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** The ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' story arcs have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing. Also helping this is that the CriticalBacklash to many modern Spidey comics such as ''ComicBook/SinsPast'', ComicBook/OneMoreDay, and especially the Creator/ZebWells-Nick Lowe Spider-Man run all of which have managed to eclipse even ''The Clone Saga'' when it comes to controversy and fan-disownment. While nobody is likely to claim ''Maximum Carnage'' or ''The Clone Saga'' are the best Spider-Man arcs, they at the very least don't give extreme CharacterDerailment to the cast for the sake of StatusQuoIsGod, NoSuchThingAsBadPublicity and to keep Peter being TheChewToy like the said comics do.
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** The ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' story arcs have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing. Also helping this their reputation is that the CriticalBacklash to many modern Spidey comics such as ''ComicBook/SinsPast'', ComicBook/OneMoreDay, and especially the Creator/ZebWells-Nick Lowe Spider-Man run all of which run. These stories have managed to eclipse even ''The Clone Saga'' when it comes to controversy and fan-disownment. While nobody is likely to claim ''Maximum Carnage'' or ''The Clone Saga'' are the best Spider-Man arcs, they at the very least don't give extreme CharacterDerailment to the cast for the sake of StatusQuoIsGod, NoSuchThingAsBadPublicity and to keep Peter being TheChewToy like the said comics do.
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** Creator/GrantMorrison's ''[[ComicBook/ActionComicsNew52 Action Comics]]'' run was rather controversial when it came out. Not only was it something like the third origin story Superman had gotten that decade, but Morrison wrote a take on Superman as a young, brash, politically-active KnightInSourArmor, in an era that was seen as going in an unwarranted DarkerAndEdgier direction and when most fans, remembering Morrison's ''ComicBook/AllStarSuperman'', were hoping for an AllLovingHero. The book also killed off the Kents, and, as part of the reboot, made Superman and Lois no longer a couple and had Superman in an ugly armored costume past the first few arcs. Other writers, falling victim to the bad communication of the era and the malaise surrounding the ''Superman'' books, didn't help by interpreting the modern Superman as an AdaptationalJerkass. Before long, the book was seen as part of an AudienceAlienatingEra that would ultimately be retconned out by ''Superman Reborn''. However, over time, the book picked up a following that noted the claims of it being DarkerAndEdgier were overstated, that Superman's earlier jerkishness was meant to be just the first stage of his CharacterDevelopment, and his attitude was a deliberate RevisitingTheRoots to the Golden Age. Before long, people started looking back on other aspects of the run: the intriguing new villains, giving Superman a coherent set of ideals beyond "[[ConceptsAreCheap nice and good]]" (helped further by some later takes on him coming off as rather milquetoast), fitting a BroadStrokes version of Superman's [[EraSpecificPersonality out-of-universe development that gave him aspects of all his prior takes]], and the commentary on Superman's dual role as a symbol of empowerment and liberation and a corporate mascot. Nowadays, it's not uncommon to see people calling it a diamond in the rough, or even one of Superman's best runs, with most retrospectives putting it as one of the few truly great books of the New 52 era.
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* Creator/JackKirby's ''ComicBook/NewGods'' titles sold poorly (though there is some controversy about just how good or bad the sales figures were at the time, and how much of that was due to a line-wide price hike and format change). Since then, Kirby's work on ''New Gods'', ''Mister Miracle'' and ''The Forever People'' has become widely acclaimed as among his very best, with characters who have been used again and again, in multiple media (e.g. ''WesternAnimation/SuperFriends'', ''WesternAnimation/JusticeLeague'', and ''Series/{{Smallville}}'').
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* Creator/JackKirby's ''ComicBook/NewGods'' titles sold poorly (though there is some controversy about just how good or bad the sales figures were at the time, and how much of that was due to a line-wide price hike and format change). Since then, Kirby's work on ''New Gods'', ''Mister Miracle'' and ''The Forever People'' has become widely acclaimed a massive CultClassic as among his very best, with and the New Gods mythos are central to the DCU overall. The characters who in them have been used again and again, adapted in multiple media (e.g. ''WesternAnimation/SuperFriends'', ''WesternAnimation/JusticeLeague'', and ''Series/{{Smallville}}'').
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* ''ComicBook/SpiderMan'' story arcs ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing.
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* ''ComicBook/SpiderMan'' story arcs ''ComicBook/SpiderMan''
** The ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' story arcs have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing. Also helping this is that the CriticalBacklash to many modern Spidey comics such as ''ComicBook/SinsPast'', ComicBook/OneMoreDay, and especially the Creator/ZebWells-Nick Lowe Spider-Man run all of which have managed to eclipse even ''The Clone Saga'' when it comes to controversy and fan-disownment. While nobody is likely to claim ''Maximum Carnage'' or ''The Clone Saga'' are the best Spider-Man arcs, they at the very least don't give extreme CharacterDerailment to the cast for the sake of StatusQuoIsGod, NoSuchThingAsBadPublicity and to keep Peter being TheChewToy like the said comics do.
** ''ComicBook/SuperiorSpiderMan2013'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
** The ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' story arcs have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing. Also helping this is that the CriticalBacklash to many modern Spidey comics such as ''ComicBook/SinsPast'', ComicBook/OneMoreDay, and especially the Creator/ZebWells-Nick Lowe Spider-Man run all of which have managed to eclipse even ''The Clone Saga'' when it comes to controversy and fan-disownment. While nobody is likely to claim ''Maximum Carnage'' or ''The Clone Saga'' are the best Spider-Man arcs, they at the very least don't give extreme CharacterDerailment to the cast for the sake of StatusQuoIsGod, NoSuchThingAsBadPublicity and to keep Peter being TheChewToy like the said comics do.
