesternAnimation/LooneyTunes'' and similar cartoons: in "The Coyote Gospel," a grotesquely anthropomorphic coyote is repeatedly and brutally killed by an Elmer Fudd-style hunter obsessed with his destruction, and continuously reforms/regenerates in a most disturbing manner. Finally, in a scene reminiscent of the classic "Duck Amuck" short, the malevolent animator paints his blood in as he dies for the last time.
