https://static.tvtropes.org/pmwiki/pub/images/rsz_1978_06_19.png
"Quoi?! Quel quatrième mur?! Il n'y a jamais été un quatrième mur dans cette stupide bande dessinée! "

Certaines séries peuvent durer toute leur vie sans briser une seule fois le quatrième mur. Certaines séries briseront occasionnellement le quatrième mur pour quelques instants de comédie, mais en dehors de cela, le quatrième mur est en plein effet.

Et puis il y a ceux-ci.

Une série avec No Fourth Wall ne brise pas seulement le quatrième mur, elle vaporise il. Il pourrait aussi bien ne pas y en avoir. Les personnages feront référence au "dernier épisode" ou au "prochain numéro". Ils critiqueront la production, l'écriture, la direction ou même le public. Dans les cas extrêmes, ils refuseront de continuer à jouer. Attendez-vous à ce qu'il y ait de grandes quantités de notoriété moyenne, comme des personnages dans une bande dessinée soulignant l'utilisation de panneaux. No Fourth Wall conduit souvent à des personnages extrêmement savants en genre, ou à des abat-jour fréquents de cécité de genre.

Un bon moyen de vérifier s'il s'agit simplement de Briser le quatrième mur ou s'il n'y a pas de quatrième mur du tout est de vérifier à quel point la rupture du quatrième mur est importante pour la prémisse: si les moments de Briser le quatrième mur pouvaient être supprimés sans changer facilement les prémisses de la série, c'est probablement Briser le quatrième mur; si le casser est une partie si importante de la série que sa suppression changerait sensiblement la série, ce n'est pas le quatrième mur.

Voir également:

  • Acteurs animés: une sous-corde spécifique à l'animation, où les personnages animés sont traités comme s'ils étaient des acteurs d'une production.
  • Coup d'oeil de côté: Une forme plus douce de ceci, quand quelqu'un pourrait jeter un coup d'œil sur le quatrième mur mais le garder autrement intact.
  • Né au théâtre: ces blagues sur le quatrième mur ne fonctionnent qu'au cinéma et prêtent souvent à confusion si le film est regardé à la télévision.
  • Observateur du quatrième mur: lorsqu'un seul personnage peut voir à travers le quatrième mur.
  • Le quatrième mur ne vous protégera pas: quelque chose (souvent un monstre déchaîné) sort de l'écran au public, généralement pour une peur comique.
  • From Beyond the Fourth Wall: Le créateur d'une œuvre, le public, ou vous-même, interagissez personnellement avec les personnages (d'une manière qui n'est pas la participation du public). Comme en prêtant aux personnages un bateau ou de l'argent. Cela peut aussi arriver en sens inverse.
  • Il connaît les coups chronométrés: Ce trope s'applique aux didacticiels de jeux vidéo, où les personnages du travail expliquent les mécanismes du jeu ou les boutons sur lesquels appuyer.
  • Meta Fic: Une variation spécifique à Fan Fic qui examine le concept de fanfiction ou sa propre prémisse.
  • Narrateur: Ce trope est leur travail.
  • Postmodernisme: En tant que genre qui joue fréquemment avec les attentes du public, il adore ce trope.
  • Rage Against the Author: Une subtrope avec un conflit supplémentaire contre le créateur de l'œuvre.
  • Épisode du monde réel: des personnages entrant dans un monde dans lequel leur propre univers est une œuvre de fiction.
  • Who Writes This Crap?!: La version la plus stupide de ce qui précède.
  • Qui voudrait nous regarder?: Des personnages qui se moquent des prémisses de l'œuvre. Peut briser ou non le quatrième mur, mais le fait fréquemment.

Contraste Suspension volontaire de l'incrédulité, l'ennemi juré de ce trope. Voir aussi Échelle glissante de la dureté de la quatrième paroi. La suspension d'abat-jour est une forme moins extrême de ce trope.


Exemples:

ouvrir / fermer tous les dossiers

Anime et Manga

  • Osamu Tezuka fait cela tout le temps. Habituellement, il s'agit de son avatar d'auteur ou de jouer avec les bordures du panneau.
  • Les 100 copines qui vous aiment vraiment, vraiment, vraiment, vraiment, vraiment: Ce manga est assez parodique dans le ton et la nature; pour commencer, les personnages sont bien conscients qu'ils sont dans un manga:

    Dieu de l'amour: (à Rentarou) Arrêtez de répéter ce que je viens de dire! Vous faites ça depuis un moment maintenant! VOUS GASTEZ JUSTE DES PANNEAUX !!! C'est déjà déjà assez grave que nous ayons des tonnes de choses à dessiner pour le premier chapitre !!

  • Bobobo-bo Bo-bobo a brisé le quatrième mur tout le temps dans le manga, mais l'anime l'a fait encore plus.
  • La vie désastreuse de Saiki K. à l'origine, Saiki était le seul capable de briser le quatrième mur en raison de ses pouvoirs psychiques, jusqu'à plus tard dans la série où tout le monde était conscient d'être des personnages fictifs, même de fond déplorant leur statut non pertinent. Bien sûr, cela va de pair avec le fait que tout le monde connaît un mauvais genre, les amis de Saiki pensant qu'ils sont les protagonistes de tout sauf d'un anime gag avec Saiki comme véritable personnage principal.
  • Docteur Slump fait cela tout le temps aussi, avec des blagues reposant souvent sur le fait que les personnages sont conscients qu'ils sont dans un manga. Parfois, le créateur, Akira Toriyama, entre même dans le strip lui-même et rencontre les personnages!
  • Dans le Doraemon épisode Transformé lorsque Nobi se transforme en grenouille hors écran, Sue regarde directement la caméra comme si le spectateur l'intéressait. De plus, il y a plusieurs fois où Doraemon s'est adressé directement aux téléspectateurs.
  • Dragon moitié. À un moment donné du deuxième épisode, un nouveau personnage semble proclamer l'héroïne principale son implacable rivale. Il fait un discours impressionnant sur ce qu'elle est censé lui avoir fait … et elle n'a aucune idée de ce dont il parle. Il sort un téléviseur et une cassette du premier épisode pour lui montrer, seulement pour constater que toutes ses scènes ont été coupées par l'éditeur. Cela déclenche une autre diatribe.
  • Eroica se plaindra parfois de la façon dont il est censé être le personnage principal alors qu'il ne passe pas beaucoup de temps à l'écran.
  • Excel Saga et son successeur spirituel Puni Puni Poemi ne démolissez pas tellement le quatrième mur qu'ils ne se donnent jamais la peine d'en construire un en premier lieu.
    • En particulier, Poemi dans Puni Puni Poemi n'a même pas encore atteint le premier mur – elle est convaincue qu'elle est en fait sa comédienne de voix et se réfère à elle-même par ce nom, et croit également que son père Nabeshin est en fait le réalisateur. Ce qu'il est, mais elle ne devrait pas le savoir.
  • FLCL a la scène occasionnelle dans laquelle les personnages reconnaissent le public ou critiquent la façon dont une scène a été créée, mais elle est poussée à l'extrême dans le dernier épisode dans lequel Kamon se plaint à quel point il est difficile et coûteux de rester sous une forme Art Shift .
  • Le dub anglais de Histoires de fantômes est moins une traduction de la série originale, et plus une parodie sous licence officielle. Il existe de nombreux cas où les personnages font référence à la culture pop, soulignent des clichés surutilisés, expliquent à quel point il est difficile de synchroniser leurs lignes avec les mouvements des lèvres des personnages et, dans un cas, confondent le quatrième mur avec le troisième mur.
  • Les personnages de Gintama sont parfaitement conscients qu'ils sont dans un manga / anime et n'ont aucun scrupule à discuter de ses notes, de son écriture et de son auteur, ainsi que de divers sujets du monde réel. Ils consacrent également des chapitres entiers ou même des arcs d'histoire à des sujets qui brisent le quatrième mur.
    • L'arc de sondage de popularité l'utilise pleinement, les personnages se livrant à une guerre pour leur classement de popularité dans le dernier sondage des personnages de Shounen Jump et leur classement actuel étant inexplicablement affiché comme un nombre tangible à côté d'eux à tout moment. Otae saute même hors du panneau / écran et va après le auteur pour avoir obtenu un score plus élevé qu'elle, ce qui perturbe le style artistique jusqu'à ce qu'il soit ressuscité en tant que cyborg.
    • L'arc Kintoki tourne autour d'un robot sosie de Gintoki essayant de le remplacer en tant que personnage principal et lorsque cela échoue, il vise à devenir le méchant dont la défaite mettra fin au manga pour de bon.
    • Dans un chapitre, le manque de confiance de Gintoki dans le nouveau Gintama Sugoroku Le jeu pour la PSP l'amène à pénétrer dans le studio Bandai Namco et à éditer ledit jeu dans un RPG appelé Tales of Gintama Sugoroku, pensant qu'il se vendra mieux de cette façon. Il l'édite plus tard dans Tales of Madaohazard, puis Tales of Super Madao Brothers pour des raisons complètement aléatoires.
  • Hayate le majordome de combat invoque ce trope à peu près à chaque épisode, les personnages étant constamment conscients qu'ils sont dans un anime et qu'il y a un narrateur et un public. Le manga réérige finalement le quatrième mur, puis il reste pratiquement intact.
  • Dans Kodocha, Babbitt et Sana font fréquemment référence au fait qu'ils sont dans un anime; Babbitt en particulier gronde Sana à plusieurs reprises pour avoir fait des choses qu'elle ne devrait pas faire dans un programme pour enfants.
  • L'une des façons dont l'original Lupin III Le manga différait de toutes les adaptations ultérieures était son manque éhonté d'un quatrième mur. Extrait de la boutade de Lupin au chapitre 6: "Ce manga est très excitant!" à certaines histoires impliquant l'auteur en tant que personnage (l'une n'était qu'un chapitre de Lupin critiquant et maltraitant l'auteur, l'autre a Lupin donnant au manga-ka une visite de sa cachette), à ​​un chapitre mettant en vedette le lecteur lui-même.
  • Successeur martien Nadesico avait des épisodes entiers expliquant divers aspects de l'émission.
  • Plusieurs personnages dans Boîte Medaka sont conscients de leur statut dans un manga. En particulier, The Big Bad est en train de faire passer de force le manga de l'action à la comédie d'amour pour donner au personnage principal une meilleure chance de succès. Et au chapitre 127, elle a affirmé qu'elle avait l'intention d'accélérer le manga et de le mettre fin avant la sortie de l'anime. On ne peut que se demander comment elle va prendre cela dans l'anime.
  • Frères Nerima Daikon: Quatrième mur? Qu'est ce que c'est? Tout le monde mentionne le public et les animateurs, et commente souvent le "Stupid dub writer!"

    «Mais qu'est-ce que nous sommes censés faire avec des paroles comme 'legal rabid beagle?' Vous voulez mon conseil? Renvoyez l'écrivain dub anglais goldang! "

  • Nonsense Ninja est plein de personnages qui s'adressent constamment à la caméra. Le dernier épisode est dédié aux personnages essayant de trouver un moyen satisfaisant de terminer la série.
  • Club d'accueil de l'école secondaire d'Ouran mérite une mention spéciale pour les références constantes qu'il s'agit d'un anime de romance – à un moment donné, cela conduit Tamaki à se déclarer et à Haruhi les chefs romantiques et à reléguer le reste du club au casting de soutien homosexuel.
    • Le casting a tendance à s'appuyer plus souvent sur le quatrième mur que de le casser, mais les bananes pourraient être considérées comme une brèche constante du quatrième mur qui changerait même les résultats de l'intrigue.
  • Rosario + Vampire. Dans un épisode de la deuxième saison, le narrateur-chauve-souris se révèle capable de se transformer en n'importe quoi, y compris un gigantesque marteau de guerre à pointes pour Kokoa. Quand elle se déchaîne contre la distribution principale, ils déplorent à quel point les écrivains étaient probablement saouls lorsqu'ils ont écrit l'épisode, et ont gardé le secret de la chauve-souris caché tout au long de la première saison.
  • Sayonara, Zetsubou-Sensei – Dans l'épisode d'introduction de Meru, elle critique les types de personnages de ses camarades de classe (c'est-à-dire "Votre personnage Bandage Babe est épuisé"), et à ce moment-là, la série brise le quatrième mur pratiquement tous les deux épisodes (Kafuka déclarant qu'il est temps pour une pause publicitaire, plus tard, c'est la fin de l'épisode, Chiri disant que des choses profondes ne devraient pas être dites dans un anime bon marché, et ainsi de suite.)
  • Sgt. La grenouille: Surtout dans le doublage anglais, mais il n'y en a guère non plus dans l'original.
  • Tueuses avait souvent des personnages s'adressant aux téléspectateurs dans un aparté.
    • De même, à un moment donné, Lina note que Martina est toujours en vie après SUIVANTLa bataille décisive parce qu'elle est le soulagement de la comédie. Sylphiel l'avertit rapidement qu'elle en donne trop.
    • Révolution Lina poursuit le nouveau personnage Pokota parce qu'il a usurpé sa grande scène traditionnelle dans le premier épisode où elle fait exploser une ville sans méfiance avec le Dragon Slave.
    • On pourrait s'aventurer que l'intégralité de Tueuses roman-verse n'a pas de quatrième mur, comme on les raconte à la première personne du point de vue de Lina. Elle s'arrête fréquemment pour s'adresser au public, réagissant souvent comme si elle avait été invoquée pour des actions parfois (souvent) moins qu'éthiques en matière d'agression de banditisme local. Cela aboutit généralement à son refus avant que les lecteurs ne reçoivent les détails de ce qui est réellement arrivé à la poursuite de dix hommes armés.
  • Que peut-on dire sur Espace Dandy? Hmm … Peut-être que dans la toute première minute du tout premier épisode, Dandy et QT se disputent pour laisser le narrateur donner l'Exposition Dump? Ou peut-être dans "Il y a toujours demain, bébé" quand le narrateur doit personnellement dire aux personnages qu'ils sont dans une boucle temporelle parce qu'ils sont trop stupides pour le comprendre eux-mêmes? Ou quand le narrateur, ainsi que tout le monde dans l'univers, est devenu un zombie? Ou lorsque…
  • Dans le premier épisode de Guimauve aux fraises, Nobue décrit les autres personnages directement au public; tout en se décrivant, elle se retourne pour regarder directement la caméra (d'ailleurs, faisant un Hurler ainsi que).
    • Elle fait la même chose dans le chapitre Cold Turkeys Are Everywhere du manga, reconnaissant le lecteur en disant: "Une fille de 16 ans ne devrait pas fumer!"
  • Violoniste de Hameln (version manga) n'a jamais construit un quatrième mur en premier lieu:
    • Les personnages disent des choses comme "c'est un manga vraiment stupide".
    • Lorsque les héros rencontrent Ocarina pour la première fois, Hamel est heureux "d'avoir enfin une fille en tenue sexy dans ce manga".
    • Lorsque le violon de Hamel est cassé, ses amis prévoient de reprendre le manga et de voler le statut de personnage principal.
    • À un moment donné, Hamel dit à Olin qu'il n'est pas important parce qu'il n'était pas dans l'adaptation Anime.
  • Caractères dans YuruYuri, en particulier dans le manga, brisez constamment le quatrième mur, en faisant référence au lectorat, à l'historique de publication et à des choses comme les pages en couleur et le contenu Fanservice. De manière mémorable, une bande bonus de Yonkoma était presque entièrement remplie de personnages parlant du changement de format.