** ''ComicBook/SuperiorSpiderMan2013'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
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* ''ComicBook/SuperiorSpiderMan'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
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* ''ComicBook/LegionOfSuperHeroes'' has the Reboot/"Postboot" era. It was the first full-on reboot that the Legion of Super-Heroes received, presenting a new world where the heroes were just starting out. The convluted backstory of the original Legion was done away with. The characters were now teenagers again, and much of the stories were about characters and their personal drama rather than large space epics (mostly, that would come later). Because of this, some fans decried them as the "Archie Legion". The era gained a reputation for being a teen drama in space until the [=DnA=] run, which saw a DarkerAndEdgier take as the characters faced an invading army. While the [=DnA=] stuff is still praised, the "Archie" era has also since been reevaluated due to the pushback against DarkerAndEdgier storytelling with superheroes. The reboot that followed the Postboot Legion, the "Threeboot", revelled in this in particular and has been reevaluated in a ''negative'' light. People became more fond of the character work done with the Legion, and there is a general appreciation for how the reboot updated the characters for the modern age.
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** In [[The80s the early 1980s]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
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** In [[The80s the early 1980s]], 1980s, the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
** ''ComicBook/TheSuperDogFromKrypton'' was the story which introduced Krypto, Superman's dog who quickly became a hit. By the 1980s, though, DC regarded it as another instance of convoluted Silver Age silliness which should go. By the early 2000s, though, it was decided to bring the character back, giving him a less contrived origin....which was actually more convoluted (instead of being used by Jor-El to prove his rocket, which was blown off course and took over fifteen years to reach Earth, Krypto was a dog from a false Krypton), so it was retconned out and replaced by the original story shortly after. ''Superman'''s 2011 reboot tried to "update" Krypto's origin again (having him to be sucked into the Phantom Zone before Krypton's explosion), but nobody particularly cared about that story, so DC retconned his first appearance back into canon.
** ''ComicBook/LegionOfSuperHeroes'' has the Reboot/"Postboot" era. It was the first full-on reboot that the Legion of Super-Heroes received, presenting a new world where the heroes were just starting out. The convoluted backstory of the original Legion was done away with. The characters were now teenagers again, and much of the stories were about characters and their personal drama rather than large space epics (mostly, that would come later). Because of this, some fans decried them as the "Archie Legion". The era gained a reputation for being a teen drama in space until the [=DnA=] run, which saw a DarkerAndEdgier take as the characters faced an invading army. While the [=DnA=] stuff is still praised, the "Archie" era has also since been reevaluated due to the pushback against DarkerAndEdgier storytelling with superheroes. The reboot that followed the Postboot Legion, the "Threeboot", revelled in this in particular and has been reevaluated in a ''negative'' light. People became more fond of the character work done with the Legion, and there is a general appreciation for how the reboot updated the characters for the modern age.
** ''ComicBook/LegionOfSuperHeroes'' has the Reboot/"Postboot" era. It was the first full-on reboot that the Legion of Super-Heroes received, presenting a new world where the heroes were just starting out. The convoluted backstory of the original Legion was done away with. The characters were now teenagers again, and much of the stories were about characters and their personal drama rather than large space epics (mostly, that would come later). Because of this, some fans decried them as the "Archie Legion". The era gained a reputation for being a teen drama in space until the [=DnA=] run, which saw a DarkerAndEdgier take as the characters faced an invading army. While the [=DnA=] stuff is still praised, the "Archie" era has also since been reevaluated due to the pushback against DarkerAndEdgier storytelling with superheroes. The reboot that followed the Postboot Legion, the "Threeboot", revelled in this in particular and has been reevaluated in a ''negative'' light. People became more fond of the character work done with the Legion, and there is a general appreciation for how the reboot updated the characters for the modern age.
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* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear, Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/GlobalTelevisionNetwork and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/GlobalTelevisionNetwork and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
to:
* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear, Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made good storyline just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
shocking moments.
*''Franchise/{{Tintin}}'' ''ComicBook/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/GlobalTelevisionNetwork and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
*
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** While it didn't sell very well at the time, Don [=McGregor=]'s ''Jungle Action'' run ended up having a major impact on the character. It was the first series to actually do serious WorldBuilding for Wakanda and to flesh out T'Challa's supporting cast. It also introduced [[ComicBook/{{Killmonger}} Erik Killmonger]], who would later become one of the Panther's most prominent and popular foes. It was also one of the first mainstream comics to have a self-contained, multi-issue arc, with some critics calling the "Panther's Rage" storyline Marvel's first graphic novel.
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** While it didn't sell very well at the time, Don [=McGregor=]'s ''Jungle Action'' run ended up having a major impact on the character. It was the first series to actually do serious WorldBuilding for Wakanda and to flesh out T'Challa's supporting cast. It also introduced [[ComicBook/{{Killmonger}} Erik Killmonger]], Killmonger, who would later become one of the Panther's most prominent and popular foes. It was also one of the first mainstream comics to have a self-contained, multi-issue arc, with some critics calling the "Panther's Rage" storyline Marvel's first graphic novel.
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* Creator/JerrySiegelAndJoeShuster, Creator/JackKirby, Creator/WilliamMoultonMarston, and Creator/StanLee amongst others are names known in the comics industry and even by a surprising amount of non-readers. Nowadays, they are given proper respect due for the characters they helped bring to life, even if harsh battles are still fought over these characters in terms of rights and royalties. One particular name however has taken a much longer time to get the recognition it deserves: Creator/BillFinger the co-creator of, and an early writer for ComicBook/{{Batman}}. He was the one who many would argue gave the Dark Knight more of his iconic features than his much more famous and outspoken partner, Bob Kane. Starting in 2016, DC Comics finally gave Bill Finger his much overdue credit by having his name appear next to Bob Kane's in any new Batman-related media.
to:
* Creator/JerrySiegelAndJoeShuster, Creator/JackKirby, Creator/WilliamMoultonMarston, and Creator/StanLee amongst others are names known in the comics industry and even by a surprising amount of non-readers. Nowadays, they are given proper respect due for the characters they helped bring to life, even if harsh battles are still fought over these characters in terms of rights and royalties. One particular name however has taken a much longer time to get the recognition it deserves: Creator/BillFinger Creator/BillFinger, the co-creator of, and an early writer for ComicBook/{{Batman}}. He was the one who many would argue gave the Dark Knight more of his iconic features than his much more famous and outspoken partner, Bob Kane. Starting in 2016, DC Comics finally gave Bill Finger his much overdue credit by having his name appear next to Bob Kane's in any new Batman-related media.
