History Reconstruction / ComicBooks

* ''ComicBook/AstroCity'' is a series built on the repeated reconstruction of comic book superheroes. While most of Creator/KurtBusiek's works involve nuanced reconstruction on some level, ''Astro City'' has it as its lifeblood. You will be hard-pressed to find a single issue that doesn't reconstruct one ComicBook trope or another, whether it's the CrisisCrossover, the BadassNormal, MundaneUtility, the IntrepidReporter, [[SecretIdentity Secret Identities]], the NinetiesAntihero, PostModernMagik...

A lot of smaller conventions of the superhero genre were deconstructed during UsefulNotes/{{the Bronze Age|OfComicBooks}} and {{Reconstruction}} during UsefulNotes/{{the Dark Age|of Comic Books}}.

Genre: Heroes don't kill because of UsefulNotes/TheComicsCode. Decon: Superheroes kill, and those who don't wind up getting beaten by the villain. Recon: Superheroes don't kill because they are not (usually) [[SuperCop police]] or [[MilitarySuperhero military]] and therefore don't have the legal authority to kill, or they do kill but only when there is absolutely no other option.

A lot of smaller conventions of the superhero genre were deconstructed during UsefulNotes/{{the Bronze Age|OfComicBooks}} and reconstructed during UsefulNotes/{{the Dark Age|of Comic Books}}.

* Jackie Estacado, the protagonist of ''ComicBook/TheDarkness'', is a reconstruction of the NinetiesAntiHero. Whereas most Nineties Anti-Heroes are loud, bombastic, and shallow, Jackie is complex, subtle, and intelligent. [[BlueAndOrangeMorality He has no moral quandary with]] [[PayEvilUntoEvil killing bad guys]], but [[NeverHurtAnInnocent freaks out if he kills an innocent person]]. He has the [[CastingAShadow personification of darkness and evil inside of him]], but views this as [[CursedWithAwesome a curse rather than a blessing]]. He's also LawfulNeutral, sticking to old-school codes of New York mob crime families, and [[AFatherToHisMen genuinely caring about those who work for him]].

* The first two volumes of ''Comicbook/TheLeagueOfExtraordinaryGentlemen'' are half deconstruction, half reconstruction of Victorian adventure fiction (and for that matter, the concept of the MassiveMultiplayerCrossover); Moore brings on all kinds of moral ambiguity and tosses aside typical Victorian ideals, but at the same time he takes some of the most awesome literary characters of the time and gives them their full due. It had been a long, long time since Fu Manchu had been anything but a parody. ''The Black Dossier'' however seems a reconstruction of the concept (though in doing so, it becomes a deconstruction of 20th century fiction). If you aren't somewhat confused, then Creator/AlanMoore hasn't done his job.

* ''ComicBook/CaptainAtom: Armageddon'' was this as well. By the time it came out, the Creator/WildStorm characters had come to embody all the excesses of UsefulNotes/{{the Dark Age|of Comic Books}}, so DC brought ComicBook/CaptainAtom, who, while [[DeconstructorFleet hardly what you'd call a traditional superhero]], nonetheless was a much more [[TheCape wholesome, positive character]] to set the [=WildStorm=] Universe to rights.

* Creator/DCComics:
** In 1986, DC's big two heroes, Superman and Batman, both received deconstructive treatments with ''Comicbook/BatmanTheDarkKnightReturns'' and ''ComicBook/WhateverHappenedToTheManOfTomorrow''. These were followed almost immediately by reconstructions with ''ComicBook/BatmanYearOne'' and ''ComicBook/TheManOfSteel''.
** ''Comicbook/KingdomCome'' was a particularly famous comics reconstruction that delivered a rather heavy-handed denouncement of the NinetiesAntiHero. Though it should be noted that the story ended up with [[spoiler:''all'' the super-heroes realizing they were flawed, removing their masks, and joining normal human society]].
** ''Comicbook/{{Justice}}'' is more a reconstruction proper, as it is essentially ''{{WesternAnimation/Superfriends}}'' without the camp, token characters, and low-budget visuals. Its opening reads like a superhero deconstruction, with the rest of the series reading like a thorough rebuttal.
** A good deal of Grant Morrison's stuff at least addresses the need for a reconstruction.
*** ''Comicbook/FinalCrisis'' is increasingly interpreted as an attempt to redeem [[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]] idealism and high concepts in order to subvert the DarkerAndEdgier style and "realism" of UsefulNotes/TheDarkAgeOfComicBooks.
*** In ''Comicbook/AnimalMan'', the titular character complains that [[spoiler: His entire family was killed off for the sake of "character development"]]; at the end of the series, [[spoiler: The author returns them to life]]. The ''Comicbook/FlexMentallo'' mini-series can also be seen as a celebration of how unabashedly weird UsefulNotes/TheSilverAgeOfComicBooks could be, [[Administrivia/TropesAreTools and how that's not necessarily a bad thing]].
*** Morrison's ''ComicBook/AllStarSuperman'' is this [[AdaptationDistillation trope distilled]].
*** ''ComicBook/BatmanRIP'', which successfully combines the gritty Batman and the Silver Age Batman into one coherent, badass character.
** Joe Kelly's Superman story ''ComicBook/WhatsSoFunnyAboutTruthJusticeAndTheAmericanWay'' was also a big contribution to the superhero reconstruction.
** ''ComicBook/TomStrong'' does something similar with the pulp/comic book "science hero" archetype.
* The ''[[ComicBook/TheFlash Rogues Reloaded]]'' storyline from The Flash does this for the Flash's villains. Though beloved for their sympathetic backstories, likable personalities, and code of honor, the Rogues are often overshadowed by the more threatening villains like the Reverse-Flashes and Gorilla Grodd, to the point where they're almost considered "Flash's sidekicks" (even in-universe). ''Rogues Reloaded'' shows that while the Rogues have redeeming qualities, they're still ruthless, unrepentant criminals who are only out for themselves and while they don't go out of their way to hurt people, they have zero sympathy for those affected by their crimes.