    Kyouko: Elle n'essaye pas très fort de devenir un personnage mémorable.
    Yui: Oh, mais … L'auteur dit que la placer dans ce rôle l'a en fait rendue plus intéressante et plus facile à incorporer. D'un autre côté, il pense que cela a fait que Chinatsu-chan a commencé à disparaître à l'arrière-plan à la place …

Bandes dessinées

  • Deadpool, de l'univers Marvel, a "Foudroyé le quatrième mur, brique par brique!" comme son slogan. Parmi ses pouvoirs figure la possibilité de voir les zones de texte jaunes. Il a également fait des commentaires sarcastiques comme "ce rêve Tobey Maguire" étant la raison pour laquelle Spider-Man est si populaire. D'autres personnages ont tendance à rejeter le "merc avec une bouche" comme complètement fou, ce qu'il est, donc ça marche en quelque sorte. Deadpool est alors conscient d'être dans une bande dessinée, il a même connaissance d'événements qui, dans le livre, ne devraient être connus de personne. Par exemple, il est conscient de Un jour de pluset le contrat de Spider-Man avec Mephisto. Il souhaite même savoir de quoi il a été informé lors des pages de récapitulation, qui ne font pas partie de la continuité. Il se demande même si réaliser quelque chose de vraiment génial lui donnera une série solo ou un film. Maintenant qu'il a réussi cet objectif, Deadpool se réjouira fréquemment d'être responsable du "film R-rated le plus rentable au monde", toujours dans cette formulation exacte. Son succès hors de la continuité s'est également traduit par une popularité et une richesse dans l'univers … d'une manière ou d'une autre, et Deadpool finance la Avengers Unity Squad.
  • À peu près tout l'intérêt d'Ambush Bug, dont les œuvres servent généralement de satire de l'industrie de la bande dessinée, et qui peut même voir des bulles et interagir avec son propre écrivain et éditeur.
  • Homme animal de Le DCU a pris conscience de la vraie nature de la réalité lors de la renaissance du personnage par Grant Morrison. Cela s'est même prolongé jusqu'à un voyage au peyotl où Buddy a regardé hors de la page et a déclaré "OH MON DIEU! JE PEUX VOUS VOIR!" au lecteur. Contrairement à la plupart de ceux qui partagent cette connaissance, Buddy a du mal à y faire face et est sujet aux dépressions mentales en conséquence. Cela a empiré: le Psycho-Pirate, le personnage qui a pris conscience du quatrième mur en premier, à un moment donné, dit " Nous sommes les créations d'esprits malades. Oui. J'ai vu … et il y a quelque chose de pire … les créateurs … ils ne sont pas réels non plus …"
  • Le premier ange américain et américain d'Alan Moore Histoires de demain.
  • Inclus dans la seconde moitié de DC Comics ' Contes de l'inattendu Les mini-séries en guise de soulagement comique (dont il avait désespérément besoin) étaient les aventures du résident de la DCU Doubting Thomas, Doctor Thirteen, alors que lui et une équipe composée d'autres personnages annulés et abandonnés pour combattre les auteurs en chef de DC Comics pour le droit de continuer à exister dans l'univers sur le point d'être redémarré. Cependant, les écrivains ne sont appelés dans leur personnage que "les architectes", conduisant à une finale similaire à celle de Rick Jones (voir ci-dessus), lorsque le bon docteur rassemble enfin les pièces et supplie le lecteur de ne pas tourner la page, "Notre existence même en dépend!" Ceci, bien sûr, s'avère être le dernier page. Retourne-le, et la bande dessinée est terminée.
  • Un croisement mémorable entre Batman et le Sgt. Rock est également entré dans le monde réel, les méchants tenant l'écrivain sous la menace d'une arme et essayant de lui faire écrire la mort des héros. Batman et Rock ne pouvaient pas entendre la narration qu'il avait écrite, mais il pourrait indirectement les aider si les méchants étaient distraits.
  • Superboy-Prime suit ce trope alors que le Clark Kent de Real Life est introduit dans le monde de la bande dessinée. En tant que nerd de la bande dessinée de retour à la maison, il connaît déjà les histoires et les faiblesses de tout le monde, et n'a aucun problème à tuer probablement environ un billion de personnages (bien que seule une douzaine soit relativement importante) en faisant exploser une Terre ou deux. Sa conclusion pour Légion des trois mondes prend ce trope à l'extrême de la méta, en lisant la même page de la même bande dessinée que vous. Son histoire se termine dans le sous-sol de ses parents, complotant sa vengeance sur l'univers de la bande dessinée en se plaignant de la bande dessinée sur Internet. Il est probablement ici maintenant.
    • Cela revient le mordre dans le cul car il s'avère que ses parents ont lu tous ses méfaits et sont maintenant complètement terrifiés par lui. Ils l'auraient renié s'ils n'étaient pas si sûrs qu'il les tuerait horriblement.
    • Suite dans Blackest Night Tie-In d'Adventure Comics, quand Adventure Comics # 4 commence avec Superboy-Prime juste après avoir fini de lire Adventure Comics # 4 et de chier son pantalon. Il passe tout le reste du numéro à essayer de trouver des copies avancées ou des spoilers Internet pour Adventure Comics # 5 puis se fait attaquer par une version Black Lantern de son ancien partenaire, Alexander Luthor de Earth-3, qui ne perd pas de temps à lui dire que les lecteurs pensent tous qu'il est une blague, Superboy-Prime meurt dans Adventure Comics # 5, et découvre que le Internet est une boîte qui agit comme un conduit pour la rage de toutes les personnes de notre univers.
  • Les Quatre Fantastiques ont rencontré une fois le One-Above-All ("Dieu" dans l'univers Marvel) et c'est … Jack Kirby.
  • The Pathetic Fallacy of Jack of Fables sait qu'il fait partie d'une bande dessinée, au point où il réprimande Jack et Wicked John pour avoir interrompu son histoire "qui n'aurait pas dû prendre plus de deux pages va maintenant devoir se poursuivre dans le prochain numéro »et craint de perdre des lecteurs à cause de leurs querelles.
    • Dans l'événement crossover "The Great Fables Crossover", de nombreux personnages de la principale guest star du livre Fables dans Jack of Fables. Jack, frustré que son livre ne se concentre pas sur lui, sort en trombe du restaurant dans lequel ils se trouvent à la dernière page, s'exclamant: "Je retourne au livre principal, et j'emmène mon artiste préféré avec moi!" Vous pouvez probablement deviner ce qui s'est passé dans le prochain numéro de Fables.
  • Sonic le hérisson (Archie Comics) était comme ce syndrome pré-Cerebus. Maintenant c'est limité à Hors panneau, une bande dans les dernières pages sur les personnages réagissant à l'histoire.
  • Dans DC Crise infinie, Alexander Luthor – le fils superintelligent d'un Lex Luthor d'un autre univers où le mal était bon et vice versa qui a aidé à vaincre l'Anti-Monitor dans l'original Crise sur des terres infinies (pantalon pantalon) – essayait de créer le "monde parfait" en créant artificiellement des milliers d'univers et les mélanger physiquement dans de nouvelles versions. Cela ne fonctionne pas très bien – mais à un moment donné, il lève les yeux vers le lecteur, dit "Tu"et commence à sortir de la page (pas vraiment, heureusement, mais l'art le suggérait). De manière significative, l'univers d'où venait son allié Superboy – à savoir Earth-Prime – était à un moment donné le" monde réel ". un à l'extérieur de votre fenêtre.
  • Scott McCloud's Comprendre les bandes dessinées est un manuel sur le support de la bande dessinée – sous la forme d'une bande dessinée dont le personnage principal (McCloud lui-même) s'adresse au lecteur tout au long, discutant des techniques que le livre démontre également.
  • Émission n ° 46 sur Les Powerpuff Girls s'intitulait "See You Later, Narrator", et s'occupait de Mojo Jojo kidnappant le narrateur et lui faisant lire un script préparé montrant Mojo comme dirigeant et les filles comme indisponibles. L'épisode de la saison 5 "Simian Says" était son animé Expy.
  • La plupart des bandes dessinées les moins sérieuses de l'une des bandes dessinées Anthology de DC Thomson. Par exemple dans Le Beano les personnages interagissent souvent avec le lecteur, l'éditeur et les artistes Beano. Ce qui peut souvent conduire à des choses insensées, par exemple dans un Beano annuel, Billy Whiz a gâché le Beano Office, ce qui a entraîné le mélange de toutes les bandes dessinées, ce qui a entraîné des bandes composites avec des aspects d'une bande combinés avec une autre. Toujours dans The Beano et The Dandy, les personnages lisent souvent la bande dessinée dans laquelle apparaissent leurs bandes.
  • Bande dessinée pour enfants croate Myrtille savoure pratiquement en cela. Chaque personnage est conscient qu'il est dans une bande dessinée, et après le 100e épisode, l'héroïne principale (la titulaire Blueberry) sort en fait de la bande dessinée. Dans le prochain épisode, nous la voyons se cacher derrière les panneaux, écoutant les autres se demander où elle est. De plus, dans l'épisode où elle rencontre l'auteur et le réprimande pour ne pas avoir respecté sa date limite, ou les plusieurs épisodes où elle répond au fanmail.
  • Le titre de STAR Comics Madballs basé sur la ligne de jouets semi-populaire, et bien connu pour son cross-over Care Bears, en était épais. Les personnages de la série n'ont aucun scrupule à être des personnages de bandes dessinées. Tout, de l'interaction avec les lecteurs, en soulignant des choses sur les bandes dessinées elles-mêmes, des références directes à des numéros précédents, etc. était présent. Au-delà de cela, de nombreux personnages ont en fait utilisé les éléments de la bande dessinée comme un pouvoir, que ce soit en se battant avec leurs propres ballons et jeux de mots (et en reconnaissant qu'ils le faisaient), pour amener les Madballs à rivaliser avec les pages de puzzle des livres. et demandez au lecteur de les aider directement dans la continuité.
  • She-Hulk n'avait pas de quatrième mur lors de l'écriture de John Byrne. She-Hulk savait qu'elle était dans une bande dessinée et en a profité. Dans un numéro, elle échappe à un piège en déchirant un trou dans la page, en parcourant deux pages d'annonces et en se faufilant dans l'histoire plus tard.
    • La capacité de She-Hulk à savoir qu'elle est un personnage fictif (qui dans certains ouvrages de référence de Marvel est en fait répertorié comme l'un de ses pouvoirs) refait surface encore de temps en temps.
  • Dans Ultra Bandes dessinées # 1 les memesmiths, le Gentry et le caractère du titre s'adressent tous directement au lecteur. Théoriquement, au moins, le dernier de ces est le lecteur.
  • Astro City a le Broken Man, un être (peut-être) fou qui s'adresse directement aux lecteurs pour les enrôler dans sa quête contre l'Oubor.

    "Ecoute, je ne peux pas tout expliquer d'un seul coup – nous serions là pour une douzaine de problèmes et tes yeux se verraient plus!"

  • Comme son prédécesseur, Fight Club 2 reconnaît pleinement l'existence de l'histoire en tant que fiction, avec des cadres avec des salles de cinéma en cours de lecture "Club de combat, avec Brad Pitt et Edward Norton "en arrière-plan, des personnages tatoués de citations non dialoguées du livre, et une confrontation entre Marla et l'auteur, qui la qualifie de" sa petite fille ". Il y a aussi un certain nombre de pages avec des images 3D d'objets réels renversés sur la page et masquant les faces et les panneaux.
    • Plusieurs des problèmes ont Tyler Durden s'adressant aux fans à la fin, distribuant des «devoirs» au public au nom de Project Mayhem, et félicitant tous ceux qui ont envoyé des photos des devoirs terminés du numéro précédent.
  • Comme vous pouvez l'imaginer d'après son nom de code, Gwenpool est parfaitement consciente du quatrième mur et s'adresse régulièrement au lecteur à travers celui-ci. Non seulement elle raconte son propre livre, mais elle fait des hypothèses généralement, mais pas toujours exactes, sur la façon dont son histoire se déroulera en fonction de ses propres connaissances en bande dessinée. Elle a cependant des limites, car elle est une fan de bandes dessinées de notre monde transplantée dans l'univers Marvel. Elle a été régulièrement aveuglée par des rebondissements dans sa propre histoire, et ses connaissances sont limitées par les bandes dessinées qu'elle a lues et qu'elle n'a pas lues. Quand elle a affronté Deadpool, elle était sérieusement désavantagée car elle trouvait toujours ses bandes dessinées un peu trop "LOL memes" à son goût.
    • Il monte à onze dans l'arc "Au-delà du quatrième mur". À ce stade, non seulement elle commence à voir toutes les conventions de bande dessinée autour d'elle, mais elles deviennent des dispositifs métafictionnels avec lesquels elle peut interagir comme des objets du monde réel..

Bandes dessinées

Travaux de fan

  • De nombreux, de nombreux Série abrégée.
    • Mention spéciale à Yu-Gi-Oh! La série abrégée, où la saison 2 s'est terminée avec l'effondrement du quatrième mur et le spectacle annulé. L'épisode suivant était intitulé «Au-delà du quatrième mur».
      • Et le fait que la troisième saison regorge de références à l'émission annulé. Sérieusement, les personnages (principalement les méchants) en parlent tout le temps.
    • Dragon Ball Z abrégé a commencé comme ça, mais au moment où ils ont atterri sur Namek, la rupture du quatrième mur a pratiquement disparu et était complètement partie au moment où la saison 3 a commencé. Cela dit, les adaptations de films cassent encore occasionnellement le quatrième mur pour un bâillon rapide, comme la discussion sur les "personnages mineurs" dans Planifiez pour éradiquer Noël ou cet échange en Broly abrégé:
    • Aussi le quatrième épisode de L'amitié est la sorcellerie, où Pinkie Pie plie l'espace-temps en pâtisserie le quatrième mur.
    • C'est la moitié de l'humour dans Poney ultra rapide. Dans le tout premier épisode, Twilight propose un plan pour tout résoudre, seulement pour être interrompu par la fin de "To be Continued" (qui devient un Running Gag en épisodes en deux parties). Elle ouvre l'épisode suivant en expliquant spécifiquement les parties de l'intrigue qui ont été laissées de côté dans l'épisode précédent afin qu'il n'y ait pas de trous dans l'intrigue. Scootaloo parle en scat, et d'autres personnages peuvent la comprendre en lisant ses sous-titres (sauf Rainbow Dash, qui ne sait pas lire). Tout le monde fait souvent des jabs sur le montage bâclé ou les dispositifs de tracé stupides. Dans un épisode, Twilight oublie tout sur la chanson thème jusqu'à la mi-parcours.
    • Scootertrix l'abrégé a une relation étrange avec le quatrième mur. La conscience de celui-ci est traitée comme quelque chose qui s'apparente à un pouvoir spécial, (à certains moments, y faisant même référence Le quatrième) et différents personnages ont différents niveaux de succès dans l'exercice de ce pouvoir.
      • Pinkie Pie a accès au script, remarque les légendes de texte et se dispute parfois avec l'éditeur de l'émission, à un moment donné, même en l'agressant (hors écran, pendant le générique de clôture). En fait, le quatrième mur lui est si transparent qu'elle le casse parfois par accident, ce qui provoque Twilight sans fin de confusion. Mais ce qui est particulièrement inhabituel dans son cas, c'est que ses connaissances sont parfois jouées pour le drame, car elle voit détenir ces connaissances comme un fardeau, car elle sait que toute son existence peut être effacée avec un ordre de cesser et de s'abstenir, et sachant abuser de sa quatrième Wall Powers peut potentiellement provoquer un Plot Hole, ce qui a de graves conséquences dans leur monde. Comme on le voit quand elle utilise ses capacités affaiblit lentement le sceau de Discord.
      • Nightmare Moon est parfaitement consciente qu'elle est la principale méchante de l'histoire; elle est juste consternée de voir à quel point son apparence était de mauvaise qualité.
      • Trixie traite sa connaissance du Quatrième Mur comme de la magie noire, en l'utilisant pour compléter ses capacités magiques. Cependant, elle ne semble pas avoir tout à fait le même niveau d'accès que Pinkie.
      • À un moment donné, Celestia, Luna et un garde royal discutent avec désinvolture d'autres séries MLP Abridged.
      • Le dragon de "Dragonshy" décide de quitter sa scène tôt, sachant qu'il a tendance à rencontrer des destins effroyables dans d'autres séries abrégées.
      • Avant l'épisode 15, Twilight Sparkle semblait être le plus dans le noir à propos du quatrième mur, probablement parce que c'est plus drôle de cette façon. Le reste des Mane Six ne semble pas s'en soucier d'une manière ou d'une autre.
  • Chapitre 8 de Takamachi Nanoha sur 2814 par Shadow Crystal Mage malicieusement et avec prévoyance prend une hache sur le quatrième mur, en utilisant ce wiki même comme outil pour faire son travail diabolique.
    • Ouverture des notes de l'auteur pour le chapitre 9, après avoir brisé le dernier quatrième mur de remplacement: "Vers la page No Fourth Wall TV Tropes! Comme vous pouvez le voir clairement, j'ai utilisé un marteau, pas une hache!"
  • L'intégralité des aventures de l'écrivain par Der Blaue Wolf. La base de l'histoire est que l'écrivain a été kidnappé et que ses personnages doivent aller le sauver. Il comprend également des ordinateurs portables qui peuvent changer le monde qui les entoure, simplement en écrivant quelque chose dans l'histoire. Il mentionne même plus tard le lieu «où se trouvait le quatrième mur».
  • Fanfiction Pokemon L'aventure de l'aventure par Missingno. Master est l'un des meilleurs exemples de ce trope. C'est littéralement l'histoire de la façon dont le protagoniste et le narrateur cherchent à se venger de l'auteur pour les avoir écrits dans une histoire terrible.
  • Le Calvinverse a une page entière des moments de conscience moyenne. Calvin et Hobbes: la série en a un autre.
  • Le My Little Pony: L'amitié est magique Fan Fic Jericho.
  • Le CSI fic Et si nos CSI étaient sur Facebook? par Simply Laura est à peu près fait de cela. Les personnages brisent constamment le mur et font référence aux personnages de la série dans leurs messages FB.
  • Après les heures au Watchfire par Raven Kat est-ce; ce sont essentiellement les personnages qui se rassemblent au bar principal de la série après le spectacle pour se plaindre des auteurs de fanfictions qui les tourmentent.
  • Dans le Ed, Edd et Eddy/Mon amitié avec mon petit poney est magique Crossover Fan Fic Ed, Edd, 'n Pony, les Eds sont bien conscients du fait qu'ils sont dans une histoire, tout comme Pinkie Pie. Le quatrième mur est pratiquement démoli dans l'histoire. Exemple: dans le seul chapitre 3, Ed fait une transition de scène (à la demande de l'auteur), Eddy prétend dans son souffle que l'auteur a donné aux Ed "un don généreux de connaissance de vol soudain", Eddy tire la scène derrière lui, Edd parle directement à l'auteur en sortant un nouvel écran après, les Cutie Mark Crusaders font une transition de scène (à leur confusion) et Eddy demande à l'auteur s'il n'a pas à utiliser à nouveau un jeu de mots Incroyablement Lame.
  • Ed, Edd n 'Eddy Z n'a pas non plus de quatrième mur. Les personnages eux-mêmes reconnaissent le fait que la série est un rival Fandom pour Super Mario Bros.Z, quelques personnages font directement référence à des épisodes passés de la série, et de nombreux aspects de la création de la série, y compris les téléspectateurs et l'auteur lui-même, sont évoqués. Quelques exemples:
    Edd: Vous savez, dans l'intérêt des téléspectateurs, et pour assouvir ma curiosité, je crois que l'un de vous devrait expliquer où vous obtenez tous ces haricots Senzu …

    Rolf: Laisse Rolf frotter le gouffre de la victoire –
    Corey: Rolf, je pense que SSJ5G est trop paresseux pour faire ces sprites …
    Edd: Corey, limitons les pauses du quatrième mur à une par saga, merci …

    Corey: Attendez … ah merde, combien de personnes appelleront cette émission une "arnaque de Super Mario Bros. Z" pour ça?

    Rolf: Rolf va-t-il frotter le trou de la victoire?
    Corey: Je n'ai toujours pas les bons sprites créés pour cela, et je doute que nous le pourrons jamais …

  • Dans Journaux d'un fou, Navarone et Discord s'adressent parfois directement au lecteur. Le premier puisque ses histoires sont racontées à travers ses journaux éponymes, et il dit généralement au lecteur d'arrêter de lire ses dossiers privés. The latter since Discord is the God of Chaos and can literally break the fourth wall if he feels like it.
  • Dans The Story to End All Stories, the characters are fully aware that they're fictional and frequently comment on how absurd and illogical the events unfolding before them are.
  • The main draw of Communication is that YOU, the players of the Quest themselves, are talking and guiding your chosen Host directly, with no filter to limit you on what your saying to them.
  • Following its parent game, Hades' Misguidance destroys its fourth wall from the very start. Apparently by the time of the Meta Knight episode they're running out of replacements.