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** In [[The80s the early 1980's]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
to:
** In [[The80s the early 1980's]], 1980s]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
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* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
to:
* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear fear, Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
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* ''ComicBook/SonicTheHedgehogArchieComics'': Creator/IanFlynn's run on the comic was divisive at best. The comic was coming out of Karl Bollers's run (which was widely considered the comic's AudienceAlienatingEra) and many still had nostalgia for the Creator/KenPenders run; many were skeptical that Flynn, who was primarily known as a fanfiction writer, could possibly do a good job. His actual writing soon became controversial, as he made sweeping changes to the setting (destroying Knothole and recreating Mobotropolis, turning the Dark Legion into Eggman's minions, killing off most the Echidnas, etc.) that, in many fan's eyes, removed much of the comic's original or ''[[WesternAnimation/SonicTheHedgehogSatAM SatAM]]'' elements in favor of making it similar to the games, while several stories, especially the Iron Dominion arc, were criticized for dragging on way too long. It didn't help that his biggest work prior to becoming an official writer for the comic, ''Other M'', became criticized as a dark and edgy mess with widely OutOfCharacter interpretations of classic characters [[note]]This last part appears to be the result of [[CommonKnowledge genuine confusion]] rather than bad writing from Flynn, as ''Other M'' actually takes place in an alternate universe, or [[TitleDrop "Other Mobius"]][[/note]]. However, as a result of legal issues with Penders, Archie would ultimately decide to [[CosmicRetcon do an almost complete reboot]], removing all remaining original elements in favor of sticking more closely to the games, while still retaining ''[=SatAM=]'' and ''WesternAnimation/AdventuresOfSonicTheHedgehog'' characters. Many people believed that, unburdened from previous continuity, that Ian Flynn was able to craft a unique identity for the comic on it's own, with several cult favorites, new interpretations of classic characters, and a genuine love for the ''Sonic'' franchise in general. Many began looking at Flynn's previous work in a better light, seen as removing several of the worse elements of the previous runs while setting things up for the Post Super Genesis Wave continuity, and creating some of the best stories in the comic's history. These days, with Ken Penders's run being largely CondemnedByHistory, it's not uncommon to cite Ian Flynn as the one of the best writers Sonic's ever had, and while he still has his detractors, they're nowhere near as prevalent as they used to be. When Ian Flynn was brought on board for both the [[ComicBook/SonicTheHedgehogIDW IDW comic]] and ''VideoGame/SonicFrontiers'', [[SugarWiki/AndTheFandomRejoiced many fans actively celebrated]].
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* ''ComicBook/SonicTheHedgehogArchieComics'': Creator/IanFlynn's run on the comic was divisive at best. The comic was coming out of Karl Bollers's run (which was widely considered the comic's AudienceAlienatingEra) and many still had nostalgia for the Creator/KenPenders run; many were skeptical that Flynn, who was primarily known as a fanfiction writer, could possibly do a good job. His actual writing soon became controversial, as he made sweeping changes to the setting (destroying Knothole and recreating Mobotropolis, turning the Dark Legion into Eggman's minions, killing off most the Echidnas, etc.) that, in many fan's eyes, removed much of the comic's original or ''[[WesternAnimation/SonicTheHedgehogSatAM SatAM]]'' elements in favor of making it similar to the games, while several stories, especially the Iron Dominion arc, were criticized for dragging on way too long. It didn't help that his biggest work prior to becoming an official writer for the comic, ''Other M'', became criticized as a dark and edgy mess with widely OutOfCharacter interpretations of classic characters [[note]]This last part appears to be the result of [[CommonKnowledge genuine confusion]] rather than bad writing from Flynn, as ''Other M'' actually takes place in an alternate universe, or [[TitleDrop "Other Mobius"]][[/note]]. However, as a result of legal issues with Penders, Archie would ultimately decide to [[CosmicRetcon do an almost complete reboot]], removing all remaining original elements in favor of sticking more closely to the games, while still retaining ''[=SatAM=]'' and ''WesternAnimation/AdventuresOfSonicTheHedgehog'' characters. Many people believed that, unburdened from previous continuity, that Ian Flynn was able to craft a unique identity for the comic on it's its own, with several cult favorites, new interpretations of classic characters, and a genuine love for the ''Sonic'' franchise in general. Many began looking at Flynn's previous work in a better light, seen as removing several of the worse elements of the previous runs while setting things up for the Post Super Genesis Wave continuity, and creating some of the best stories in the comic's history. These days, with Ken Penders's run being largely CondemnedByHistory, it's not uncommon to cite Ian Flynn as the one of the best writers Sonic's ever had, and while he still has his detractors, they're nowhere near as prevalent as they used to be. When Ian Flynn was brought on board for both the [[ComicBook/SonicTheHedgehogIDW IDW comic]] and ''VideoGame/SonicFrontiers'', [[SugarWiki/AndTheFandomRejoiced many fans actively celebrated]].
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* ''ComicBook/GothamCentral'' sold poorly during its monthly releases, possibly due to it being a Batman book that rarely featured Batman himself. Towards the end of its run and after, however, it found popularity through good word-of-mouth and critical acclaim for it's intriguing LowerDeckEpisode nature, strong writing, fun characters, and being an InnocuouslyImportantEpisode that heavily impacted later beloved stories like ''ComicBook/FiftyTwo''. Following it's conclusion, it sells very well in collected edition and tends to regularly make lists of best Batman stories of all time.