* Inevitably, this trope will be in effect post-''ComicBook/{{New 52}}'', thanks to the multitudes of drastic changes to the classic Creator/DCComics mythos (such as ComicBook/LoisLane being PutOnABus in favor of ComicBook/WonderWoman, and {{Superman}}'s costume change as an example in one franchise). Ultimately proven with ''ComicBook/DCRebirth'', starting with ''DC Universe: Rebirth'' #1 as a reconstruction of the idea of the LegacyCharacter, showing that without these people on both ends of the spectrum, you end up with a universe that feels very empty. It also reconstructs the idea of a HopeBringer, showing that you can plunge the world into darkness, but someone will show up to light the way.

* ''ComicBook/TheSuperiorFoesOfSpiderMan'' reconstructs AmusingInjuries; the characters always have to deal with the long-term consequences of their injuries and behavior, but not only does this not prevent the initial incident from being funny, but the comic also plays the consequences for humor (for example, Speed Demon injures his leg in issue 5 and has to spend the next several issues wearing a cast. The gang solves this by [[WorstAid strapping his injured leg into a roller skate so he can move around for the big heist]]).
* ''ComicBook/SupermanSecretIdentity''. A boy named Clark Kent in "our" world develops Superman's actual abilities.
** Deconstruction: He repeatedly mentions that he has no clue where his powers came from or how they work - how can he hear things before the sound waves even have time to reach him, for instance? When he actually starts going out in costume, the Superman suit works in his favor because no one is going to believe someone saying Superman saved them. Unfortunately, he draws the attention of the military, who repeatedly try to capture him and experiment on him.
** ''Re''construction: He never stops helping people, and eventually proves to the people chasing him that he's more useful as a friend than an enemy. The book's overall tone and ending is completely positive.
* [[ComicBook/JonathanSamuelKent Jon Kent]], the latest Superboy, is this of the classic child sidekick. After years of deconstruction of the KidHero archetype and the dangers of bringing children into superpowered fights, Jon is a sweet, upbeat, and outgoing child who JumpedAtTheCall after learning about his powers. At the same time, he repeatedly proves himself an asset in fights while acknowledging his inexperience and PowerIncontinence. His story doesn't stray away from the constant AdultFear his parents have when Jon could be getting in over his head.
* ''ComicBook/TheTransformersMoreThanMeetsTheEye'' follows on the footsteps of ''ComicBook/TheTransformersLastStandOfTheWreckers'', a miniseries set in the same universe and by the same author that presents its bleakest and most cynical take on the war between robots yet by deploying WarIsHell and BlackAndGrayMorality in full force. ''More Than Meets The Eye'', meanwhile, acts as a reconstruction, with almost as much tragedy, violence and NightmareFuel as ''Last Stand'', but with much more hopeful and heartwarming themes of a traumatized, dysfunctional RagtagBandOfMisfits building lasting bonds between them and trying to do the right thing despite all odds.
* ''ComicBook/TheUltimates'': The team was initially a deconstruction of the way The Avengers would be if they existed in the real world. The most notable thing about them is that they would be a military operation run by the US, not independent superheroes doing whatever they want. That, however, turned out to be their status at the end of the second arc.
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.

* A lot of smaller conventions of the superhero genre were deconstructed during UsefulNotes/{{the Bronze Age|OfComicBooks}} and reconstructed during UsefulNotes/{{the Dark Age|of Comic Books}}.
** Genre: SuperheroesWearCapes because of the RuleOfCool. Decon: [[ComicBook/{{Watchmen}} Capes are silly stuff that's just for show and can get in the way]], therefore practical superheroes don't wear capes. Recon: SuperheroesWearCapes for a variety of useful purposes, or are given explanations deeper than the RuleOfCool.
** Genre: Heroes don't kill because of UsefulNotes/TheComicsCode. Decon: Superheroes kill, and those who don't wind up getting beaten by the villain. Recon: Superheroes don't kill because they are not (usually) [[SuperCop police]] or [[MilitarySuperhero military]] and therefore don't have the legal authority to kill, or they do kill but only when there is absolutely no other option.