Films — Live-Action

  • Annie Hall: Mixed in with Medium Blending and Imagine Spots.
  • Oliver Hardy regularly broke the fourth wall with his mastery of the Aside Glance. While uproariously funny in itself, it was often used to pad out a gag to give the audience time to finish laughing so they wouldn't miss the next bit of dialog.
  • Mel Brooks loves this trope:
    • Dans Robin Hood: Men in Tights, the introductory scene for Maid Marian begins with a camera zooming in on the door to her chambers as she sings to herself. The scene cuts to the inside of the room where Marian continues to sing until the zooming camera from the first shot suddenly breaks through the window above the door. Later on, when the Sheriff splits Robin's perfect bull's-eye arrow in twain, they have to resort to the script to find out that Robin gets another shot. In the opening scene, a credit run with flaming arrows that ends with a peasant village burning to the ground, is followed by the entire population of that village shouting as one, "Leave us alone, Mel Brooks!" Also, when Robin is training his merry men and they're proving an incredible incapability to fire arrows, he simply turns, looks intently straight at the camera, and then goes back to watching the men without ever saying a word. Nicely played.
      • And then, of course, while walking down the aisle during the wedding scene, the Abbott's staff bumps into the camera, in a possible case of Throw It In!.
      • During the climactic swordfight, one of Robin's lunges through a window spears a bagel out of a crew member's hand.
    • Boules spatiales does this many a time (with Dark Helmet responsible for the vast majority of these, especially when he flips up his helmet in annoyance):
      • The camera zooms in on Dark Helmet in the middle of a dramatic speech and conks him on the head.
      • Helmet accidentally kills one of the cameramen during the climactic final duel.
      • And how does he find out where the heroes escaped to? By watching Boules spatiales, of course! This includes fast-forwarding past the embarrassing scenes that happened to the bad guys, and accidentally finding the scene where they are watching Spaceballs, causing a very confusing conversation about defining the concept of "now".
      • Early in the movie when Col. Sandurs finishes explaining the Spaceballs' evil plot, Helmet pointedly turns to the camera and asks, "Everybody got that?"
      • President Skroob must run throughout the ship because its ridiculous length warrants it. If he walked it would take too long and "the movie would be over."
      • Also, when Helmet captures the heroes, he actually captures their stunt doubles.
      • Comanderette Zircon calls Skroob on an unlisted wall, right above the urinal he's utilizing. They salute and Skroob briefly exposes himself to Zircon. In a subtle blink-and-miss-it moment, Zircon looks directly at the audience and smirks before logging out.
      • Yogurt, the movie's most prominent Jewish stereotype and played by Brooks himself, not only recognizes he's in a movie but admits the real money is made by merchandising and proceeds to market Spaceballs merchandise within the movie itself. Apparently the kids just love the flamethrower.
      • Dark Helmet is aware of the Spaceballs action figures and in fact owns the whole set, which he likes to role-play with in private. The scene was entirely improvised by Moranis.
    • Blazing Saddles repeatedly breaks the fourth wall throughout the film by making anachronistic jokes, having characters address the audience, and generally acknowledging the medium of filmmaking throughout. This culminates in the climax, when the film literally breaks out of its own set and into other sets throughout a Hollywood backlot, ultimately culminating in a confrontation outside a theater screening the film. This is all part of the theme of deconstructing the Western film genre.
  • Wayne's World has Wayne and Garth frequently addressing the camera and viewers.

    Wayne: (To Glenn, the Donut Shop Manager) Hello! What do you think you're doing? Only me and Garth get to talk to the camera.

  • Dans Wayne's World 2, Wayne stops for directions at a gas station, and the old attendant, upon hearing the place Wayne's trying to get to, launches into a story of a girl he once knew there, but is doing so in a stiff, self-conscious manner. Wayne addresses the camera and asks "Do we really have to put up with this? I mean, I know it's a small part, but couldn't we get a better actor?" The old actor is led away and Charlton Heston is brought in to replace him. By the time he's done giving directions, Wayne is in tears, and thanks him, more for the performance than for the directions.
  • The Truman Show features this about the show-within-a-movie for everyone but the titular character. In fact, because the show doesn't have commercials, the people interacting with Truman will often mug at the camera while holding some random item placed there by sponsors. Eventually, this tips Truman off about the nature of his world — when his "wife" launches into a poorly-timed pitch out of nervousness, Truman exasperatedly asks who she's talking to.
  • Monty Python and the Holy Grail. Examples include a random knight killing the "famous historian" relating the knights' strategies to the viewers. The narrator is attacked (off-screen) and replaced by a hairy creature (that continues to leaf through the Book of the Film). The "aptly named Sir Not-Appearing-In-This-Film", the characters talking about "scene 24", a castle guard calling Arthur on using coconuts to make riding sounds, a monster dying because "the animator suffered a fatal heart attack" and, of course, the ending where the police arrives to arrest the protagonists for the murder of the famous historian and one of the policemen turns off the camera, remarking "All right, sonny, that's enough, just take off." — and that's not nearly all of them, mind you.
  • 24-Hour Party People is an interesting one considering that it's a biopic. Aside from the main character narrating on screen (including one time where he remarks that one scene will be "cut and appear on the DVD extras"), there is also a scene in which a (fictional) incident is recounted in which Tony Wilson's wife cheated on him with Howard Devoto of the Buzzcocks and Magazine. The real Devoto, playing a janitor in the scene, turns to the camera and remarks "I definitely don't remember this happening!". And there's also one point in middle of the film where every cameo by an actual musician is pointed out, which happens right after Steve Coogan — playing Tony Wilson — points out that the guy in the last scene was the actual Tony Wilson.

    Tony Wilson: I'm being postmodern. Before it was fashionable.

  • The postmodern Peter Sellers biopic The Life and Death of Peter Sellers.
  • In the Mouth of Madness married this trope and had little half-movie, half-trope babies. Trent is looking for a very popular author who has vanished while writing a novel. He finds out that the town featured in the previous book is a real place, and goes there to find every minute detail exactly as it was in the book. He also finds the author, only to slowly discover that he himself is the protagonist of the author's current novel, "In the Mouth Of Madness". The author has written himself into the book, which is about how that same book ended the world, and how Trent has to try and stop it from going to publication. Otherwise it will drive people nuts, turn them into monsters, and allow the really bad monsters back into the world. Trent fails of course, but sees a movie theatre playing the movie adaption. On the screen is the beginning of the film the audience has just been watching. Epic Mind Screw.
  • George of the Jungle is a serious contender for king of this trope. For one, the beginning of the second movie, where George explained, at the behest of the narrator, "Me new George. Studio too cheap to hire Brendan Fraser."
    • George in the first film makes constant asides to the audience and often chats with the narrator. The villains outright berate the narrator for giving them such a hard time.
  • Funny Games is a horror movie with No Fourth Wall. One of the villains is well aware that he's a slasher movie villain, and frequently talks to the audience. Why is he torturing this innocent family? Because his only motivation to kill is to please the audience, and breaking the wall takes the audience away from an observer's point of view and makes them part of the movie itself. This is the director's way of guilting the horror movie watcher; by making them the sole reason for the protagonists' demise. Isn't that why people watch these movies?
  • Tout ce qui fonctionne, the Woody Allen comedy starring Larry David, opens and closes with the main character Boris openly and deliberately speaking to the audience, fully aware they are in a movie theater. This is toyed with for laughs, as it seems only he is capable of seeing and speaking to the audience. In the opening scene, it even shows that from the point of view of everyone else, he's speaking to no one. A black woman shuffles her child away, fearing he is insane. He explains this in the end by pointing out that he's the only person who can see "the whole picture".
  • The indie film Killer Flick is built around this trope. The characters are all filmmakers who reside in the film they are creating. They try to make it as violent, sexy, and exploitative as possible so they can sell it and earn lots of cash.
  • Dans Return of the Killer Tomatoes!, talking to the camera is the least of it. The film stops halfway through because it runs out of money, then continues full of Product Placement. When someone needs paper to write a message, he uses a copy of the script. The phone-in presenter from the framing device calls during the finale scene. When someone calls attention to the setup/payoff nature of the film, a pizza tossed into the air in the first scene lands on his head. And so on.
  • Peter Greenaway's The Baby Of Macon heavily blurs the line between what is fictional and what is "real" within the film. The plot of the film is sometimes a morality play performed before an audience, but sometimes it seems real. Sometimes members of the audience are just spectators, and sometimes they walk onstage and influence the plot. We're frequently shown the actors backstage, and sometimes the actors conspire to make what happens on stage real. When the performers all make a curtain call, the lead actors, whose characters have died, remain dead. The living actors bow to the theatrical audience, and then the audience stands up and they all bow to the camera.
  • Le Road to … series fully embraced this trope by Road to Morocco.
  • Another Bob Hope vehicle, The Princess and the Pirate does this at the end when his Road To co-star Bing Crosby turns up as the guy who the heroine actually loves, prompting a rant from Hope about he'll never make another picture with Goldwyn.
  • Monsters Crash the Pajama Party. As this was part of a Spook Show, a theatrical presentation that combined films with Audience Participation, specifically the actors from the film running into the theaters and "attacking" people in the audience, this is inevitable. However, this happens avant que the audience participation begins.
    • Big G the Gorilla sometimes holds signs reading "FANTASTIC" "INCREDIBLE" and "SPECTACULAR" right up to the camera.
    • Miss Petrie calls up Professor Williams to tell him that she's sure that something is wrong, adding, "I read ahead in the script!"
    • Mad Doctor tells Big G and his other unnamed Mooks to aim the laser at the theater.
  • "The Movie Hero" a movie where Jeremy Sisto's character belives he is The Hero in a movie. He talks to the audience constantly, all the while discussing common tropes in movies. He even titles other characters in the movie; The Love Interest, The Side-Kick, ect. And he tells them what roles they play in hs movie. When addressing the audience, other characters will ask him who he is talking to, and he replies, "My audience". The rest of the characters think he's insane, to the point where he has to go to therapy for it.
  • In the 1997 informative video The Kids Guide to the Internet, despite explaining things to their friends, Peter and Dasha face the camera to speak. The viewer is directly addressed by the Jameson family at the beginning and end, but visitors Lisa and Andrew never address or acknowledge the camera.
  • Fight Club has its protagonist ("The Narrator") turning to the camera to tell us about Tyler Durden, complete with Tyler himself pointing out "cigarette burns" in the physical film the movie was supposedly recorded on. Tyler also points out one of the flashback gags, vandalizes the FBI warning at the beginning of the DVD, and splices subliminal images of himself and frames of porn into the movie itself.
  • Deadpool, naturally.

Littérature

  • Breakfast of Champions involves Kurt Vonnegut treating the reader as someone who does not understand earth customs and regularly pauses to explain concepts and includes cute doodles of things like motor cars (used for transport) and anuses (used for bowel evacuation and injecting drugs). In addition, he as the author writes himself into the book to speak with the main character, explains that it is a novel, that he is the author and that the character is fictional and then grants the main character freewill.
  • Italo Calvino's If on a winter’s night a traveler is written in the second person, with the Reader as the protagonist, and begins: "You are about to begin reading Italo Calvino's new novel, If on a winter's night a traveler."
  • Robert Rankin's novels are full of No Fourth Wall devices, including characters complaining the plot is the same as an earlier book, and minor characters demanding names and descriptions before they'll continue. Notably, Armageddon: the Musical concludes with Elvis Presley listing every Fridge Logic moment in the book. He doesn't get a satisfactory explanation. At one point, two characters reappear some time after apparently being blown up. One says "Oh, it's us! I thought we were dead!"
    • Dans The Witches Of Chiswick, the plot really starts to get muddy and away from Rankin about 3/4ths in. One character comments more or less: "This is starting to get so confusing, I wish the author of this book would plan things out ahead of time instead of making up the story as he goes along".
  • In Robert Anton Wilson's and Bob Shea's Illuminatus! trilogy, the main characters eventually learn that they are characters in the book itself, being narrated by an all-powerful, overseeing AI. Of course, the book is so perspective-jumping and Mind Screw-filled that what the "truth" is intentionally left up to the reader.
  • The novel How to Mutate and Take Over the World is all about… the writing, publication, and aftermath of How to Mutate and Take Over the World. A review of the book actually appears in the book about a third of the way through, and it spoils the ending.
  • The Stinky Cheese Man and Other Fairly Stupid Tales manages to break the fourth wall before the first page, when the Little Red Hen appears on the front endpaper, loudly demanding that Jack the Narrator tell her story (or at least help bake her bread). Things only get worse as the book progresses: Little Red Running Shorts and the Big Bad Wolf refuse to perform their story after Jack the Narrator spoils the ending. The Giant takes issue with the usual plot of "Jack and the Beanstalk", so he tells his own (nonsensical) story, then threatens to eat Jack the Narrator if he can't tell a better one. After Jack bores the giant to sleep with a recursive story, he tries to sneak away by moving the endpaper a few pages before the actual end of the book.
  • Dans The Neverending Story, this becomes the entire basis for the first arc. It turns out that the whole purpose of Atreyu's adventure inside the book is to draw the main character (who is outside the book, reading the book… inside the book we're reading… you know what I mean) into the story and give him important information. To further complicate matters, there is another "neverending story", or possibly the same one, being written inside the story by a god, which is the story of the world. The main character also rewrites the reality he inhabits by coming up with new stories.
    • The movie version went a step farther, in that the Childlike Empress makes direct reference to how the audience has been observing Bastian all morning.
  • The classic childrens book The Monster at the End of This Book features the Sesame Street muppet Grover — having read the title on the frontispiece — taking increasingly (and comically) desperate measures to prevent the reader turning any more pages, as he's terrified of meeting the Monster at the end. Fortunately, it turns out the titular monster is Grover himself.
  • Mister B. Gone by Clive Barker is about a demon trapped inside a book, the book he is trapped in is in fact the one you are reading. The plot of the novel is: the demon attempting to convince you, the reader, to burn the book, this book. Over the course of the book he asks politely, begs, bargains, and out-right threatens you in his quest to get you to stop reading the book and burn it right now.
  • Sophie's World by Jostein Gaarder evolves over the course of the plot into a multi-layered version of this that doubles as a textbook on the history of philosophy as revealed by a Genre Savvy, quasi-Author Avatar philosophy teacher, much to the shock of the title character. By the end of the book, the dominant POV has switched to Hilde, the daughter of the "author" of a book called "Sophie's World," who has received the book as a birthday present from her father, who is not Jostein Gaarder. Confusing, but brilliant.
  • The way House of Leaves is written plays up everything in it to have actually happened, with Johnny Truant directly addressing the reader several times. The problem comes up when other, supposedly fictional agents begin to address the reader directly as well. There is a scene where Navy reads and burns a copy of House of Leaves.
  • The main character in Chris Wooding's Poison learns that she is a character in a story being written by the heirophant of the Fairy world. When she goes into a suicidal malaise after hearing this, she is snapped out of it when bluntly reminded that she isn't just a character in a story — she is the main character in her story. She ends the book, beginning to write the Story which we have just been reading.
  • Examples abound in the parody novel Bored of the Rings, mostly involving characters looking to see how much of the book remains to be read before they can get out of the mess they're in.
  • In the novel The Great Good Thing and its sequel Into the Labyrinth, the protagonist, Sylvie, and everyone surrounding her, are all characters in a book-within-the-book. They all have to run around in the book to perform their lines for Readers, and Sylvie even starts up a friendship with the Writer. In the second one, the book is moved online, and they have to run down the screen. They get their dresses caught on the words, etc. There's no fourth wall at all in the book-within-the-book.
  • In the Martha Soukup short story The Story So Far, the narrative character is a secondary character in someone else's story, and is only conscious while she's "on screen", and is forced to act like a puppet. But she learns tricks that let her remain aware and in control of herself while the main character and the readers can't see her.
  • In the Robert A. Heinlein novel The Number of the Beast, the four characters eventually discover they can travel between worlds that only exist in fiction, as well as other "real" dimensions. This leads them to speculate on traveling to universes created by Heinlein. They mock Stranger in a Strange Land, saying, "Some people will write anything for money."
  • Captain Underpants is fraught with examples, including green gloop running through the classrooms of their school, through hallways, and even covering up the text on the page.
  • Le Samurai Cat séries est this trope. It folds, spindles, mutilates, and slices sashimi out of the Fourth Wall, so much so that the feline characters constantly deride the author for being such a spineless, unimaginative hack. Occasionally, this incurs direct in-story retaliation in the form of bad luck and/or nasty enemies' sudden and inexplicable appearance.
  • In Michael Gerber's parody of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Chronicles of Blarnia: The Lying Bitch in the Wardrobe, one of the characters asks another if he thinks they are in a children's book. The protagonist merely replies if the asker hasn't seen the page numbers below them.
  • Dans The Book Thief Death often addresses the reader directly.
  • In John Dickson Carr's mystery novel The Nine Wrong Answers, the narrator regularly halts the action to inform the reader that if you think such-and-such is the case, "you're wrong."
  • Becoming quite common in children's books. Mick Inkpen is another example. Hide Me, Kipper! starts with "Kipper was sitting on the first page of this book, wondering what sort of a book it was going to be". Then a mouse (who first turns up before the title page, saying the legal bits are boring) hides in the foldy bit in the middle of the book. This Is My Book is about a dragon who steals letters from words in the book.
  • Dans The Pale King, David Foster Wallace addresses the reader directly whenever he narrates.
  • Dans The Basic Eight, you are reading the protagonist's diary that she has edited and sold now that she's been arrested and imprisoned for a now world-famous murder.
  • The Language of Literature (Grade 6): As a reading textbook, the audience is often addressed and given questions to create a deeper understanding of the text.
  • Isaac Asimov's Extraterrestrial Civilizations: Dr Asimov writes this Non-Fiction with very little reference to himself as narrator or you as audience, but occasionally addresses the reader directly. This results in many tropes being Discussed based on their real-life inspiration.
  • ML Lanzillotta loves this trope. Most of her narrators address the audience directly at some point.