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* ''ComicBook/GothamCentral'' sold poorly during its monthly releases, possibly due to it being a Batman book that rarely featured Batman himself. Towards the end of its run and after, however, it found popularity through good word-of-mouth and critical acclaim for it's its intriguing LowerDeckEpisode nature, strong writing, fun characters, and being an InnocuouslyImportantEpisode that heavily impacted later beloved stories like ''ComicBook/FiftyTwo''. Following it's its conclusion, it sells very well in collected edition and tends to regularly make lists of best Batman stories of all time.
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** In [[TheEighties the early 1980's]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
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** In [[TheEighties [[The80s the early 1980's]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
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* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/{{Global}} and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
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* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/{{Global}} Creator/GlobalTelevisionNetwork and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
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* ''ComicBook/SonicTheHedgehogArchieComics'': Creator/IanFlynn's run on the comic was divisive at best. The comic was coming out of Karl Bollers's run (which was widely considered the comic's AudienceAlienatingEra) and many still had nostalgia for the Creator/KenPenders run; many were skeptical that Flynn, who was primarily known as a fanfiction writer, could possibly do a good job. His actual writing soon became controversial, as he made sweeping changes to the setting (destroying Knothole and recreating Mobotropolis, turning the Dark Legion into Eggman's minions, killing off most the Echidnas, etc.) that, in many fan's eyes, removed much of the comic's original or ''[[WesternAnimation/SonicTheHedgehogSatAM SatAM]]'' elements in favor of making it similar to the games, while several stories, especially the Iron Dominion arc, were criticized for dragging on way too long. It didn't help that his biggest work prior to becoming an official writer for the comic, ''Other M'', became criticized as a dark and edgy mess with widely OutOfCharacter interpretations of classic characters [[note]]This last part appears to be the result of [[CommonKnowledge genuine confusion]] rather than bad writing from Flynn, as ''Other M'' actually takes place in an alternate universe, or [[TitleDrop "Other Mobius"]][[/note]]. However, as a result of legal issues with Penders, Archie would ultimately decide to [[CosmicRetcon do an almost complete reboot]], removing all remaining original elements in favor of sticking more closely to the games, while still retaining ''[=SatAM=]'' and ''WesternAnimation/AdventuresOfSonicTheHedgehog'' characters. Many people believed that, unburdened from previous continuity, that Ian Flynn was able to craft a unique identity for the comic on it's own, with several cult favorites, new interpretations of classic characters, and a genuine love for the ''Sonic'' franchise in general. Many began looking at Flynn's previous work in a better light, seen as removing several of the worse elements of the previous runs while setting things up for the Post Super Genesis Wave continuity, and creating some of the best stories in the comic's history. These days, with Ken Penders's run being largely CondemnedByHistory, it's not uncommon to cite Ian Flynn as the one of the best writers Sonic's ever had, and while he still has his detractors, they're nowhere near as prevalent as they used to be. When Ian Flynn was brought on board for both the [[ComicBook/SonicTheHedgehogIDW IDW comic]] and ''VideoGame/SonicFrontiers'', [[SugarWiki/AndTheFandomRejoiced many fans actively celebrated]].
to:
* ''ComicBook/SonicTheHedgehogArchieComics'': Creator/IanFlynn's run on the comic was divisive at best. The comic was coming out of Karl Bollers's run (which was widely considered the comic's AudienceAlienatingEra) and many still had nostalgia for the Creator/KenPenders run; many were skeptical that Flynn, who was primarily known as a fanfiction writer, could possibly do a good job. His actual writing soon became controversial, as he made sweeping changes to the setting (destroying Knothole and recreating Mobotropolis, turning the Dark Legion into Eggman's minions, killing off most the Echidnas, etc.) that, in many fan's eyes, removed much of the comic's original or ''[[WesternAnimation/SonicTheHedgehogSatAM SatAM]]'' elements in favor of making it similar to the games, while several stories, especially the Iron Dominion arc, were criticized for dragging on way too long. It didn't help that his biggest work prior to becoming an official writer for the comic, ''Other M'', became criticized as a dark and edgy mess with widely OutOfCharacter interpretations of classic characters [[note]]This last part appears to be the result of [[CommonKnowledge genuine confusion]] rather than bad writing from Flynn, as ''Other M'' actually takes place in an alternate universe, or [[TitleDrop "Other Mobius"]][[/note]]. However, as a result of legal issues with Penders, Archie would ultimately decide to [[CosmicRetcon do an almost complete reboot]], removing all remaining original elements in favor of sticking more closely to the games, while still retaining ''[=SatAM=]'' and ''WesternAnimation/AdventuresOfSonicTheHedgehog'' characters. Many people believed that, unburdened from previous continuity, that Ian Flynn was able to craft a unique identity for the comic on it's own, with several cult favorites, new interpretations of classic characters, and a genuine love for the ''Sonic'' franchise in general. Many began looking at Flynn's previous work in a better light, seen as removing several of the worse elements of the previous runs while setting things up for the Post Super Genesis Wave continuity, and creating some of the best stories in the comic's history. These days, with Ken Penders's run being largely CondemnedByHistory, it's not uncommon to cite Ian Flynn as the one of the best writers Sonic's ever had, and while he still has his detractors, they're nowhere near as prevalent as they used to be. When Ian Flynn was brought on board for both the [[ComicBook/SonicTheHedgehogIDW IDW comic]] and ''VideoGame/SonicFrontiers'', [[SugarWiki/AndTheFandomRejoiced many fans actively celebrated]].celebrated]].
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* ''ComicBook/SuperiorSpiderMan'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
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* ''ComicBook/SuperiorSpiderMan'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".better".
* ''ComicBook/MyLittlePonyFriendshipIsMagicIDW'': The "Siege of the Crystal Empire" arc was highly divisive among fans when it was first released. As the years passed, more fans have warmed up to it, or at least a specific aspect of it -- namely, how it gave King Sombra more depth than he got in the show, where he remained a GenericDoomsdayVillain in all of his appearances (with his appearance in the season 9 premiere in particular causing fans to look at his appearances in the comics in a more favorable light). The rest of the comic is still highly contentious, but the focus of the fandom is now on what's considered its best aspect.
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* ''ComicBook/MyLittlePonyFriendshipIsMagicIDW'': The "Siege of the Crystal Empire" arc was highly divisive among fans when it was first released. As the years passed, more fans have warmed up to it, or at least a specific aspect of it -- namely, how it gave King Sombra more depth than he got in the show, where he remained a GenericDoomsdayVillain in all of his appearances (with his appearance in the season 9 premiere in particular causing fans to look at his appearances in the comics in a more favorable light). The rest of the comic is still highly contentious, but the focus of the fandom is now on what's considered its best aspect.
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* Creator/JackKirby's ''ComicBook/NewGods'' titles sold poorly (though there is some controversy about just how good or bad the sales figures were at the time, and how much of that was due to a line-wide price hike and format change). Since then, Kirby's work on ''New Gods'', ''Mister Miracle'' and ''The Forever People'' has become widely acclaimed as among his very best, with characters who have been used again and again, in multiple media (e.g. ''WesternAnimation/SuperFriends'', ''WesternAnimation/JusticeLeague'', and ''Series/{{Smallville}}'').
* ''ComicBook/GothamCentral'' sold poorly during its monthly releases, possibly due to it being a Batman book that rarely featured Batman himself. Towards the end of its run and after, however, it found popularity through good word-of-mouth and critical acclaim for it's intriguing LowerDeckEpisode nature, strong writing, fun characters, and being an InnocuouslyImportantEpisode that heavily impacted later beloved stories like ''ComicBook/FiftyTwo''. Following it's conclusion, it sells very well in collected edition and tends to regularly make lists of best Batman stories of all time.
* ''ComicBook/DisneyDucksComicUniverse'': Creator/CarlBarks worked anonymously during his active years for Disney. Though his comics were always lucrative, he only received recognition after retiring. Comic book fans noticed that certain WesternAnimation/DonaldDuck comics were better than others, so they tracked him down and discovered who had made all those masterful comic books over the years. Luckily, Barks would live long enough to see this recognition during his lifetime.
* ''ComicBook/SpiderMan'' story arcs ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing.
* Both ''ComicBook/CountdownToFinalCrisis'' and ''ComicBook/CivilWar2006'' were given huge boosts while ''ComicBook/SinestroCorpsWar'' and ''ComicBook/WorldWarHulk'' were largely treated as filler events. However, both ''Sinestro Corps'' and ''World War Hulk'' are now considered to be classics, whereas ''Countdown'' and ''Civil War'' are seen as two of the worst big events of the 00s.
* At the same time the ''ComicBook/CivilWar2006'' series was running and had all of the Marvel publicity machine behind it, a small CrisisCrossover event called ''ComicBook/{{Annihilation}}'' was being published. It was largely ignored by Marvel and by readers, due to the lack of involvement from big name characters. The event also led to short-lived books for ''ComicBook/{{Nova}}'' and the ''ComicBook/GuardiansOfTheGalaxy'', which were both cancelled due to low sales. Their plots were finished out via ''ComicBook/TheThanosImperative'', and they were all lumped together as the [=DnA=] Marvel Cosmic era (after it's two primary writers, Dan Abnett and Andy Lanning). An era that has since come to be '''highly''' well-regarded. While readers ignored these books initially, those who ''did'' check them out universally loved them, and in time word-of-mouth helped them bloom into a CultClassic regarded as one of Marvel's best works of the 2000s. Then they ''really'' hit the jackpot when they were used as a huge influence on the mega hit [[Film/GuardiansOfTheGalaxy2014 movie adaptation of Guardians]], leading to a major NewbieBoom that catapulted many of Marvel's cosmic heroes to the A-List and saw the [=DnA=] run come to further be regarded as one of the great Marvel epics. The series became much easier to obtain as Marvel caught onto the new popularity and reprinted much of their Cosmic stuff, including the [=DnA=] run, which did in fact find sales success.
* ''ComicBook/FinalCrisis'' was incredibly hard to follow back when it was released, due to the series' "channel flipping" method of storytelling, the ScheduleSlip that affected the essential tie-in Superman Beyond 3D, and significant Executive Meddling (particularly in regards to ''ComicBook/CountdownToFinalCrisis''). Now that the series has been collected properly and the readership has had time to properly digest its contents, it's much more well regarded. A number of readers consider it a modern classic. It is still regarded as divisive, just not reviled.
* '' ComicBook/BlackPanther'':
** Creator/{{Christopher Priest|Comics}}'s run didn't sell well at the time of its original publication. Today, it is regarded as one of the best Marvel books of the 90's. Many fans even argue that Priest has earned creator-defining status over the character at this point. His depiction is often considered to be the definitive take on Black Panther.
** While it didn't sell very well at the time, Don [=McGregor=]'s ''Jungle Action'' run ended up having a major impact on the character. It was the first series to actually do serious WorldBuilding for Wakanda and to flesh out T'Challa's supporting cast. It also introduced [[ComicBook/{{Killmonger}} Erik Killmonger]], who would later become one of the Panther's most prominent and popular foes. It was also one of the first mainstream comics to have a self-contained, multi-issue arc, with some critics calling the "Panther's Rage" storyline Marvel's first graphic novel.