Live-Action TV

  • 'Allo 'Allo!: Rene would regularly explain his ongoing predicament at the start, and make asides at the Audience regarding other people's leading statements.
  • Sur Andy Richter Controls the Universe, Andy's voice-over narration would frequently address the audience directly.
  • The Narrator in Arrested Development addresses the audience, responds to things the characters say, criticizes the narration of other TV shows, and observes after a remark about "arrested development," "Hey! That's the name of this show!"
  • Barney Miller: Averted, literally, when the show actually built a fourth wall. Several episodes in the final season featured reversed shots from the usual setup, with the camera staged somewhere around the holding cell, usually the rear of the set, pointed back out across the squad room, with an actual fourth wall placed where the cameras would usually be placed.
  • The characters on The Basil Brush Show probably never went an episode with the fourth wall intact. They would frequently pick up a copy of the script and read ahead, get to places quickly by cutting across the set, and on one memorable occasion total disaster was averted by the appearance of a director rushing in to explain to the marauding pirates that they'd wandered onto the wrong set. Another incident involved the camera man quitting after the cast gets cream on the lens, only for the guest star of the week to offer to operate the equipment.
  • Dans The Bernie Mac Show, Bernie frequently goes to his garage to sit facing the camera and address "America."
  • Ted, of Better Off Ted, talks to the camera a lot.
  • Boston Legal: If there were a Fourth Wall for this show, Denny Crane couldn't exist. During the Alan/Denny Balcony Scene:
  • Buffy the Vampire Slayer: Invoked by Anya in "Once More, With Feeling" to describe how exposed she felt when she and Xander burst into song: "It's like we were being watched, like there was a wall missing from our apartment. Like there were only three walls, and not a fourth wall."
  • One of the earliest TV series that regularly broke the Fourth Wall was The George Burns And Gracie Allen Show, a Sitcom in the '50s. Not only would George (playing himself putting on a TV show) turn to the audience and comment on what the other characters were doing, but in later episodes he would often direct the audience's attention to a TV set in his private study. On the screen you would see the events that he was talking about, occurring in real time as if it were a security camera monitor. He would use this information to intentionally complicate things in order to ensure maximum Hilarity Ensues.
    • In one episode, George and Harry — his announcer — are in the living room when Harry says, "I understand you're about to rerun a few episodes, George." George says, "Yes, why tonight we're doing the one in which Gracie tries to get me to invest in the Ballet. In fact, it's coming on right now, let's go watch." They get up, and we fade into the first scene of said episode.
    • In the original live broadcast, this is how the commercials were done. (George walks over to the "neighbor"'s "driveway" where he's waxing his car; "Say, Bob, that sure is a beautiful new Oldsmobile you got")
    • There are some public domain episodes with Carnation Milk as a sponsor. These truly get inventive in working the product into the storyline.
    • Inverted in a VERY funny twist. George tells Gracie that if she can prove that his car really WAS crushed by an elephant sitting on it — and not by her driving — he'd buy her a mink coat. They gather all the witnesses who say that, yes, there was a circus parade and the elephant got loose… When George asks the final witness: "Who are you?" the man says "I'm from Beverly Hills Furs. I was watching the show and I knew you would lose." He holds up the mink, and the gleeful Gracie takes it.
  • Clarissa Explains It All was pretty much the queen of this trope. The title character would open every episode with a monologue directly to the camera, and she would also address the audience after a major plot point in the episode, which usually happens around 5 times an episode. She also makes the occasional facial reaction directly to the camera during a scene.
  • Le Colgate Comedy Hour. Though sometimes the performers would build one and then knock it down again, just for fun.
  • Dans Eerie, Indiana, there was a entire episode about Marshall's life suddenly becoming a television show, and finding out that he isn't even Marshall Teller at all, but somebody they keep calling 'Omri Katz' (which is, of course, the real name of the actor playing Marshall). Dash X is still a villain in the tv-show world rather than his actor, but acknowledges that the only reason he is one is because he's a fictional character.
  • Ellery Queen (NBC, 1975) always had one No Fourth Wall moment every episode. Immediately following Ellery's mandatory Eureka Moment, he would turn to the audience, briefly review the key evidence for the viewers, and ask them if they'd figured out who the culprit was — right before going to a commercial. (See All In Hand.) This was a trademark of the radio show as well.
  • The British sketch show, The Fast Show, has three recurring characters that directly address the viewer: The Fourth Duke of Wimbledon (who remarks to the viewer on his compromising situation) an unnamed character played by Mark Williams (who is shown engaging in suspicious activity before noticing the camera and saying, "You ain't seen me, right?") and Unlucky Alf (who sadly reflects to camera about his bad luck, before falling victim to it).
  • The Fresh Prince of Bel-Air broke the fourth wall quite often, but the moment that evaporated it came during the premier of the fifth season. The previous season had ended with Will deciding to remain with his mother in Philadelphia, leaving viewers expecting some sort of emotional catharsis. Instead, the next episode opened with an NBC executive approaching and informing him in no uncertain terms that the show was called "The Fresh Prince of Bel-Air," and that was where he was going to be. Then shoving him into an open van(marked "Star Retrieval Unit").
    • And then there's the episode that has Carlton running screaming through several sets for the episode and then into the audience.
    • Will asking "If we're so rich, why we can't afford no ceiling?" … as the camera pans up to show the studio lights.
    • Jazz asking Will "Who's playing the Mom this year?"
  • Season 2 of the musical comedy Galavant en général.
    • The opening number of the first episode of Season 2 is the single most self-referential moment of the entire show. It includes them saying that since it's a new season they need to retire the old theme song and come up with a new one, (in part because the old one failed to win an Emmy Award) the passage of time in the real world, imploring viewers to watch episodes live and ignore other events that would drive their ratings down, how unlikely it was that they got a second season after mediocre ratings and ending the first season on an unsatisfying cliffhanger, etc. And that is still only part of the fourth wall breaking they do in the course of a single song.
    • The finale makes multiple references to the fact that it will be highly unlikely that the show gets to be renewed for a third season, as well as The Jester referencing the first season's cliffhanger ending and wondering if they will do the same for season 2. (They don't.)
  • Australian mockumentary The Games played with the trope on several levels. The characters break the fourth wall, but it's the fourth wall of the In-Universe documentary that is the Framing Device for the show, ne pas the real television show in our reality. However, one of the characters, Tim, does seem to be aware and remarks about how they are in a scripted tv show.
  • Israeli sitcom Ha Pijamot, every episode.
  • In Episode 10 of Hikonin Sentai Akibaranger, Akibared, Nobuo, becomes aware of the fourth wall. He convinces the rest of the characters of this and this trope is in full effect for the rest of season 1 as the final episodes revolve around the Akibarangers trying to thwart attempts from the producers to end the show. Season 1 ends with The heroes fighting the end credits
  • The BBC series Bousculer includes at least one fourth wall-breaking moment in every episode, in which one or more of the main characters will address the audience about the con currently underway, sometimes as time freezes around them. Some episodes are more subtle, having a character perhaps wink at the camera.
  • Le iCarly online content (as opposed to the in-universe webshow) often breaks the fourth wall, by way of a 40 year old man filling in for Sam, and a clip of Freddie informing the 'Baby Spencer' character (who is played by Jerry Trainor), that Jerry Trainor was nominated for an award.
  • The ultimate example may well be the late-80s Showtime series It's Garry Shandling's Show. From its self-referential theme song to its numerous guest stars, it extensively parodied the conventions of the Sitcom while actively demolishing the fourth wall, starting right from its opening credits:

    ''This is the theme to Garry's show, the opening theme to Garry's show.

    Garry called me up and asked if I would write his theme song…''

    • A common gimmick was to have Gary riding his bicycle between the various studio sets where the program took place.
  • Kamen Rider Zi-O normally has its fourth wall firmly in place, but the series also has web-exclusive Supplementary Plan half-episodes where the charactersnote are fully aware that they're fictional characters in Kamen Rider Zi-O and discuss certain aspects of production, such as openly admitting that the Kamen Rider Fourze arc had to be rewritten because the actors were tied up filming Bleach and couldn't Cameo. In one memorable episode, protagonist Sougo is warned about a world-devastating war and decides that the best way to prevent it is to blow up Toei Company, the people who make Kamen Rider.
  • Malcolm in the Middle: Would regularly make snide comments to the audience.
  • The Mighty Boosh spits on your fourth wall! They not only look at the camera and talk to the audience, they make in-episode references to the show's premise, the actors playing multiple characters, that episode's costumes and special effects, even the show's channel and time slot.
  • Mister Rogers' Neighborhood spends each episode with Fred Rogers talking directly to you, his "television neighbor," in the kindliest tone you can imagine. He occasionally mixed in some Medium Awareness as well, showing us how his house was actually a set on a TV sound stage and taking us behind the scenes to meet the crew.
  • Les singes is a primary example for this trope, as the group's television personas somehow "knew" and expressed the fact that they were on a TV show, while they remained within their wacky sitcom universe. Whereas, gags of this type are aplenty in nearly every episode: making direct remarks and asides to the audience, funny (often times, ad-libbed) comments about scripts, acting, production, censorship, even adding outtakes into actual scenes.
  • Monty Python's Flying Circus was famous for breaking the fourth wall; but one unfortunate example was actually forced on them by Executive Meddling . A sketch that the team wanted to do, about undertakers asking a man if he wanted to eat his mother's corpse instead of burying it or burning it, was only allowed by the BBC if they showed the studio audience reacting with distaste and invading the set during the sketch.
    • And of course, everyone's favorite Running Gag character, Colonel Mustache. "Quite right, quite right, stop this sketch, it's getting entirely too silly."
    • And here's the clincher: offenses against the "Getting out of sketches without using a proper punchline" Act, four, namely, simply ending every bleedin' sketch by just having a policeman come in and… wait a minute…
  • Dans Mystery Science Theater 3000, the crew of the Satellite of Love were apparently broadcasting their skits to the Mads and us. In every skit, Joel, Mike, or one of the 'bots would talk to the camera, addressing either the Mads or the audience. (The Mads also talked to the camera, but almost always to address the SOL crew.) The camera itself was a character (a robot named Cambot), albeit one who never spoke, rarely interacted with the others (beyond filming them), and was only seen during the opening theme. And the Magic Voice's main job on the Satellite of Love was to announce the start of the first commercial break.
    • This is explained very early on as that Dr. Forrester is selling the tapes of Joel and the bots to Comedy Central. Several of Forrester's bits revolve around trying to increase their ratings. (Introducing Timmy Bobby Rusty, giving them a drug to turn them into the cast of Renegade, etc.)
    • The Movie reversed this, with Dr. Forrester addressing the audience while Mike and the 'bots ignore the fourth wall.
  • Ned's Declassified School Survival Guide was famous for this. In the "Guide to Girls", Ned had nothing to offer and asked Moze to give some tips. After a false start, he stops her and produces a CD player from under the table to play the "tips" BGM.
  • Dans Nowhere Man, in episode The Spider Webb, a writer/producer makes "The Lenny Little Show", a program basically Nowhere Man with really bad reenactments of scenes from the show, and gets really trippy when they are filming scenes he is doing at the same time, until he becomes really genre savvy and reverses what is written/filmed to outsmart the writer/producer.
  • Brazilian sitcom Os Normais had the two protagonists frequently monologuing to the audience. Once a couple the protagonists were visiting noticed the cut to a Flash Back, and did one themselves (complete with the husband asking "who filmed this?" as the flashback ended).
  • PJ Katie often spoke right to the viewer on PJ Katie's Farm.
  • Rab C. Nesbitt: Espousing theories at the audience. These may have been deep and important, but were almost incomprehensible.
  • The story arc of Red Dwarf Back To Earth consists of the intrepid four discovering that they're just characters in a TV series, and trying to track down the writers to find out how long they have left. Subverted, as it was actually a group hallucination brought on by the ink of a psychedelic squid.
  • The Red Green Show: The majority of the Lodge's escapades are exposed almost exclusively through the characters directly talking to the audience. One recurring skit, "North of 40", has Red talking right to the audience about problems that middle-aged men face.
  • Occurs frequently on The Red Skelton Show.
    • Red often makes jokes about flubbed lines and similar mistakes, and informs the audience about things that have gone wrong.
    • Very common in a literal form during episodes focused on Freddie the Freeloader: Freddie would be unable to open his front door for one reason or another, and would simply walk around the front wall into his house.
  • The first season of Roger Moore's TV series Le Saint began each episode with Simon Templar addressing the audience and setting the scene for each week's adventure. After the show moved to color production, this was replaced by narration.
  • Saved by the Bell: Zack Morris is notorious for saying, "Time out," then stepping aside to speak to the audience. This may be an homage to Ferris Bueller's Day Off or the musical Stop the World, I Want to Get Off, both used a similar gimmick.
    • Taken to the extreme in one episode, where he uses it to dodge an incoming punch and escapes. Nobody seemed too bothered that he just vanished into thin air…
    • In an episode of Jimmy Fallon, Mark-Paul Gosselaar showed up as a guest, as Zack Morris, in character and all, and used the "time out" trick at one point to explain something without Fallon interrupting him. When he timed back in, Fallon stopped for a second, then asked, "Did you just time me out?"
  • Seans Show was a UK sitcom with a similar premise to It's Garry Shandling's Show; the main actor/character (Irish comedian Sean Hughes) knew he was starring in a sitcom and what sort of plots he could expect as a result.
  • Secret Diary of a Call Girl. Belle talks to the audience at least as much as she talks to anyone on-screen.
  • In the last episode of Curseurs, they slide to a world with a television program based on the sliders' adventures, complete with lampshading all the major show tropes and fan reactions.
  • Subversion: Stargate SG-1 ended up plotwise, with Wormhole X-Treme, a show made by an alien character suffering from multiple amnesia layers. In a bonus clip for the 200th episode, one of the real-life actors playing an actor in the show becomes confused and disoriented at where exactly the fourth wall is. Doubly subverted in that the actor was just, well, acting and knew what was reality all along.
    • Towards the end of the episode "Wormhole X-Treme, one character manages to utterly annihilate the fourth wall. It's set up as one of the actors from Wormhole X-Treme being interviewed, only for the man to give his real life name. It actually breaks the wall more from there.

    Christian Bocher: I'm Christian Bocher. I'm portraying the character of Raymond Gunn, who portrays the character of Dr. Levant, which is based on the character Daniel Jackson, portrayed by the actor Michael Shanks. Originally portrayed by the actor James Spader, in the feature film. (looks at camera operator with a concerned look) Are you okay?

  • Tales from the Crypt has the Crypt Keeper, who casually talks to the audience in each episode. Some of the few (live) characters he has during his intro and outro segments are also shown to be aware of the fourth wall.
  • The 1952 Tales of Tomorrow episode "The Window" has a live drama show being interrupted by spontaneous images from an apartment somewhere in the city, where a woman is conspiring with her boyfriend to murder her husband. Made more surreal in that the drama in question is a previous episode of Tales of Tomorrow, re-shot word for word so audiences would initially think it's a repeat.
  • Almost every Episode of That Mitchell and Webb Look features a sketch where members of the cast sit around on set between takes, usually wearing costumes from other sketches, having humourous conversations. In one such sketch, Robert Webb was astonished to find that these sketches were scripted as well, being shown a script describing the conversation he thought he was having spontaneously. Other sketches have involved debating guest stars, (they hired The Queen, but actually wanted Helen Mirren) and lampshading the conventions of sketch comedy, such as the inconvenience of having to write and film 50% deliberately unfunny material, in order to qualify as 'hit and miss'. They also produced this gem.
  • Titus (a sitcom starring comedian Christopher Titus):
    • The main character addresses the audience from a small room with one light bulb, viewed through a black-and white filter. On one occasion, when he is drunk, there are three light bulbs.
    • His father Ken and girlfriend Erin both addressed the audience from that same small room on occasions where Chris was unable to make it or when their narration was thematically important.
  • WandaVision: Episode 6, which primarily takes influence from Malcolm in the Middle, has Tommy and Billy frequently make aside comments to the audience.
  • The sitcom The War at Home has its characters speaking directly to the audience by providing cut scenes with commentary throughout the show. Usually, Michael Rapaport's character is the primary one to do this, but all the other characters get their chance occasionally.
  • From the UK, The Young Ones regularly made reference to their being characters on a sitcom. In one episode, Neil's mother visits to complain about his working on a program with such shoddy production values, smashing a chair as an example; Mike points out that the chair is a breakaway prop Rik was going to be struck on the head with. Sure enough, Rik gets clobbered with a chair a few minutes later … and is knocked unconscious, because his attacker unwittingly uses a normal chair instead of the ruined prop!
  • Spiritual Successors to The Young Ones sommes Filthy Rich & Catflap et Bottom, in which the main characters constantly address the camera/audience.

Musique

  • The Offspring's album "Smash" features a narrator addressing to the listener in the first track. The same voice appears in the end of track 5, "Genocide", saying "Hmm, I specially enjoyed that. Let's see what's next." Then, after track 14 "Smash", the narrator waves goodbye to the listener and the very riff from Genocide is played several times in a loop, much like an Ending Theme. Then, after several minutes of silence, an Arabian version of track 7 Come Out And Play's riff ensues. Curiously, the very same Genocide riff re-appears in the next album "Ixnay on the Hombre" track 14, "Change the World", only decreased by a tone.
  • The folk song "Railroad Bill and the Kitten" is about a character who gets into an argument with the singer. It doesn't end well for him.
  • "Weird Al" Yankovic's "This Song's Just Six Words Long" consists of the songwriter proclaiming he can't think of anything to write about, so he'll just keep repeating the same phrase.
  • Simon & Garfunkel's "Leaves That Are Green" (and Billy Bragg's "A New England") kicks off with the line

    I was 21 years when I wrote this song
    I'm 22 now but I won't be for long

  • Neil Young's decidedly odd Rock Opera Greendale features the following line as one of the characters is dying and suddenly notices Young singing about him:

    That guy just keeps singing
    Can't somebody shut him up?