* ''ComicBook/DeKiekeboes'' was considered a mere curiosity in its early run and you had to be a hardcore comic book fan to have even heard about it. After ''J. Hoste NV'' (the publisher of the comic book series) crashed the series got owned by ''De Standaard''. They originally did not have a lot of enthusiasm for selling the comic and for a long time it was one of their lowest selling properties (often it would be the very final story in ''MEGA'', their comic book compilation). Its sales however continued rising and rising, to the point that nowadays it may rival ''ComicBook/SuskeEnWiske'' in popularity.
* ''ComicBook/LegionOfSuperHeroes'' has the Reboot/"Postboot" era. It was the first full-on reboot that the Legion of Super-Heroes received, presenting a new world where the heroes were just starting out. The convluted backstory of the original Legion was done away with. The characters were now teenagers again, and much of the stories were about characters and their personal drama rather than large space epics (mostly, that would come later). Because of this, some fans decried them as the "Archie Legion". The era gained a reputation for being a teen drama in space until the [=DnA=] run, which saw a DarkerAndEdgier take as the characters faced an invading army. While the [=DnA=] stuff is still praised, the "Archie" era has also since been reevaluated due to the pushback against DarkerAndEdgier storytelling with superheroes. The reboot that followed the Postboot Legion, the "Threeboot", revelled in this in particular and has been reevaluated in a ''negative'' light. People became more fond of the character work done with the Legion, and there is a general appreciation for how the reboot updated the characters for the modern age.
* Creator/JerrySiegelAndJoeShuster, Creator/JackKirby, Creator/WilliamMoultonMarston, and Creator/StanLee amongst others are names known in the comics industry and even by a surprising amount of non-readers. Nowadays, they are given proper respect due for the characters they helped bring to life, even if harsh battles are still fought over these characters in terms of rights and royalties. One particular name however has taken a much longer time to get the recognition it deserves: Creator/BillFinger the co-creator of, and an early writer for ComicBook/{{Batman}}. He was the one who many would argue gave the Dark Knight more of his iconic features than his much more famous and outspoken partner, Bob Kane. Starting in 2016, DC Comics finally gave Bill Finger his much overdue credit by having his name appear next to Bob Kane's in any new Batman-related media.
* ''ComicBook/{{Superman}}'':
** In [[TheEighties the early 1980's]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
** ''ComicBook/TheSupergirlFromKrypton1959'': ComicBook/{{Supergirl}}'s origin story (wherein she was born in a floating space city which survived Krypton's destruction thanks to a forcefield dome) was panned for decades as confusing, campy and in need of [[ComicBook/TheUntoldStoryOfArgoCity several tweaks]] to be workable. When she was killed off and replaced, though, her substitutes' backstories -involving parallel pocket dimensions, artificial lifeforms, Satanists who turn out to be "Earthborn" angels, genetically engineered Brainiac's unwitting pawns who believe to be Superman's daughter...- made Kara Zor-El's origin look positively simple and ridiculously easy to understand. When Kara was brought back, her [[ComicBook/TheSupergirlFromKrypton2004 modern]] [[ComicBook/LastDaughterOfKrypton origin]] storylines tried to do away with the most convoluted elements, but they became quickly dated and subjected to several retcons. Eventually, her first appearance was retconned back into canon (with the addition of some modern tweaks such like Kara being older than Superman) because it was decided it was her simplest and best origin.
** ''ComicBook/SupermanBirthright'' came out at the worst possible time, as DC decided to hype it up as a chaser for ''Superman: For Tomorrow'' (a storyline whose sole memorable feature was that Jim Lee was on art duties) and Chuck Austen's run (which was just flat-out bad). Add in the fact that Leinil Francis Yu was on art duties, and many thought it would be yet another attempt to make Superman DarkerAndEdgier. Mark Waid himself grumbled "I felt like I played at Carnegie Hall and nobody showed up." DC waffled on whether it was even canon for a while, and ended up excising it from continuity only a few years later in favor of ''ComicBook/SupermanSecretOrigin''. Nowadays, ''Birthright'' seems to be regarded as the ''best'' long-form Superman origin story, due to it managing to modernize the origin, giving it a sense of weight and maturity without forgetting its old-school grandeur and optimism. Many consider it a definitive version, due to it working well as a general-purpose origin and bringing back elements lost in the 80s reboot (which is now ''very'' dated) and in spite of this, having a distinctive feel and a cohesive plotline, rather than serving as a highlight reel of what came before (a criticism often leveled at ''Secret Origin''). Nowadays, if you find any "Superman Recommended Reading" list, it is very rare that ''Birthright'' won't be near the top.
* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/{{Global}} and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
* ''ComicBook/SuperiorSpiderMan'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
* ''ComicBook/GothamCentral'' sold poorly during its monthly releases, possibly due to it being a Batman book that rarely featured Batman himself. Towards the end of its run and after, however, it found popularity through good word-of-mouth and critical acclaim for it's intriguing LowerDeckEpisode nature, strong writing, fun characters, and being an InnocuouslyImportantEpisode that heavily impacted later beloved stories like ''ComicBook/FiftyTwo''. Following it's conclusion, it sells very well in collected edition and tends to regularly make lists of best Batman stories of all time.
* ''ComicBook/DisneyDucksComicUniverse'': Creator/CarlBarks worked anonymously during his active years for Disney. Though his comics were always lucrative, he only received recognition after retiring. Comic book fans noticed that certain WesternAnimation/DonaldDuck comics were better than others, so they tracked him down and discovered who had made all those masterful comic books over the years. Luckily, Barks would live long enough to see this recognition during his lifetime.
* ''ComicBook/SpiderMan'' story arcs ''ComicBook/MaximumCarnage'' and ''ComicBook/TheCloneSaga'' have been reappraised as good, despite being initially being panned. Part of this is due to the stories working slightly better when read all at once in a trade collectible, rather than one at a time over a period of months/years. Many of these were written before writing for trades became a thing.
* Both ''ComicBook/CountdownToFinalCrisis'' and ''ComicBook/CivilWar2006'' were given huge boosts while ''ComicBook/SinestroCorpsWar'' and ''ComicBook/WorldWarHulk'' were largely treated as filler events. However, both ''Sinestro Corps'' and ''World War Hulk'' are now considered to be classics, whereas ''Countdown'' and ''Civil War'' are seen as two of the worst big events of the 00s.
* At the same time the ''ComicBook/CivilWar2006'' series was running and had all of the Marvel publicity machine behind it, a small CrisisCrossover event called ''ComicBook/{{Annihilation}}'' was being published. It was largely ignored by Marvel and by readers, due to the lack of involvement from big name characters. The event also led to short-lived books for ''ComicBook/{{Nova}}'' and the ''ComicBook/GuardiansOfTheGalaxy'', which were both cancelled due to low sales. Their plots were finished out via ''ComicBook/TheThanosImperative'', and they were all lumped together as the [=DnA=] Marvel Cosmic era (after it's two primary writers, Dan Abnett and Andy Lanning). An era that has since come to be '''highly''' well-regarded. While readers ignored these books initially, those who ''did'' check them out universally loved them, and in time word-of-mouth helped them bloom into a CultClassic regarded as one of Marvel's best works of the 2000s. Then they ''really'' hit the jackpot when they were used as a huge influence on the mega hit [[Film/GuardiansOfTheGalaxy2014 movie adaptation of Guardians]], leading to a major NewbieBoom that catapulted many of Marvel's cosmic heroes to the A-List and saw the [=DnA=] run come to further be regarded as one of the great Marvel epics. The series became much easier to obtain as Marvel caught onto the new popularity and reprinted much of their Cosmic stuff, including the [=DnA=] run, which did in fact find sales success.
* ''ComicBook/FinalCrisis'' was incredibly hard to follow back when it was released, due to the series' "channel flipping" method of storytelling, the ScheduleSlip that affected the essential tie-in Superman Beyond 3D, and significant Executive Meddling (particularly in regards to ''ComicBook/CountdownToFinalCrisis''). Now that the series has been collected properly and the readership has had time to properly digest its contents, it's much more well regarded. A number of readers consider it a modern classic. It is still regarded as divisive, just not reviled.
* '' ComicBook/BlackPanther'':
** Creator/{{Christopher Priest|Comics}}'s run didn't sell well at the time of its original publication. Today, it is regarded as one of the best Marvel books of the 90's. Many fans even argue that Priest has earned creator-defining status over the character at this point. His depiction is often considered to be the definitive take on Black Panther.
** While it didn't sell very well at the time, Don [=McGregor=]'s ''Jungle Action'' run ended up having a major impact on the character. It was the first series to actually do serious WorldBuilding for Wakanda and to flesh out T'Challa's supporting cast. It also introduced [[ComicBook/{{Killmonger}} Erik Killmonger]], who would later become one of the Panther's most prominent and popular foes. It was also one of the first mainstream comics to have a self-contained, multi-issue arc, with some critics calling the "Panther's Rage" storyline Marvel's first graphic novel.
* ''ComicBook/DeKiekeboes'' was considered a mere curiosity in its early run and you had to be a hardcore comic book fan to have even heard about it. After ''J. Hoste NV'' (the publisher of the comic book series) crashed the series got owned by ''De Standaard''. They originally did not have a lot of enthusiasm for selling the comic and for a long time it was one of their lowest selling properties (often it would be the very final story in ''MEGA'', their comic book compilation). Its sales however continued rising and rising, to the point that nowadays it may rival ''ComicBook/SuskeEnWiske'' in popularity.
* ''ComicBook/LegionOfSuperHeroes'' has the Reboot/"Postboot" era. It was the first full-on reboot that the Legion of Super-Heroes received, presenting a new world where the heroes were just starting out. The convluted backstory of the original Legion was done away with. The characters were now teenagers again, and much of the stories were about characters and their personal drama rather than large space epics (mostly, that would come later). Because of this, some fans decried them as the "Archie Legion". The era gained a reputation for being a teen drama in space until the [=DnA=] run, which saw a DarkerAndEdgier take as the characters faced an invading army. While the [=DnA=] stuff is still praised, the "Archie" era has also since been reevaluated due to the pushback against DarkerAndEdgier storytelling with superheroes. The reboot that followed the Postboot Legion, the "Threeboot", revelled in this in particular and has been reevaluated in a ''negative'' light. People became more fond of the character work done with the Legion, and there is a general appreciation for how the reboot updated the characters for the modern age.
* Creator/JerrySiegelAndJoeShuster, Creator/JackKirby, Creator/WilliamMoultonMarston, and Creator/StanLee amongst others are names known in the comics industry and even by a surprising amount of non-readers. Nowadays, they are given proper respect due for the characters they helped bring to life, even if harsh battles are still fought over these characters in terms of rights and royalties. One particular name however has taken a much longer time to get the recognition it deserves: Creator/BillFinger the co-creator of, and an early writer for ComicBook/{{Batman}}. He was the one who many would argue gave the Dark Knight more of his iconic features than his much more famous and outspoken partner, Bob Kane. Starting in 2016, DC Comics finally gave Bill Finger his much overdue credit by having his name appear next to Bob Kane's in any new Batman-related media.
* ''ComicBook/{{Superman}}'':
** In [[TheEighties the early 1980's]], the books were going through a sales slump that was attributed to the focus on Krypton and to the existence of Silver/Bronze age characters, such as ComicBook/{{Superboy}}, ComicBook/{{Supergirl}} and ComicBook/KryptoTheSuperdog, whose comics had been cancelled at the time. It was then decreed that the Krypton stuff had to be excised, banned from continuity and replaced with non-Kryptonian substitutes. Flash-forward fifteen years, and the franchise is going through a slump again. Out of all the one replacements, only Superboy (Kon-El) seemed to have caught on with the fandom and been successfully translated to other media. This situation prompted DC to revoke the "Superman is the only Kryptonian survivor" policy and reintroduce the Pre-Crisis versions of the characters. Since then, those characters have been featured in several successful comic storylines as well as animation, live-action series and games, becoming more popular than ever.