  • The Beatles had "Only a Northern Song", a song written (by George Harrison) largely out of contractual obligation, in which the lyrics talk about how badly-written the song is, and then says that it "doesn't really matter." It's basically a Take That! against the publishing companynote .

    If you're listening to this song
    You may think the chords are going wrong
    But they're not
    He just wrote it like that

  • Pretty much all of Dokaka's "Human Interface" album. He interrupts various tracks with a request to skip them, uses multiple tracks to announce how much time has passed or what point of the album the listener is currently at, and at one point suggests the bitrate at which the album should be encoded should the listener wish to save it to mp3 player.
  • The band Gorillaz sometimes acknowledge that they're cartoon characters; 2D once claimed that paternity suits from live-action women "don't stick because I don't have any DNA", and Murdoc shrugged off murder charges after the El Manana incident with "I'm a cartoon, mate. You'd have a hard time sticking anything on me. I don't even have fingerprints."
  • The old novelty number "Crazy Mixed-Up Song," by Homer and Jethro (among others): "You may think that this is the end/Well it isn't 'cause there is another chorus." Then: "You may think that this is the end/Well it is" and the song cuts off.
  • "Something Changed" by Pulp starts:

    I wrote this song two hours before we met
    I didn't know your name or what you looked like yet

Lutte professionnelle

  • Pro wrestling's version of this is called breaking Kayfabe: the performers acknowledge for once that what they're doing isn't real, as if we didn't already know that. Most notably, whenever a wrestler dies or makes a memorable exit from a company, the other wrestlers will temporarily put aside the fact that they "hate" each others' guts and come out to the ring together.
  • Professional Wrestling, in its various forms, has no fourth wall (or first through third, for that matter) by design; the wrestlers, announcers and such frequently directly address the audience (either the audience in attendance at the arena, the viewers at home, or both), and the production crew often find themselves employed as part of various angles. As well, those speaking often directly address the camera in order to talk to others not appearing in the on the show, saying, "I know you're somewhere watching this right now…"
    • D-Generation X would often use this to comedic effect by lampshading it into oblivion, including a time Triple H covered up a flub with "Gimme a break, it's live TV.", and once acknowledging he hadn't anything funny to add to the DX mantra that week because coming up with new ones every week was hard.
    • The fourth wall tends to conceptually materialize whenever the action leaves the arena proper, with the backstage area and all other parts of the world beyond the ring supposedly being "behind the scenes" where the audience can't see what's happening. A common way to exploit this is to have a heel wrestler "secretly" insult someone or admit to an ally to having committed a heinous deed, completely disregarding the TV camera being held right next to them. Sometimes the commentators will reveal that the whole world heard everything, but more often everyone will "remain ignorant" of the incident until the face confronts the heel in the ring and reveal they obtained a videotape, which will then be shown on the Titantron.
    • In the territorial era, where kayfabe was sacroscant, the issue "backstage", in the "lockeroom" or otherwise outside of the arena was usually solved by an excited reporter supposedly "finding" some happening and yelling to the camera man to hurry up, usually resulting in the heel getting caught doing something he didn't want the baby faces catching, such as Crippler Rip Oliver breaking Mike Von Erich's hand in Texas or Eddie Gilbert trying to kill Jerry Lawler in Memphis. In the post territorial era, BJ Whitmer became "the smartest man in wrestling" by actually watching the show and acknowledging locker room happenings recorded on shows he wasn't even on.
  • One of CM Punk's signature spots is to steal an article of clothing and hide from his opponent in the audience. How well it works depends on if Punk is a heel or face at the time, or if the audience is generally more interested in seeing what his opponent will do in the case of while he did it in a match against Delirious in IWA Mid-South.
  • A wrestler no longer employed by a company continuing to show up "as a fan" is not uncommon, especially when the company's contract leaves room for them appearing on camera for another show, such as Austin Aries showing up at ROH shows "as a fan" while working for TNA. What was unusual was Austin Aries signing an ROH contract then and there after TNA fired him when it decided to pull its contracted wrestlers out of their ROH bookings to fill up a show and Aries, though not booked, obviously wasn't going to make it. It's considered bad form when contracts does not allow appearances but the rival promoter decides to film the wrestler anyway, such as when TNA decide to have the camera linger on Robbie McAllister of the Highlanders, which lead to the breakup of the Tag Team.
  • NXT, by reason of it being a try out show, needs a lot of this. Bryan Danielson calls David Otunga a worse wrestler even though Bryan always lost to him, because everybody knows Bryan is better, which is basically breaking the fourth wall and basically saying Otunga only won because it was already agreed he would when rhetorically asked if Otunga really deserved his ranking. It's topped itself in season three, where Josh Matthews literally tells Michael Cole that a wedding their watching is fake.
  • The feud between Lei'D Tapa and Epiphany in Ohio Valley Wrestling was kicked off during a match between Tapa and a Blossom Twin that focussed inappropriately on Tapa's body to the detriment of the action. Turns out Epiphany's boyfriend Eddie Diamond had stolen a camera in order to get a better view.
  • Promotional material for ROH Golden Dream largely consisted of Jay Briscoe's image tapped over Adam Cole's with the words "Real World Champ" crudely written in crayon.
  • Ring Warriors was revived in 2011 as a member of the National Wrestling Alliance and began signing up wrestlers from the Caribbean in preparation for running shows there as former NWA member Championship Wrestling From Florida had. Apart from Haitian wrestler Tyree Pride, who was already working as a manager in the NWA and used as a wrestler again by Ring Warriors for these Caribbean shows, none of this talent was actually booked by 2012. This caused La Rosa Negra to interrupt the first Bahamas show in Nassau to complain about being an Advertised Extra and demand a shot at the winner of the first match in Ring Warriors' women's title tournament. Yes, the entire angle surrounding their first women's champion was an open criticism of their own business and booking practices!
  • The angle where Kevin Steen was kicked out of ROH by El Generico not only involved Kevin Steen hacking the ROH website to show his videos, but him going so far as to criticise ROH on the Pro Wrestling Guerilla message boards. This in turn lead to an angle where Bryan Danielson tried to kick Steen out of PWG too, tough he relented after winning a match but finding Steen grovelling to keep his job. Former booker Gabe Sapolsky actually complained when Steen did make it back to ROH and used his name when talking about people unjustly fired from the company.
  • On the last WSU of 2018 Maria Manic issued an open singles challenge only to be informed by The Shook Crew that as one half of the Tag Team champions she had to defend the belts on the last show before the coming Retool and would forfeit without a partner. So she pulled a fan out of the audience to act as a substitute for Penelope Ford.
  • All of this being said, it's generally ill-advised to break kayfabe. Wrestling works the way it does because of Willing Suspension of Disbelief — while the best storylines have Reality Subtext to them that makes things all the more engaging (as shown by the Summer of Punk II and Daniel Bryan's feud with The Authority), outright breaking kayfabe (outside of an off-hand joke for a quick laugh like what DX likes to do) generally never works. As best illustrated by Vince Russo's booking of WCW, where he practically murdered kayfabe and pissed on its remains, including having scripts being rewritten live, onscreen.

Puppet Shows

  • The Muppets, largely.
  • Gerbert has the protagonist address the audience when talking about the Bible or asking questions to them.

Radio

  • Codified by The Goons, written by Spike Milligan, where no rules were safe, and the writer often chided the listener for being smug about wrongly predicting the punchline of a gag.
  • And then there's Captain Kremmen by Kenny Everett, which not only demolished the fourth wall but the fifth, sixth and seventh! It knew it was a radio serial and of course often started with the Kremmen's bright "Hi Kids! In our last episode …" Many episodes, more digitals than could be calculated on a digital calculator, included some sort lampshading or wall shattering, including:
  • Icelandic radio theatrical comedy Harry & Heimir would do this a few times per episode. From noting they only had x minutes to solve the mystery of the week before the end of the episode to reading the other character's lines in the script; and in the finale of the second season they drove a horse carriage out of the studio, onto the streets of Reykjavík and finally crashing. The show ending where they were recovering in the hospital.
  • The Firesign Theatre was basically Radio Without Walls.
  • Hello Cheeky was some sort of strange play on this, depending on how you choose to interpret it… the characters (also actors) share the actors' names but have distinct personalities, and a lot of the jokes come from casual conversation between the characters while not playing characters, or moments that weren't scripted in-canon. Apart from this, No Fourth Wall also applied in a more traditional sense — the characters were fully aware they were in a show called Hello Cheeky, and would occasionally read letters from fans, explain jokes or technical hitches, or otherwise address their listener ("hello, Eric").
  • Characters on the children's show Jungle Jam and Friends are fully aware that they're putting on a production, beginning every episode by asking the Narrator about the stories for today.
  • Abbott and Costello would occasionally break character to refer to their script, especially if one of them blew their lines. Lou Costello would stop and ask, "What page are YOU on?"
  • The Jack Benny Program started out as a standard comedy-variety show but as time went on, it became a sitcom about a variety show.

Roleplay

  • Dans Avatar Adventures, there is literally none at all. Characters frequently address the posters, to the extent that "Out Of Character" tags may as well not exist. One character in particular, Sam G, is said to exist on a plane between the two worlds; he is, unsurprisingly, an Author Avatar.
  • We Are All Pokémon Trainers has so many examples of humans and Pokémon breaking the fourth wall that it's considered a distinct power, and the authors have joked that the RP's fourth wall is more akin to a fourth wall curtain.

Tabletop Games

  • Bride of Portable Hole Full of Beer, a farcical Donjons et dragons supplement, includes a prestige class that slowly figures out that it is a RPG character as it progresses. At the final level, the character enters the real world and moves in with the player.
  • The brilliant Over the Edge includes a metaplot in which the PCs encounter odd things, and start to notice clues, and finally discover that they are actually characters in a role-playing game! The adventure in question eventually has the characters meet the players playing them. (The rule book specifically advises that the players not play that adventure under the influence of psychedelic drugs.)

Théâtre

  • Before the Realism movement, the fourth wall didn't exist. Asides and soliloquies were common and expected; actors weren't subtle about speaking to the audience. Elizabethan actors had to deal with overzealous audience members trying to join in with the action.
    • Hecklers were common and expected. Retorts could fly from the stage back into the crowds, characters would direct their lines at certain members of the audience or mug for the crowd, particularly well-done or well-thought-of scenes could be encored (although not as often as in opera). Every good actor could improvise and react to the goings-on. They weren't helped by lines being added right up to showtime.
  • We Bombed in New Haven is a two-act play that not only has no fourth wall, but its entire plot and theme is absolutely dependent on zig-zagging across that barrier so fast and so many times until no one – characters, actors, or audience – is quite sure what sort of play this is. Which should not be unexpected, as it was written by Joseph Heller and has more catches in it than his novel. It too revolves around World War II bombing missions – We are bombing Constantinople (not Istanbul) – and takes a sudden turn into the dark when one of the Personnages is killed on a mission … and afterwards … no one can find his Actor!
    • At the close of the first Act, the airmen/actors are playing the old game "Time Bomb", which was a windup toy bomb that set off an alarm when it was supposed to "explode". The first round one of the airmen/actors panics, tossed it to the wings resulting in a HUGE explosion. Then the officer/actor brings out another one … winds it up … and tosses it into the Audience!
  • Dans The Revenger's Tragedy, one character takes an aside to the audience, only for one of the other characters to ask who he's talking to. The whole play is a Refuge in Audacity.
  • Noises Off is a play within a play that shows three performances of the same first act. It demolishes the fourth wall, with actors popping up from seats in the audience and throwing props off the front of the stage. At one point, when everyone is screwing up magnificently, Gary Lejeune gives up and addresses the audience directly, trying to explain what just happened, "In case any of you are out there thinking, 'My God!'"
  • Dans Spamalot, the Holy Grail is found under an audience member's seat. Then there is the scene of the Lady of the Lake's actor coming on in the middle of the show and having a great musical number asking what happened to her part! Just to be clear, it's not the Lady of the Lake doing an aside, it's the actress playing her, in her bathrobe, singing about how the producers deceived her about the size of her part and she's sick of her career, and how she's going to call her agent.
  • Le Notre ville by Thornton Wilder has No Fourth Wall — and depending on your definitions also lacks the other three as well. It has a character named "The Stage Manager" who directly addresses the audience, narrates the action, plays the role of the minister in one of the scenes involving the other main characters, comments on the lack of scenery, and interacts with actors planted in the audience.
  • The musical Into the Woods features a Narrator who addresses the audience and, at one point, is pulled into the story proper by other characters who don't like the way he's been telling the story.
  • Dans Hair, one of the characters complains to his parents that they're embarrassing him in front of the audience. In some productions, police officers arrest audience members for watching an "obscene" play at intermission.
  • The script for Picasso at the Lapin Agile has an actual fourth wall, usually represented on stage by a row of colored lights. At points in the production, various characters step into the colored light with an audible cracking sound as the rest of the scene freezes so that the character who's broken through the fourth wall can address the audience directly without missing anything.
  • Some productions of Hamlet have the soliloquy performed by the title character presented as talking to the audience instead of simply to himself.
  • Shakespeare loved this trope — it's a rare protagonist who doesn't freeze everyone else in place so they can talk to the audience. The talks range from quick asides to full on soliloquies. Special mention should be given to the prologue to Henri V. Not only does it provide the normal amount of Exposition that you'd expect from a normal soliloquy, but it also lampshades the fact that the theatre can't possibly represent a real battlefield or army, and attempts to inspire the audience to make up for these deficiencies with their imagination.
  • Six Characters in Search of an Author is about the titular six characters approaching a theater group and trying to get their story told, which leads to several different levels of "reality" throughout the show. By the same author is Absolutely! (Perhaps), in which the main character looks at the audience as he's meant to be looking in a mirror. At the end, after the central mystery of the plot is very pointedly not resolved, he turns to the audience and says "Are you satisfied?", then laughs wildly.
  • Hellzapoppin constantly broke the fourth wall.
  • Pippin. When the title character's very first words are a request to have some more lighting, it's clear that the Fourth Wall is going to be transparent at best. Throughout the show, characters talk to the audience and the conductor and get into conversations with the Lemony Narrator. And this is without going into what happens in the final scene, where the show suffers such a catastrophic breakdown that by the final curtain there might not even be a third wall.
  • Urinetown est based off this premise. The characters of Officer Lockstock and Little Sally frequently break away from their in-show groups (Lockstock from police officers and Sally from the urchins) to discuss with the audience the musical they're in, with Lockstock giving Sally advice on how not to put too much exposition into their conversations with the audience, or at the end when Sally complains that the show should have a happy ending because the music is so happy.
  • Drood plays with this, written as actors putting on the show in a London music hall, and narrated by the Chairman of the company, who at one point has to step in to fill in for another actor and is frequently confused about which role he is currently playing. The audience and actors vote on the ending, the actors at one point making a decision because they dislike the music hall actress playing one character.
  • One of the major themes in Rosencrantz and Guildenstern Are Dead is that Rosencrantz and Guildenstern are minor characters in Hamlet, and that they die because the playwright had written that they were dead. At one point Rosencrantz even shouts "Fire!" in order to demonstrate the abuse of free speech. This is a play off of the "Shouting 'Fire!' in a crowded theatre" exception to the First Amendment of the United States Constitution (since they are characters in a play, it is obvious that they are in a crowded theatre).
  • All The Great Books Abridged embodies this trope. The entire play is three teachers jotting through a list of classics to the audience, who are all students in a remedial English class.
  • Dans Chats, at the end of the opening number "Jellicle Songs for Jellicle Cats" the cats become aware of the audience, and de-facto narrator Munkustrap acknowledges the confusion of certain audience members as to what exactly a "Jellicle" cat is. Later, the cats take refuge among the audience when hiding from Macavity.
  • Dans Rock of Ages, Lonny acts as the narrator of the story and at one point, actually informs the main character, Drew, that he is in a Broadway Play and shows him the playbill to prove it.
  • Dans Avenue Q, the characters frequently address the audience in a manner similar to Sesame Street, which the show is parodying. At one point, when the characters are trying to collect money, they literally run into the audience with hats and collect money from audience members (the money is donated to Broadway Cares).
  • The Skin of Our Teeth is about human life from the invention of the wheel, to the great flood, to the end of great war. It also is constantly connecting the "historical" events to real life, because there is no fourth wall at all in the play. The actors are constantly "forgetting lines" and at one scene where Sabina tries seducing George, Sabina says she can't go on with the scene explaining a friend of hers recently broke up with her boyfriend for the same reason. A member of the audience leaves the auditorium in tears.
  • As a hybrid of circus and traditional plot-driven theater, Cirque du Soleil does this a lot — while many of the shows are telling a self-contained story, it's almost always with full awareness of the audience, so Audience Participation and acknowledgement are common. Notable examples include:
    • The principal clown of Mystère, Brian Le Petit, is The Prankster who somehow got into the theater and first masquerades as an usher. By the time the show is over, the animal characters of the Red Bird and Green Lizards have almost thoroughly explored the first few rows of the theater, an audience member has been adopted by a giant baby as its parent, and Brian has locked a man in the audience in a crate so he can woo his date.
    • Dans KOOZA, the 'King' character sets off the stages security system every time he moves onto it. The alarm blares out "Please move away from the stage" until the king pulls out //something//, and turns off the alarm with the accompanying car alarm beep. Note that this only happens to the king. Later in the show, an audience seat is revealed to be on a hydraulic lift, raising the audience member five to six feet above the nearby seats.
  • The Umbilical Brothers
  • The Mighty Boosh have a live show that has no fourth wall to speak of, the players cracking asides to the audience and commenting on the effects (they apparently have a very bad sound technician). It gets meta damn quick.
  • A Very Potter Musical does this trope quite well. At one point, Ron complains that he hasn't a snack, and the piano player gets up and hands him a pack of Twizzlers.
    • Also, after a song that Harry, Ron, Hermione, and Ginny sing, Draco enters and says that he was backstage listening to their four-part harmony. Later in that scene, Hermione mentions that they haven't seen anyone from the Order of the Phoenix the whole play. Ron then proceeds to call her toward him, saying, "Hey, Hermione, come here. Come downstage."
  • Book-it Repertory Theatre's plays are narrated by the characters as they act.
  • A play based on Ramona Quimby began with Beezus talking to the audience, until Ramona interrupts her by talking to the audience herself. During dinner, Ramona complains to their parents that Beezus won't let her talk to the audience, to which her parents reply that Beezus gets to talk to the audience because she's older.
  • The Drowsy Chaperone Lights dim. Theater goes dark. Waiting. Disembodied voice "I hate the theater" 2mins Soliloquy later… lights come up and the narrator directly addresses the audience for the remainder of the show.
  • In UMO Ensemble's Red Tiger Tales, audience participation is integral to the show. For example, in the opening, one of the characters is lost and asks various spectators to show her "the way".
  • Marxiano Productions' Seattle Vice, loosely based on the nonfiction book by Rick Anderson, inducted the audience "back in time" to an authentic 1960's burlesque club. One scene had one of several local guest burlesque dancers "audition" for the club. During the first act break(not the later intermission), audience members were invited to come onstage and dance with the cast.
  • Much of the humour in The 39 Steps is based on this premise. For example, after a particularly extravagant and long-winded series of costume changes, "Hannay the actor can't take any more" and exclaims "Oh just get on with it!!"
  • Westeros: An American Musical keeps several Breaking the Fourth Wall moments from the Hamilton songs. On top of this, it has such things as characters casually pointing out differences between Une chanson de glace et de feu et Jeu des trônes or acting out romantic scenes between specific pairs to please the audience. The Interactive Narrator also tries to kick the Sand Snakes out for showing up too early and gets killed over it.

Video Games

  • Anything involving Artix Entertainment invokes this heavily. Games like AdventureQuest, DragonFable, et MechQuest constantly feature characters acknowledging they're in a video game, frequent deconstructions of in-game plot points and tropes, and even characters having conversations with the game's programmers.
  • While the characters of Ar nosurge do not act like video-game characters, a system called Interdimend connects the player to protagonist Delta as well as the robot Earthes. The characters acknowledge the player and occasionally refer to the fact that the player is viewing the action through the screen and is pressing buttons.
  • Dans Le conte du barde the player character and the narrator interact regularly. This usually involves them insulting one another, with the narrator taking almost sadistic glee in the acerbic protagonist's misfortunes.
  • Calendula's entire gimmick is that the main menu itself is the primary game, as you must navigate it to fix glitches and find passwords so that you can play the actual, In-Universe game.
  • Le Discworld games do stuff like this a lot, particularly the second game. Constant references to "obvious plot devices" and "the game's budget can't afford a better action sequence". The games protagonist, Rincewind, also identifies many typical fantasy clichés and character stereotypes and meets the man who built all the crazed-logic problems of the game. He has a cathartic time shouting at him.
  • Duke Nukem 3D has Duke address the player if he leaves him standing still too long ("What are ya waitin' for, Christmas?"), berate the player for making him spend too long searching for hidden doors and switches, and, in the Atomic Edition, ride a theme park ride on which all riders must be at least 48 pixels tall.
  • The Elder Scrolls:
    • The series incorporates this trope in subtle but relatively major in-game ways. In fact, the games' developers are known for incorporating programming errors and other game quirks into canon by explaining them in later games. (Such as mentioning Redguard's "jagged water" graphical glitch in a Morrowind book.)
    • The series has the in-universe concept of "CHIM", essentially an ascended state of existence where one becomes aware of the true nature of the ES universe, but exists as one with it and maintains a sense of individuality. Essentially, achieving CHIM means realizing that you are in a video game and using that knowledge to edit the situation around you. The Dunmeri Tribunal deity Vivec (cryptically and metaphorically) states in his dialogue and his 36 Lessons what this mean. He makes vague references to things like the Player Character ("The ruling king who only he can address as an equal"), pausing the game, console commands, and the Construction Set Level Editor. His explanation on what happens if he should "die" also sounds a lot like reloading a saved game:

    Vivec: When I die in the world of time, then I'm completely asleep. I'm very much aware that all I have to do is choose to wake. And I'm alive again. Many times I have very deliberately tried to wait patiently, a very long, long time before choosing to wake up. And no matter how long it feels like I wait, it always appears, when I wake up, that no time has passed at all.

  • Leisure Suit Larry 3: Passionate Patti in Pursuit of the Pulsating Pectorals has a meta ending, where Larry and Patti are transported at one point to Sierra studios, where they have to navigate through obvious stage sets from other game series by Sierra, such as Space Quest, Police Quest, et King's Quest. At the end, they meet Roberta Williams, co-owner of Sierra, who agrees that their story would make a good set of adventure games. It ends with Larry starting to write the first game in his own series.
    • The fifth game in the series, Leisure Suit Larry 5: Passionate Patti Does a Little Undercover Work, begins with Larry and Patty separated and with no recollection of what happened in the last game, because Big Bad Julius Bigg stole the master floppies and the game was never released.
  • Le Disgaea séries.
  • There is a game called ''The Experiment' which started with you operating switches behind a security camera (aka, your monitor) to help the heroine to escape, and she directly interacted with you, talked with you from the beginning, which is the premise of the game.
  • Nippon Ichi's grand continuity features Asagi, a character whose entire purpose is attempting to take over games from their main protagonists to make up for her own Makai Wars becoming Vaporware.
    • Similarly, Laharl's frequent cameos in other Nippon Ichi games tend to be based on his neverending desire to usurp the main character and take over the game. Or, lacking the ability to do that, just plain destroy the whole thing.
  • The fourth wall for Soul Nomad & the World Eaters was very solid despite the tutorials on the first playthrough. The instant Asagi's name is mentioned in-game, the fourth wall just crumbles — and her first move when Revya and Gig don't comprehend, much less comply to, her demands is to obliterate Feinne with one shot!
  • Conker's Bad Fur Day includes buying and reading the in-game manual, subtly pleading with the game designers not to change the game significantly in the remake, and Conker winning the game only because the game locks up near the end.
  • Vampire: The Masquerade – Bloodlines: Some Sabbat vampires have captured and are considering mutilating the player character; the leader turns, gives the player the finger, and comments, "Those of you sitting in the first few rows will get wet." If the player asks Rosa if they will be victorious in the end, she says "Whether you win or lose is irrelevant. What's important is that you bought it."
  • The Nintendo DS game Contacter does this almost all the time, with the Professor speaking directly to the player asking you to "guide" Terry, the main character. In the ending, following the final boss fight, Terry wakes up back on the first island and start to talk to you. Up until this point he had been a Silent Protagonist, as you (the player) controlled him, and you could not actually speak. He then tells you that he realized that he just was being controlled, and was angry at you. He then attacks you, forcing you to fight him yourself. After that, the rest of the ending rolls, and if you're lucky, you can see the epilogue, in which the professor explains that the entire plot of the game was started when he realized he was a video game character. He learned what he was, and afterward, began to live even when the game was turned off. He then says that he's leaving the game to travel the (real) world, and creates a copy of himself in case you want to play through the game again, leading you to wonder if the one that left that message was even the original to begin with…
  • Destroy All Humans! (et Destroy All Humans! 2) does this a lot.
    Orthopox: Oh don't mind me, I'm only a fictional character in a simulated universe, after all. I have nothing better to do, really. I'm just made up of a bunch of electrons floating around your console, and a few hundred kilobytes of data stored on your DHS disk… DON'T PAY ANY ATTENTION TO MEEEEEE!
    • After talking to The Freak in disguise and trying to recap his mission goals, The Freak had already forgotten what he said 30 seconds ago. Crypto turns to the camera and says "This is why you shouldn't do drugs."
    • While constructing an interstellar communicator from parts found around the city, Crypto starts singing a rendition of Dry Bones:

      Cryptosporidium: The sensor cell connects to the focal plane; the focal plane connects to the plasma beam… I know you're waitin' for me to sing that damn song. Well, I ain't doin' it. I've got standards; they may not be high but I've got 'em. Also we couldn't get the rights.''

    • Reading the mind of a Majestic agent will sometimes reveal ahead of time that Silhouette is a woman, this is quickly followed by the agent thinking "Crap, the player's not supposed to know that yet!"
    • Also, when being told that he has to blow up some blimps spreading strange gas across the city (Quote is not 100% accurate).
      Krypto: I thought the name was "Destroy All Humans", not teach the nice kids at home about the nasty little drugs.
  • The Nintendo GameCube RPG Baten Kaitos played this alarmingly straight by having the player serve as a "Guardian Spirit" assisting the party, whom the characters would occasionally address by turning to the camera and asking a direct question. Choosing an answer contrary to the plot wouldn't change the storyline, but would reduce the likelihood of getting certain special attacks in battle. Having said that, separating the player from the party wasn't entirely a gimmick: it allowed the main character, Kalas, to hide his motivations for betraying the party until the Face–Heel Turn actually happened.
    • It happened again in the game's sequel/prequel, Baten Kaitos Origins. And as it turned out later, the Guardian Spirit had an even more significant role in this game.
  • Metal Gear:
    • Some sample quotes from the series:
    Big Boss: This is Big Boss! Snake, switch off your MSX/Playstation 2/Playstation 3/Xbox 360 console at once. That's an order!

    Baker: I forget, it's on the back of the CD case.

    Mantis: (reading your memory card) You like Castlevania, don't you?

    Ocelot: There are no continues, my friend. And don't even think of using auto-fire, or I'll know!

    Colonel: Turn the game console off right now. … Don't worry, it's a game.

    Rose: You'll ruin your eyes playing so close to the TV.

    Colonel: You wouldn't be trying to give yourself a bogus score using some ingenious trick, would you? That's just about as low as anyone could possibly stoop.

    Mei Ling: You should be happy you have time to be playing video games, Snake.

    Mantis: No memory card! Where are your saves? … No vibration either. (alternatively, "Vibration is back!")

    • And how about Otacon in ''MGS4'', after the Crying Wolf boss fight? It goes like so:

      Otacon: Hold it, Snake! Time to change the disc. I know, I know, it's a pain. But you need to swap Disc 1 for Disc 2. You see the Disc labelled "2"?
      Snake: Uh, no?
      Otacon: Huh? Oh! We're on Playstation 3! It's a Blu-Ray disc! Dual-layered, too. No need to swap!
      Snake: Dammit, Otacon, get a grip!
      Otacon: Yeah, what an age we live in, huh, Snake? What'll they think of next?

    • Dans The Twin Snakes, when Psycho Mantis tells you to put the controller on the floor, the camera cuts to Snake who, while keeping his pistol pointed at Mantis, will shift his eyes towards the camera and nod at you, telling you it's ok.
  • Izuna 2: The Unemployed Ninja Returns. Most notably on menu screens and such, but also any time the plot from the previous game becomes important the fourth wall comes down long to inform you that if you want to know what they're talking about you should go play the original game, which they refer to by name.
  • Le Banjo-Kazooie series has remarkably little fourth wall, especially in the second game—Kazooie observes when the music changes, signifying new events, Banjo continuously asks if the quests are over so they can get jiggies, and Jamjars works the names of the controller buttons into his Sound Offnote . It helps that both protagonists have become alarmingly Genre Savvy since the last game.
    • Of course, Jamjar's songs are butchered in the XBLA version.
    • Any fourth wall that may have remained is completely obliterated in Nuts & Bolts, which opens with the Lord of Games (L.O.G.), the apparent god and creator of all video games, showing up, addressing Banjo, Kazooie, and Grunty as "second-rate game characters", and giving them goals. L.O.G. continues to make references to and crack jokes about games, genres, and the state of the game industry throughout the rest of the game whenever he shows up, and all the challenge worlds are artificial places explicitly crafted by L.O.G. himself.
  • Kid Icarus: Uprising takes the fourth wall and shatters it with a light arrow:
    • Much of the banter in the stages and boss battles talk about things that let the player know they're well aware they're in a video game. Strategy guides are mentioned, bosses recognize themselves as such, and Palutena even remarks how the Three Sacred Treasures are no longer pixellated like they once were.
    • On top of that, the characters frequently make references to autre Nintendo games, including Super Smash Bros. So they're not only aware of their own game, but pretty much the entire Nintendo universe.
  • Dans Rhapsody: A Musical Adventure, missing the timing while fighting the Puzzle Boss leads to Etoile blaming Cornet for the mistake. Cornet immediately shifts the blame to the person holding the controller (or stylus in the DS remake).
    • A nice example comes pretty early on, actually. After the first Boss Battle, Myao orders another boss to attack. Cornet immediately accepts and says she will fight with all she got, to which Kururu asks something similar to:

      Kururu: Are you sure you want to fight? I mean… if you lose, it will be game over… and you'll have to watch this whole scene again!"

  • WarioWare is this trope.
  • No More Heroes. Right off the bat in the intro. "Just push the 'A' Button!" Then slowly chipped them away one by one until the last mission and then completely destroyed at the end ("I would expect you and your players would expect a twist or some kind!").
    • The second game doesn't even bother repairing the damage. "Players don't want to know about your fall from grace, it's BORING!"
  • Dans Rayman 3: Hoodlum Havoc, Murfy spends much of his time in the game bickering with his copy of the game's instruction manual (which replies via on-screen captions.) To heighten the effect, the real instruction manual is very uncomplimentary of Murfy in the character profiles section. Additionally, Murfy farewells the player with the words "See you in Rayman 4!" and Globox can be bullied into saying, "You were nicer in Rayman 2: The Great Escape!"
    • Far after Murfy's farewell, there is an incindent which tricks Globox into some overthinking. In effect, our friend starts claiming he's a masterpiece of 3d animation, commenting on other games as well as his very own polygon count.
  • The Simpsons Game is definitely a good example of "There Is No Fourth Wall". After the first level (which is a direct reference to the "Land of Chocolate" daydream from the German episode) Bart finds a videogame user's manual for the very game we're playing right now, and through that manual, discovers that each member of his immediate family has some kind of videogame superpower.
    • In the final cut scene Ralph Wiggum walks up to the TV screen, knocks on it, and says, "Daddy, people are looking at me!", just before the TV (not the real one) turns off.
    • Also, at certain points as you play, the game is interrupted by the Comic book Guy pointing out the fact that you just came across some typical videogame cliche, such as invisible walls or an enemy that is physically identical to another one but they changed the colours.
    • Plus, there are entire levels that scream nothing but "You're in a videogame, this is a videogame, and we're going to remind you that you are playing a videogame. Also, here's some references to some other videogames."
  • The whole Pokémon franchise frequently breaks the fourth wall, but the games take it a step further by having the developers exist as characters in-game. They even personally congratulate any player who catches every Pokémon.
  • Dans Mega Man Battle Network installing the Humor program into the Navi Cust lets Megaman tell (bad) jokes, one of which Lan responds to with "We'd better stop this or our players will get crabby!"
  • Dans Baldur's Gate II: Throne of Bhaal which is based on the 2nd edition AD&D ruleset, Mazzy the Halfling Fighter has a discussion with another NPC who suggests she should become a Paladin. Mazzy responds by saying Halflings can't become Paladins (as is the case in 2nd edition). Paraphrasing: "It's not as though there's a third edition out is there?"
  • Eat Lead: The Return of Matt Hazard eats, drinks and breathes this trope. The developers even went as far as adding fake fansites detailing the non-existant Matt Hazard games.
  • In the Artix Entertainment games, the one who really broke the Fourth Wall was (and still is) the Guardian Dragon in AdventureQuest when you summon(ed) it for a super special attack. Most of his jokes and gibes were (are) at the player, the game creators, and a few other things. Dans DragonFable, however, when your character is asked why he fights for good, he answers, "I'm the Hero of the story. It's my job."
    • There is of course the one where he goes "Don't blame me, the idiots in the forums wrote my lines!"
  • The hidden ending for The Nameless Mod has Trestkon wandering around the boundries of the final level, watching all the mooks respawn and go about their business. He talks to the player, and decides he enjoys having God-like powers over the world. He accepts his position of existing solely to entertain, and bids the player good-bye, inviting him or her to come back if "you ever want to play again sometime."
  • This shows up in Batman: Arkham Asylum. As you solve the Riddler's puzzles, he occasionally throws out different comments. When you've got most of them he demands to know if you're cheating by looking up their locations on the internet.
    • There is a bizarre encounter midway through the game with the Scarecrow. While the first two encounters were in-universe hallucinations, the third one begins by making the console appear to lock up and restart the game, this time with Joker taking Batman into Arkham as an inmate. The Joker pulls out a gun and shoots Batman in the face, triggering a fake "Game Over" screen with a "Try This Next Time" tip that's impossible (the console versions say to use the middle joystick to dodge the bullet (lucky there's no N64 version); the PC version says to tilt the mouse). Choosing continue or quit will both bring you to the actual fight stage.
  • Happens in-universe in the final scene of Assassin's Creed II, where Minerva turns and looks directly at Desmond and speaks to him, ignoring Ezio, who is understandably confused by the whole thing.
  • Dans Marvel vs. Capcom 3, Deadpool goes the whole hog and beats the opponent with his healthbar and power meter in his level 3 hyper combo. Deadpool's taunt acknowledges the player pressed the taunt button. His victory cinematic has him approach the camera going so far as insulting the player for various reasons such as not recording the gameplay footage or sitting around while he does all the work. Finally, the ending has him throwing a huge party and jokes about inviting the player to join…only for the party to be destroyed, with him and the player wanted by the police.
  • Donkey Kong Country's Cranky Kong breaks the fourth wall near-constantly in the older games, but the entire (All There in the Manual) storyline of Donkey Kong Land depends on the lack of a wall: Cranky has K. Rool steal DK's bananas again as part of a bet that DK and Diddy can't have a successful adventure on the 4-color Game Boy.
  • Some of Kisala's idle chatter in Rogue Galaxy invoke this. If you haven't saved in a while, she'll say stuff like "Shouldn't you save soon?", and the like.
  • Dans X-Men Legends II, Deadpool is a mid-level boss whom you have to fight in order to proceed with the game. Upon game completion, Deadpool is unlocked as a playable character and can be used in replays at any time. Having him in the party at the Deadpool boss fight unlocks an Easter Egg dialog where both Deadpools discuss which cheap comic book plot they can use to explain the situation and then conclude that game programmers are stupid for not realizing the paradox they created.
  • The Deadpool game developed by Highmoon studios certainly invokes this trope. Between other things, you can use your yellow dialogue boxes as platforms at one point.
  • Super Paper Mario is another one with no fourth wall, at least as far as NPCs are concerned. The dialogue suggests that Mario himself is unaware of the player's existence, though it's hard to tell, but if he is, he's the only one.
    • Paper Mario: The Thousand-Year Door has this too, with an odd meta gimmick that there are TWO non-existent fourth walls. One between the player and the game (which the characters address or in one case, steal keyboard letters from), and one between the characters and the in game audience watching their battles. Because in-game, there's Audience Participation going on, in ways ranging from Mario doing stylish moves to gain power from their cheering to audience members going on stage or throwing rocks at the combatants to certain bosses using the audience as ammunition, food, or stealing their souls to restore health.
  • Virtual-ON. This arcade game's story involves a government agency using the arcade video game to recruit and train pilots for Operation Moon Gate where a lunar base must be destroyed before the world is destroyed by the Solar Gun. Supposedly the first five stages are the training stages- the final four levels have you piloting an actual mech on the moon, having completed the training program.