** ''ComicBook/TheSupergirlFromKrypton1959'': ComicBook/{{Supergirl}}'s origin story (wherein she was born in a floating space city which survived Krypton's destruction thanks to a forcefield dome) was panned for decades as confusing, campy and in need of [[ComicBook/TheUntoldStoryOfArgoCity several tweaks]] to be workable. When she was killed off and replaced, though, her substitutes' backstories -involving parallel pocket dimensions, artificial lifeforms, Satanists who turn out to be "Earthborn" angels, genetically engineered Brainiac's unwitting pawns who believe to be Superman's daughter...- made Kara Zor-El's origin look positively simple and ridiculously easy to understand. When Kara was brought back, her [[ComicBook/TheSupergirlFromKrypton2004 modern]] [[ComicBook/LastDaughterOfKrypton origin]] storylines tried to do away with the most convoluted elements, but they became quickly dated and subjected to several retcons. Eventually, her first appearance was retconned back into canon (with the addition of some modern tweaks such like Kara being older than Superman) because it was decided it was her simplest and best origin.
** ''ComicBook/SupermanBirthright'' came out at the worst possible time, as DC decided to hype it up as a chaser for ''Superman: For Tomorrow'' (a storyline whose sole memorable feature was that Jim Lee was on art duties) and Chuck Austen's run (which was just flat-out bad). Add in the fact that Leinil Francis Yu was on art duties, and many thought it would be yet another attempt to make Superman DarkerAndEdgier. Mark Waid himself grumbled "I felt like I played at Carnegie Hall and nobody showed up." DC waffled on whether it was even canon for a while, and ended up excising it from continuity only a few years later in favor of ''ComicBook/SupermanSecretOrigin''. Nowadays, ''Birthright'' seems to be regarded as the ''best'' long-form Superman origin story, due to it managing to modernize the origin, giving it a sense of weight and maturity without forgetting its old-school grandeur and optimism. Many consider it a definitive version, due to it working well as a general-purpose origin and bringing back elements lost in the 80s reboot (which is now ''very'' dated) and in spite of this, having a distinctive feel and a cohesive plotline, rather than serving as a highlight reel of what came before (a criticism often leveled at ''Secret Origin''). Nowadays, if you find any "Superman Recommended Reading" list, it is very rare that ''Birthright'' won't be near the top.
* ''ComicBook/GreenLantern'': In the 90's, the comic wasn't a big seller, and several creatives decided that the franchise needed a shake-up. Such as turning Silver Age "relic" Hal Jordan into a villain in order to replace him with a newer and "cooler" character in the storyline ''ComicBook/EmeraldTwilight''. Several years later, Creator/GeoffJohns resurrected Hal Jordan in ''ComicBook/GreenLanternRebirth'' and retconned his descent into evil by explaining that he was possessed by the living embodiment of fear Parallax. After this storyline, Hal Jordan became the main character of the comic again. Nowadays, most of the controversy surrounding ''Emerald Twilight'' has died down, and it's now considered one of the best Green Lantern storylines ever made just for the sheer amounts of HSQ present. There is also a somewhat vocal minority of Green Lantern fans that later (primarily following his resurrection) started to agree with DC's reasoning for making the story (Hal Jordan was boring and needed to be replaced) and that his time as Parallax was actually the only time his character had something going for him.
* ''Franchise/{{Tintin}}'' in North America. While the series was held in high regards, it had a ''very'' limited run in North America. This resulted in it failing to find an audience, since you had to find it in libraries ([[AnimationAgeGhetto where it was placed in the kids section, before Graphic Novel sections became a thing]]) or pay exorbitant prices on eBay auctions. While [[WesternAnimation/TheAdventuresOfTintin1991 the Nelvana adaptation]] ''did'' air in the US, it was originally on Creator/{{HBO}} -- a premium service that focused more on adult shows even in the early 1990s -- and then on Creator/NickJr, mostly at times when most viewers were in school or at work. (It was better in Canada, where it aired on Creator/{{Global}} and other broadcast stations at first, with reruns on YTV and other non-premium cable networks.) More people were interested in works that were inspired by it (such as ''Franchise/IndianaJones'') than the actual license. However, after ''WesternAnimation/{{The Adventures of Tintin|2011}}'', the comics received a much needed reissue, which allowed it to finally get it a bigger audience.
* ''ComicBook/SuperiorSpiderMan'' spent much of its time as a massively controversial gimmick book and overly-edgy mess, perceived by many as the JumpingTheShark moment for the Creator/DanSlott run on Spider-Man and a lame attempt at NoSuchThingAsBadPublicity. In the years following it's end, however, many fans have reappraised it and come to regard it as something of a hidden gem, featuring some of Slott's best writing, an intriguing take on a more morally-ambiguous/horror-oriented Spider-Man, compelling [[DiscussedTrope discussion]] of supervillain redemption arcs, and a lot of genuinely cool arcs that made a real effort to push a badly-stagnating series into bold new territory. At the very least, it is considered infinitely better than [[SeasonalRot the remainder of Slott's run]] and [[AudienceAlienatingEra the Zeb-Lowe run]] that followed it, both of which are hugely hated, and one reason the well-liked Creator/NickSpencer run tends to be praised is that it's the only one of those three that feels like a logical progression from where ''Superior'' left off. On the whole, ''Superior'' has seen it's reputation with the fandom go rather impressively from "one of the worst Spider-Man stories ever" to "an interesting idea that could've been executed even better".