    "The following is not a simulatory system. All user data will be transferred to the deployed Virtuaroid System Memory Bank"

    • The game has a penalty stage where you can fight a phantom enemy called Jaguarandi if you cleared the first five stages without dying. The game explains this as a bug in the training program.
  • GLITCHED: The fourth wall may as well not even exist. While only FROG Inc. is aware of you initially, the glitch causes Gus to become aware of you as well. The glitch itself also makes the game crash when it first appears, and corrupts your save file if you refuse to save him when he's getting corrupted.
  • Hotel Mario: "We gotta find The Princess! And YOU gotta help us! If you need instructions on how to get through the hotels, check out the Enclosed Instruction Book!"
  • Doctor Who: Destiny of the Doctors's intro makes you think there's a fourth wall, shatters that perception 30 seconds in and never rebuilds it. The entire game has The Master and the first seven Doctors (as well as Brigadier Lethbridge-Stewart) talking to you.
  • In the video game Mafia II, Vito Scaletta is hiding in an office waiting for the guards to move away so he can steal gas rationing coupons. If you make him wait long enough, the guards engage in a conversation aout a television one of them has purchased (remembering that this is a WW2-era game at this point) and one guard describes how it might be in the future that you could control the characters on the television, using some device to make them drive cars, shoot guns and essentially behave just like the characters in the first-person shooter you are playing and that they are. The other guard is dismissive of the idea. There are occasional NPC comments that indicate an awareness of the game.
  • Dans Monkey Island 2: LeChuck's Revenge the correct response to one question is "I'm Guybrush. You tried to sell me the minutes of a PTA meeting in the last game, claiming that it was a map"
  • Early-90s point and click adventure game Simon the Sorceror also has one – a group of wizards claim to be farmers, and the way to prove them wrong is by selecting the answer "but when I move the cursor over you it says 'wizards'
  • Dans Omikron: The Nomad Soul the first thing you see upon starting a new game is the protagonist addressing you, the player directly, telling he has bridged the gap between his reality and ours through your computer and asks you to transfer your soul into his body so you can control it. The only way the fourth wall was more nonexistent would be if he openly admitted this was just a game, rather than state that you are entering another world that is just as real as ours.
  • Undertale completely throws the fourth wall away. While sometimes played for humor, it is mostly used for story elements, primarily the SAVE feature. Some examples include killing Toriel, restarting your game, and sparing her will result in Flowey lampshading this, after the True EndingFlowey asks you not to reset the file so Frisk and the others can be happy, and when you fight Flowey, he deletes your save file and saves over your own death.
  • Dans Super Smash Bros., the series has no fourth wall. The opening cinematic (for the original) indicates that the entire game is a child's daydream about the Ultimate Showdown of Ultimate Destiny. And if characters get knocked off the top of the stage, they'll either do the Team Rocket flash-in-the-sky, or bounce off the inside of the TV screen. Brawl takes this one step further, with all characters explicitly recognizing that they are trophies.
    • Villager's victory animations in Super Smash Brothers 4 has him showing the bug he caught or the fossil he digged for to the camera.
  • Dans Distorted Travesty, there est a fourth wall… but Jeremy is sitting on top of it, so it might as well not exist. The characters are fully aware they are in a video game and are constantly discussing game tropes as the story progresses. Later it turns out that This Is Reality… sort of. The real world and the fictional world of games have been joined together in a big Reality Warping mess.
  • In most Jump Start games, the characters talk directly to the user quite frequently, and they never shy away from telling you to use the arrow keys to do such-and-such.
  • The main characters in Playrix's hidden object games do a great deal of speaking directly to the player, from making commenmts about your watching them to nagging you if you go too long without clicking the play button to asking whether you couldn't find anything you liked if you exit the remodeling screen without making any purchases.
  • Idea Factory and Compile Heart apparently love this trope, as some of their games show.
    • First, Cross Edge. It spends most of the game with a solid Fourth Wall for the main scenario, however, after you beat the last boss and hit the post game, they waste no time in tearing the fourth wall into bite sized chunks and dancing merrily on its remains. They act very Out of Character, quote completely insane lines, refer to in game events as such, count the number of lines they have in a scene, blatantly lampshade numerous RPG and Character Tropes, and basically throw away all pretentions they are anything but a game. (Of course, considering Etna of Disgaea (mentioned above) is in this game, the player is lucky there's a fourth wall at all. Needless to say, her hidden episode previews waste no time shattering it when found.)
    • Next, Trinity Universe. Unlike the previous game, this one doesn't wait until the end of the game to use this trope. It'll attack the fourth wall every so often throughout the whole game. Of course, that should be expected since Etna, Prinny, and Flonne are in this game.

      Prinny: You can't show violence to animals in video games, dood! I'll sue you, dood!

    • And then there's Neptunia. It will smash the fourth wall to pieces that by the time you think they rebuilt it, they'll just smash it again. Best exemplified by Neptune who in just about every scene, she will make a lot of references to players, the game developers and translators, and know how events play out but will withhold information to other characters (but not to the players).
      • The sequel continues the merry tradition. The third game has the alternate dimension Gamindustri and for a while hangs a lampshade on the lack of a fourth wall; while there still isn't one, the local CPUs take their roles a little more seriously than Neptune, getting fed up with Nep and telling her to stop being so blatant about it already.
      • The anime adaptation doesn't stray too far from the beaten path. While it doesn't go out of its way to break the fourth wall like the games do, it still has no qualms with doing it whenever it helps push along the plot. For example, they needed a computer security expert to be able to solve a problem in one episode, so they just made a character up specifically for that scene that fit the bill. They even have Neptune lampshade it by explaining that she was made for the anime and complaining that her obnoxiously prevalent Verbal Tic doesn't make a character popular with the fanboys.
    • Même Record of Agarest War Zero joined in the fun in the post-game content where everyone acts out of character. Unfortunately, this doesn't apply to the first game and the third game.
  • SpaceQuest plays with this trope left and right.
    • Dans Space Quest 6, Roger Wilco will occasionally argue with the narrator, Gary Owens. The director and Scott Murphy even give him less funny lines after a scuffle.
    • And let's not forget some of the messages using the "Taste" and "Smell" icons!
    • Played straight in Space Quest 4, when Roger goes to a future Space Quest game and has to buy a hint book for Space Quest 4 to solve a particular puzzle.
  • Sunset Overdrive has lots of this. EVERYONE is perfectly aware that they're in a video game, and will act as such. Some examples:
    • Your character doesn't know their own name. The reason? It floats above their head in multiplayer, making it impossible to see.
    • You're being held up by a guy with a gun. You get him to lay off by pulling up the weapon wheel.
    • The Dawn of the Rise of the Fallen Machines DLC final boss fight. That is all.
    • Hell, the TRAILER has this. When a guy is pinned down behind a crate, your character says "Cover mechanic, right?" And then there's the rest. The PC is aware of where the camera is, and speaks to the PLAYER themselves during the entire thing. The last words of the trailer? "Of course you can. It's a F**king video game.
  • You are pretty much considered a character in Tomodachi Life, the Miis even going as far as to refer to you as "(first islander)'s lookalike" (the first islander supposedly being a Mii of yourself). A live-action hand is also superimposed into the game whenever you, for example, remove a flower petal off a Mii's head.
  • In the Flash room escape Game in Game in Game the protagonist is a room escape fan who, upon realising they're actually locked in their bedroom, immediately opens their computer to see if there's a walkthrough. And there is.
  • Quest Fantasy gets more and more like this as the story progresses. Although one character acknowledges and threatens the player in the original, the end of the final game escalates this so much that stopping an antagonist from triggering the credits sequence, characters having only one portrait, and places being unvisitable because they were never programmed into the game are legitimate plot points. All taken completely seriously.
  • During the course of Grand Theft Auto V Michael helps make a movie called Meltdown, which you can actually watch in the game. It's about ten minutes long and spends most of those ten minutes savagely attacking the fourth wall and lampshading various tropes.
    • While driving, if you run your vehicle into something or have a near-miss, the player character will sometimes yell at someone else in the game. Sometimes, however, they yell at you for either your poor driving skills or luck.
  • In one of her M.U.G.E.N winquotes, RicePigeon's Yukari Yakumo recognizes M.U.G.E.N as a computer program, and how amazing it is to merge diverse worlds together, then concludes that humans must really have been inspired by her.
  • Fallout 2 has fun with the Fourth Wall, too. The Player Character thinking about to save his game in another slot is just the tip of the iceberg. There's also John Cassidy being frustrated about not having enough Action Points or wishing he had a Limit Break, you get mistaken for an NPC in one conversation (either as someone for the main character to fight if you're male or have sex with if you're female) and end up telling them that no, you're the main character, and after finishing the main quest the Fourth Wall gets basically annihilated. You can even find the "Fallout 2 Hintbook" in-game.

    Item description: "Well, THIS would have been good to have at the beginning of the goddamn game."

  • While there are many parts of Saints Row IV that break the Fourth Wall, the Enter the Dominatrix DLC bludgeons the Fourth Wall into submission with a giant floppy purple dildo bat. It's presented as the Saints (and Zinyak) reminiscing about a failed project called Enter the Dominatrix that was later rolled into what became Saints Row IV proper, seemingly mirroring the game's own development process. Along the way, references to characters Put on a Bus, blending of canonical and non-canonical endings (don't ask Shaundi about it), escort missions, gameplay filler, budgetary restrictions, and many other tropes of the Saints Row series and video games in general abound. At one point, transpercer fast-forwards through Kinzie's overly-long Techno Babble, and near the end, Zimos explicitly states that the Dominatrix has "rebooted the DLC" to evade death.
  • OFF demolishes the fourth wall with a vengeance. The characters will often address the player personally by the name you give yourself at the start, and it's acknowledged in-universe that The Batter is being controlled by the player. At the end, the Judge calls you out for helping The Batter "purify" the world. He urges you to side with him and defeat The Batter, to which The Batter tells you that he needs you to help him finish purifying the world, and you're given a choice as to which ending you want through siding with one or the other.
  • Flower, Sun and Rain has numerous characters refer to events going on in video game terms, such as blatant lampshading of the game's event flag-based ultralinearity. Pretty much every criticism the player might have of the game is mentioned at some point or another, especially with the character Shoutaro Kai, a young child who ruthlessly tears into the game, offending the protagonist who is too polite to break the fourth wall so blatantly.
  • Pony Island:
    • If you decide to mess around with the game's save data, Lucifer will bluntly tell you to knock it off the next time you load up a game. He also remembers the player if they start a New Game+ and changes his opening speech accordingly.
    • If all the tickets are collected during a New Game+, the Lost Soul determines that you must be looking for the Golden Ending and challenges you to a "cathartic" final battle. Once the fight is done, he tells you to close the game because there's nothing else to see.
    • The Lost Soul outright encourages the player to delete the core files as it's "the only way to advance the plot".
    • The fight with the third demon, Asomodeus.EXE, is NOTHING but this as he tries to trick you into looking away from the game window. This includes faking a Steam friend message, playing social media notification sounds at random, and intentionally causing a program stall that you have to "wait for the program to respond" on.
  • A very early example of fourth-wall elimination is the late-1970s Apple II game, The Prisoner, which was based upon the TV show of the same title. As the game begins the player is assigned a three-digit number and told never to reveal it to anyone in the game. The game then proceeds to trick the player. Notoriously, a simulated game crash would randomly occur, generating the error message "Syntax Error in XXX", with the 3 digit code being the XXX. Users familiar with the BASIC source code would usually type "List XXX" to see what the error was, not knowing the game was still running. This was actually a clue, as one way to win the game was in fact to go into the source code to look for information on beating the game. Any wonder that the CIA reportedly used the game as a training tool?
  • A Knight's Quest for Milk : The fourth wall doesn't seem to exist and many characters are aware that they are in a flash game.
  • L'histoire de One Shot is about how you, the player, are a god to the inhabitants of the game world. (And on a deeper level, how you have received a world-simulating software—the game itself—which you run on your computer.) You're tasked with helping the protagonist, Niko, escape from the game world to return home. Both the game and Niko address you directly, and Niko even provides narration for your benefit once they learn of your existence.
  • Dans Welcome To Bummertown, all the NPC's are 100% aware that they're NPC's in a video game. They're all mad at the developers for not finishing the game, and one of the NPC's even makes you go into the logic terminal to fix the broken parts of the game.

Visual Novels

  • Present in Ever17 et Remember 11 de la Infinity series, but not in the usual way. In both games, the player is an entity within the game universe, acknowledged by certain characters, and holds a major plot importance: is essentially the "Deus" in Deus ex Machina ending of Ever 17, and virtually the antagonist – or at least the one responsible for some bad things (albeit unknowingly) – in Remember 11.
  • Fate/stay night Tiger Dojo, the hint section between deaths and routes, Taiga, Illya and sometimes Rin address the player.
  • The heroine of Hatoful Boyfriend clearly does not have a fourth wall. She introduces herself and all the love interests to the audience, needs a reminder to check the date in the upper-left corner of the screen, and interrupts the fake credits roll after Azami and Blaster hook up to point out that her story isn't over yet, so the game can't be either. In the manga, she points out that she never appears directly because the story is told from her point of view, "like an FPS!" In the sequel Holiday Star, she and Ryouta discuss visual novel mechanics when Sakuya unwittingly triggers an event, and at the beginning of the fourth episode she recaps the previous events to the audience, despite Nageki's insistence that the players aren't that stupid. She even comments that she's been friends with the Grim Reaper since the demo version of the original game, apparently from all the possible bad ends she's had.
  • Monster Prom: The game is a Dating Sim filled with fourth wall breaking jokes and scenarios to the point that even the creator describes the game as "Obnoxiously Meta". Among the things that can happen in the game: You can date The Narrator, who turns out to be another student that was talking what he was watching, characters have a breakdown when they realize they're in a game and characters from other mediums are aware that they're in a TV show inside a video game and use episodes and seasons as a measure of time.

Web Animation

  • Played double straight in Unforgotten Realms. Not only does the game of unforgotten realms exist with no fourth wall to the players, but the animation itself constantly references the fact that it's an animation.
  • DSBT InsaniT ADORES this! There are even jokes about how much the characters break it.
  • Tomorrow's Nobodies:
    • Used extensively in the old series. The characters regularly mention that they are the ones animating the show and several gags, such as the Baja Fresh gaining a drive through so they don’t have to be animated getting out of the car, or the Soda-Popper creating hotdogs because all Chris can draw are hotdogs and fire, reference this fact.
    • While largely averted by the new series the end of episode 5 has the creators arguing over the inclusion of a Jew joke followed by most of the cast quitting and David taking over animating the ending.

Web Comics

Web Original

Web Videos

  • Part of the premise of lonelygirl15 et LG15: the resistance, as stated by Word of God, is that there is no fourth wall. The characters are always aware that there is an audience, and often address them directly. However, the characters do not know that they are fictional, so perhaps it would be more accurate to say that the fourth wall exists — it's just transparent.
  • KateModern follows the same premise, but additionally, characters sometimes play with the Fourth Wall in a more traditional sense.
  • A major part of the plot of The Church of Blow is Cornelius discovering he is a fictional character. And it is so sad.
  • All of the characters on That Guy with the Glasses and Channel Awesome. Most of them are reviewers, and talking directly to the audience by their premise, but it goes beyond that. Characters from the shows/movies/comics/games that they review come out, they can invoke tropes to control the narrative, use a Big-Lipped Alligator Moment or whimsical montage as a weapon, and they can read the subtitles.
  • Filthy Frank semblable à la lonelygirl15 example, is presented in a way as if Frank and co are actual members of the human race. This trope is taken further in the videos where Pink Guy roams around in Real life locations, such as Times Square.
  • Almost every video by Matt Santoro involves him talking to the viewer.
  • YouTube: Art or Reality? from Philosophy Tube features Oliver being arrested by two cops (both played by Olliver) who know they are in a video made by Oliver. The frequently make references to techniques like the annotations and the dialogue sensor. The video ends with Oliver talking to an assistant off screen and then going to bed.
  • Dad: The characters all know they're on YouTube despite the otherwise Dom Com-esque format; Dad openly announces his intention to be the best YouTuber, Mom takes away his rights to "the sever" as a punishment, and he even interacts with the audience through live-streaming and comment-responses.
  • The fourth wall was actually shattered during the second season finale of Yu-Gi-Oh! The Abridged Series. This allowed the next season's villains, representatives of 4Kids Entertainment to sweep in and cancel the series In-Universe. That said, the fourth wall was so paper-thin anyway that Melvin could just as well have not done anything and 4Kids STILL would have intervened.
  • The Deadpool character across various canon portrayals usually lacks or often breaks the fourth wall, and that holds true for the "Deadpool: The Musical" fan films. Unlike those canon works, these musicals give other characters medium awareness, too.
    • "Deadpool: The Musical":
      • Deadpool hears the soundtrack start, looks around the Bad-Guy Bar for where it's coming from, and says, "Ooo, was that a musical cue?"
      • After the bartender starts insulting him through song, Deadpool addresses the audience and says, "I've always wanted to be in a musical!"
      • Deadpool's white inner voice box from the Deadpool comics speaks up to compliment him after he admires how Spider-Man's tights fit him, and he thanks it.
    • "Deadpool: The Musical 2":
      • Deadpool's white and yellow inner voice boxes from the comics join him as backup singers during a Moana song parody.
      • After Jubilee tells Deadpool he's not a superhero, he's an actual murderer, Deadpool turns to the camera for a heel realization as music starts to play. Jubilee is annoyed that he took her words as a cue to start singing, but he shoves her aside to begin a The Little Mermaid (1989) song parody.
      • Exaggerated while parodying The Little Mermaid (1989) Deadpool sings "breaking fourth walls only goes so far" as he walks to his bedroom set's fourth wall, which has a "closed set" warning sign on it that's been scribbled out in favor of "fourth wall" and an arrow pointing to the set door. He opens the door to walk backstage and startles the actual film crew and producers who were watching the live filming feed. They all hastily scatter as fires his gun at the ceiling, except one unflappable camera operator whose eyes stay fixed on the equipment.
      • After exchanging insults with Puck, Deadpool turns to the audience with a comment on Puck's attitude.
      • The ensemble for the Mulan parody "Be a Team" holds up one of the dead Hand ninjas and requests that the audience "please turn this dead guy into a meme."
      • At the time this fan film was made, the mix of Marvel characters seen in "Be a Team" had their official film and television rights scattered across multiple companies note . Partway through the song, the ensemble sings, "What happens now that we're owned by Disney?" There's a musicalis interruptus for a beat and an awkward cough before they resume as if nothing happened.

Western Animation

  • The Amazing World of Gumball is a strange example, as it falls under this trope even though the characters, by and large, don't know that they're in a TV show. Just a few examples:
    • "The Countdown" has a countdown clock show up on the screen. Gumball and Darwin can visibly see it, notice that it runs off the show's time instead of how long it logically could, and eventually they accidentally cause it stop, making time freeze. Then, they interact with it, causing them to Time Travel.
    • "The Money", where the Wattersons being broke causes the show's animation to downgrade, including the show turning into bad CG, them running through the episode's storyboard, and eventually become sticky notes. The characters are fully aware that this happening.
    • "The Signal", where satellite interruptions start affecting Elmore, because it's inside a TV show. Just as Gumball and Darwin are about to figure this out, it abruptly cuts to them at the dinner table to take them off the subject. Both of them are visibly scared about this.
    • "The Disaster/The Re-run", where Rob gets the TV remote that controls the show itself, rewinds through the episode, including actual ads for the show, uses it to control the volume, aspect ratio, and other aspects of the show. Eventually, they start ranting to Gumball about how the world they're in isn't real.
  • In an episode of Batfink, Hugo Agogo shoots the narrator with his speed up ray so he will talk faster and keep the action moving.
  • Batman: The Brave and the Bold has Bat Mite, who actually goes so far as to discuss the legitimacy of that show's interpretation of Batman relative to the darker incarnations in the show itself (his exact position changes over time). In the Grand Finale he intentionally tries to make the show jump the shark to get it canceled so a Darker and Edgier cartoon can take its place, complete with replacing one character's voice actor.
  • Blue's Clues is usually credited as the genesis of modern interactive children's shows. Live-action host Steve (or Joe) talks directly to the audience and, like Dora, waits for appropriate responses to his questions. Unlike Dora however, there is audio of children answering him after a short pause, probably to make the children at home feel more comfortable with participating.
  • Bounty Hamster: The characters will regularly comment on the jokes or directly address the audience, and the first episode ends with Marion being spotted in front of the Iris Out by the angry mob he was just saying he'd escaped.
  • Chowder is fond of destroying the fourth wall whenever possible. Characters constantly acknowledge that they're within an 11-minute episode (or, alternatively, a double-length special) or a season, and refer to the viewers regularly. One time, Chowder even pointed to the Cartoon Network logo bug at the bottom of the screen.
    • The most memorable instance of this was in "Shopping Spree" when Mung Daal, Schnitzel and Chowder spend all the money in Truffle's petty-cash box, meaning there isn't even enough for the show's animation. Cut to the voice actors wondering what to do to get the money back and subsequently organizing a car-wash fundraiser.
  • In the final episode of Courage the Cowardly Dog, when Eustace says "Someone who'll make you perfect", he looked straight at the camera (and points at it too) as if he meant the viewers.
  • In an episode of Danger Mouse, the narrator is tired of his voiceovers and just says, "London, city of millions…blah blah blah blah." Colonel K pauses in mid briefing to say, "Did you hear someone going 'blah, blah, blah' just then?"
    • This occurred on the show frequently. Another episode had the narrator just not bothering to start the regular spiel and he walks off without a by-your-leave. DM and Penfold wind up doing the opening.
    • The reboot went HEAVY with this trope. In "Very Important Penfold", the main duo turn the lights out in order to take a shortcut through the narrator's recording booth, where they eat his biscuits, play sound effects from his board and comment on how he's much hairier than they imagined. This reemerges at the end of the episode, where the narrator tries to turn on the closing music for the credits… only for nothing to happen. He scrolls through several random sound effects before declaring that someone else can find the correct music, and leaves angrily.
  • Dave the Barbarian often uses that, to the point where the narrator is brainwashed by the Big Bad to narrate a story where he is victorious. Sometimes the low budget of the show is referenced too ("And so, our heroes defeated the muffin monster in an epic battle which is too expensive to be animated in such a cheap show like this").
  • Dans Dog City, animated detective Ace Hart would frequently engage in conversation with his creator Eliot Shag, even stopping the show while it was being animated faire cela.
  • Dora the Explorer is a prime example. In fact, the whole point of the show is to be "interactive" with its viewers. Of course, it's not practical to make it really interactive so it is just assumed that the child does interact and the appropriate pauses are given. "We're going to need your help to get Map to open! Say 'map'! (pause) Louder! (pause, then map opens)" Also, the whole "Swiper no swiping" exchanges.
  • Subverted in Duck Dodgers. In one episode, the Martian robots think the Martian Commander is crazy for narrating his plans to an unseen audience. The subversion is that he probably doesn't know such an audience really exists, and is just talking to himself.
  • Duckman engages in this regularly.
  • Ed, Edd n Eddy does this occasionally, invoking scene transitions ("an Iris-In would be appropriate, don't you think?"), talking about previous episodes (one episode actually has them traveling between episodes to get back to the present), etc. The Grand Finale Made-for-TV Movie even has Edd noting that it took "130 episodes, 4 specials, and a movie" for them to finally be respected by the other kids. The best example is probably the episode "One + One = Ed" where the Eds play around with cartoon physics and the nature of their universe (including having Jimmy turn into a puddle of talking color when they remove his outline).
  • The Emperor's New School uses this, to the point where it was used as a plotline.
  • The characters of Guy de la famille criticize "the network" (Fox) on a regular basis.
    • Characters also frequently address the audience directly, most frequently Peter, who even tells off the audience for being offended at his antics on account of it being a cartoon.
    • In an episode when Meg became a born-again Christian, Peter turned to the camera and said dryly: "That's right folks. It's gonna be a Meg episode. Stick around for the fun. Here's the clicker. No one'd blame ya."
    • Another episode explained that the reason Peter can afford to do all the expensive stunts he pulls off in the show is because Fox pays for it ahead of time.
  • Dans le Fix und Foxi épisode Frog Sandwich, Lupinchen looked straight into the camera all worried after a daydream was interrupted.
  • Garfield and Friends did this from the beginning, there are several cartoons entirely based around the cartoon status of the show. Characters acknowledge the audience on a regular basis, and remark that they want bigger parts in the show. At one point, Garfield even sits down and watches his own show on TV to find out what he should do next; in another episode, opening in medias res, has him pull out a script to find out what has happened up to that point. In one other episode, Garfield was afraid the plane he was on was going to crash, so he turned to the camera and asked the viewer to check their TV listings to see if it were the last episode.
    • The Garfield Show does this too, though only Garfield seems to have full awareness of the world beyond the screen.
  • Dans The Grim Adventures of Billy & Mandy, during a telephone call the creature was not speaking English so subtitles appeared on the screen. When Mandy asked Grim what he said Grim relayed the message explaining that he didn't understand a word of it, but he was pretty good at reading subtitles backwards. Mandy also frequently breaks the fourth wall, asking who writes the show, or stepping entirely out of the screen to watch the episode. These are just some of the many instances of breaking the fourth wall.
  • Grojband is extremely self-aware, and the characters lampshade plot points or express awareness at the fact they are in a cartoon in pretty much every episode. In fact, every episode ends with Corey saying to the audience, "Thanks for coming out, everyone!", before pulling down the garage door that signifies the end of the episode. The show's wiki even has an article on it.
  • Henry Hugglemonster: the main character speaks to the viewers frequently, typically at the start of every short.
  • The characters on Kaeloo are fully aware of the fact that they are in a cartoon. In fact, at the end of Episode 105, Stumpy takes over the animation studio, and the characters have frequently referred to being in a cartoon.
    Mr. Cat: I don't like this episode!
  • Looney Tunes:
    • Perhaps the most brilliant example ever was the classic Chuck Jones short Duck Amuck, which entirely consists of Daffy Duck and an unseen (until the final shot) animator arguing with each other across the Fourth Wall.
      • The animator turns out to be nobody else but Bugs Bunny (but then, who didn't see that coming?).
      • "Ain't I a stinker?"
    • There's a much-less-classic sequel, called Rabbit Rampage, in which Bugs Bunny is tormented by Elmer Fudd. Effective only in highlighting the character-driven brilliance of the original in contrast. Bugs, as Chuck Jones thought of him, has far too much grace under pressure to freak out as beautifully as Daffy.
    • A 1940 Looney Tunes short titled "You Ought to Be in Pictures" involves Porky Pig and Daffy Duck literally jumping out of their animation cels and interacting with the real (live-action) world.
    • In the early short "The Case of the Stuttering Pig", the bad guy plotting to off Porky and his kin taunts the audience that there's nothing they can do about it, especially not "you in the third row, you big creampuff!" At the end of the cartoon, the pigs are saved by "the guy in the third row" throwing his chair at the bad guy and knocking him into a set of stocks.
    • There's also "The Big Snooze", where Elmer Fudd and Bugs Bunny are going through the motions of a typical cartoon, when Elmer suddenly decides he has enough, and rips his contract with Warner Bros. apart.
    • 1939's "Thugs With Dirty Mugs" has an audience member trying to leave the theater ("Well, Mr. Killer, this is where I came in!") and being forced back into his seat at gunpoint. In the next scene the patron alerts police officer Flatfoot Flookie of the Killer's planned break-in of the Lotta Jewels mansion.
    • Bugs Bunny in general.
    • Tweety often breaks the fourth wall, as well. It's usually when he tawt he taw a putty tat and when he makes comments about Sylvester's antics.
  • Dans My Little Pony: Friendship Is Magic, the character Pinkie Pie is an embodiment of fourth wall breaker.
  • Duh, Phineas and Ferb. At first they seemed to have it, but Rule of Funny seems to have eroded it. At this point they've had a musical episode where everyone just agreed to sing and dance to the music without a source, parodied several times the fact that Status Quo Is God and used it as a power, had clip-shows, and character commentaries of episodes. ("You live in a cartoon and have never seen a thought bubble before?")
    • Monogram seems to dislike breaking the fourth wall according to "Make Play":

      Major Monogram: "Oh, wow, what are the odds."

      Carl: "Well, it is a cartoon, sir."

      Major Monogram: "What did I tell you about breaking the fourth wall, Carl?"

      Carl: "Sorry sir."

    • The entire episode of "What'd I Miss?" has this, with characters mentioning the narration and noting that they can't see the flashbacks.
    • Also in the Grand Finale with the song "Thank You For Comin' Along" that has the characters singing to the audience and thanking them for watching. At the end of the song, Phineas waves goodbye to the audience before closing the door.
  • The Popeye short The Hungry Goat was pretty much a WB cartoon featuring the sailor. At the end of the cartoon, the ship's admiral goes to the movies to see… how his ship is being eaten by the goat.
  • Rocky and Bullwinkle is also noted for its missing fourth wall; the characters know that they are on a TV show, know that there are censors watching, realize that it's a children's show, and recognize that the writing/plot/script/concept is "bad writing" at times.
    • They also talk to the narrator from time to time. At one point, Boris fails to discover a piece of paper, and has to answer to the narrator who insist it is "right under his nose". He was sitting on it.
      • And, moments later, he rewinds the tape to miss a plot-critical statement made by the narrator.
  • Rocko's Modern Life would do this from time to time, the most notable case happening in "I Have No Son!". When Rocko, Filburt and the Bighead Studio tour guide stumble upon a "story conference", we see a storyboard depicting Rocko, Filburt and the tour guide stepping in that very room. The guide soon realizes they're in the wrong room.
  • Le Sam & Max: Freelance Police animated show never had a 4th wall, pointing out jokes that were used in the comics, referencing the constraints a kids' show puts on them, and even going so far to point out the show's lack of viewers.

    Max: Sam, I think we're being watched.
    Sam: Judging by the lack of fan mail, I beg to differ, little pal.

  • Scooby-Doo:
    • A Pup Named Scooby-Doo had a gimmick similar to Ellery Queen, just before they revealed who the monster was.
    • Then there was the late '70s prime-time special Scooby Goes Hollywood, which had Scooby and Shaggy getting tired of being stuck in a formula-driven Saturday morning show, and attempting to sell a network executive on giving them a prime time show of their own.
    • Scooby-Doo in Arabian Nights featured this in one part, when Magilla Gorilla commented on it was amazing how things would happen right on cue in a cartoon.
  • Sheep in the Big City, in a similar manner as Rocky and Bullwinkle frequently switches to the narrator inside the recording studio for commentary. The Season 1 finale tops it all off where it turns out that the sheep is the real Big Bad, and that he has a narrator-powered ray gun. Don't worry, it's All Just a Dream.
  • Dans le Space Goofs épisode Bongo Park, Stereo says "MAKE IT STOP" while looking at the camera.
  • Le Spongebob Squarepants episode 'Krusty Krab Training Video' has the characters hearing the narrator speak; going as far as to even make comments about what they are hearing.

    Patrick: Squidward! Your ceiling is talking to me!

  • Steven Spielberg's WB Animation shows of the 1990s, Tiny Toon Adventures et Animaniacs in particular, are essentially built on this trope, using it for most of their jokes.
    • If this assignment doesn't turn out funny, Warner Brothers will disavow any knowledge of the episode and blame it on the writers. -Bugs in Tiny Toons' "Hare Raising Night"
    • In the same vein, Freakazoid!. In addition to complaining about the writing, the characters will actually call production assistants into the episode to help them resolve the plot, or be interrupted by executives who urge them to show off more merchandise.
  • Teenage Mutant Ninja Turtles (first cartoon) frequently used this trope.
  • Tex Avery MGM Cartoons:
    • Dans The Bird Who Dood-It, the worm and the bird find a billboard for the movie Mrs. Minimum, featuring the very cartoon they're in as a side attraction.
    • Dans Northwest Hounded Police, Wolfie hides from Droopy in a movie theater, only to find him on the screen
  • Dans le Wild Grinders épisode Demolition Man when Flipz notices a giant pie, she looked straight at the camera as if a viewer did something disturbing.
  • Long before Dora, though, there was Winky Dink, who not only interacted with the kids watching, but actively needed their help — as provided via crayons and a clear plastic overlay for the TV screen (conveniently available for sale at your local store).
  • Disney's Winnie-the-Pooh has indulged in this trope quite a bit.
    • In "Winnie the Pooh and Tigger Too," Tigger is stuck up a tree and asks the narrator to narrate him down, which he does by tilting the page so Tigger can climb down the text of the story(!).
    • At one point in "A Day For Eeyore", when the titular donkey gets rescued from the river, he argues with Tigger about whether or not he was bounced into the river. The narrator promptly interrupts, much to the confusion of everyone (except Tigger, of course), then he turns the pages back in order for everyone to see the scene and find out. Earlier in the same short, the narrator has to tell Pooh why he used sticks instead of fir cones for Poohsticks (you know, that game where you drop sticks from a bridge).
    • In fact, in most Pooh adaptations that acknowledge the storybook aspect of the franchise, it's a STANDARD, from the narrator frequently interacting with the cast, to in-book elements affecting the actual text of the book (such as the winds of the blustery day blowing off some of the text which blow into Pooh, for starters, and vice versa (turning the page prevents Pooh from flying out of the book).
      • This is perhaps a reference back to the very first story of the very first Pooh book, which uses a Framing Device of Christopher Robin and Edward Bear (yes, that's Pooh) wanting to be read a bedtime story, with Pooh liking stories about himself, and so the narrator—never stated by name but obviously author A.A. Milne, as Christopher Robin was based on his own son and the other characters on the real Christopher Robin's stuffed animals—tells them the story about Pooh's attempt to get honey by tricking the bees into thinking he was a rain cloud. While later stories more or less dropped this aspect, First Installment Wins is likely guiding the adaptations.
  • Woody Woodpecker frequently does this, taking it to the point of Roger Rabbit Effect in the live action segments of his old 60's TV series.
  • Children's cartoon WordGirl regularly has the narrator talking to the heroine (and sometimes the villains). At least once, he outright tells Word Girl where the villain is.
  • The Jim Henson Company's Word Party also uses this trope, the characters and narrator addresses the audience directly.
  • What little Fourth Wall there is gets torn, poked, pierced, sewn shut, nailed back together, then utterly obliterated in the mixed 2D / 3D short Get a Horse! by Disney. At one point, the movie screen itself gets flipped back and forth as a sort of pause, fast forward, and rewind.


Vous pourriez également aimer

Laisser un commentaire

Votre adresse de messagerie ne sera pas publiée. Les champs obligatoires sont indiqués avec *