* ''[[Franchise/{{Tintin}} The Adventures of Tintin]]'' are liable to come across as cliché to younger modern readers who've read other adventure comics. Much of the comedy is also {{Slapstick}}, which was popular in most comedic genres, including film, when Hergé debuted, but now can come across as being corny.
* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s these comics were seen as edgy, subversive and dealing with topics most other comics didn't deal with, including sex and drugs. Nowadays in a time where even animated sitcoms like ''WesternAnimation/TheSimpsons'', ''WesternAnimation/SouthPark'' and ''WesternAnimation/FamilyGuy'' feature extreme violence, sex jokes and political topics, one might wonder what made these comics so special in the first place?
* FrankMiller's ''TheDarkKnightReturns'' and Creator/AlanMoore's ''ComicBook/{{Watchmen}}''. Between the two of them began a whole sub-genre of "grim and gritty" U.S. superhero comics and changed everything. Nowadays they don't seem half as revolutionary. Alan Moore has more than once apologized for [[DarkAge the negative influence]] that ''Watchmen'' had when bad writers who didn't understand it [[DarkerAndEdgier tried to imitate its most superficial aspects]].
** Donald Clarke, a film critic for the ''Irish Times'', and other critics cited this as a flaw with the ''Film/{{Watchmen}}'' film adaptation: Twenty years after the original graphic novel started the trend, deconstructing superheroes and showing them acting like real people with real personalities no longer seems like anything new. He used the example of the Parr family in ''WesternAnimation/TheIncredibles'' by means of comparison.
** Throw in ''SquadronSupreme'' as well. It actually beat Watchmen to the superhero deconstruction idea.
*** Or Bill Willingham's series ''The Elementals'', which came out a year before ''Watchmen'' and ''The Dark Knight Returns''.
** Some of the "WhatIf" aspects of ''The Dark Knight Returns'' can feel a bit stale today, as they've since been integrated into the Bat-mythos as official canon. Specifically:
*** Having Batman and Superman forced into a battle to the death was shocking in 1986, since the two had always been portrayed as the best of friends before that. Since then, the stark contrast between Superman's idealism and Batman's pragmatism has become an essential part of their character dynamic, and it's traditional to depict them as complete {{foil}}s who have difficulty trusting one another.
*** The revelation that Jason Todd was killed before the events of the story held a lot more weight when the book first came out, since the character's death hadn't yet happened in the regular comics (''A Death in the Family'' didn't come out until 1988), and the idea of Robin being KilledOffForReal was still unthinkable to most readers. Now that Jason has since [[ComicBookDeath died and been resurrected]] as a {{badass}} AntiHero with his own series, hearing Franchise/{{Batman}} angsting over his death can cause some eye-rolling.
*** Though a minor point, the inclusion of a female Robin, Carrie Kelly, doesn't seem quite as unique and daring now that Stephanie Brown has since served a brief tenure as Robin in the main DC Universe.
*** The depiction of SelfDemonstrating/TheJoker as a mass-murderer (complete with the story casually slinging around triple-digit numbers as his supposed body count) with strong FoeYay overtones toward Batman also originated with this story, as did Batman's internal angst over whether his ThouShaltNotKill code meant that he was responsible for every person the Joker has killed. All of these elements are largely taken for granted in any modern Joker story (granted, the Joker did kill people before ''The Dark Knight Returns'', but the level of seriousness with which those stories - and Batman - took those murders bordered on AngstWhatAngst).
** Being an UnbuiltTrope of the NinetiesAntiHero, ''Watchmen'' seemed especially poised to suffer this. The chances of getting lost in the myriad of imitators when the original wasn't even being played straight seems very likely (since all the imitators just zoom straight in for the most obvious traits while the UnbuiltTrope [[TropeMaker Maker]] is trying to make a point that didn't really exist before; ultimately while not having the same intentions, they result in looking similar to the untrained and unknowing eye).
* ''ComicBook/TheAuthority'' was revolutionary for its violence and political themes. Today, it fits right in with most modern comics.
* ''Batman: ComicBook/TheKillingJoke'', also from Alan Moore. Nowadays it probably seems like a typical Batman vs. Joker story (aside from the infamous [[StuffedInTheFridge fridging]] of Barbara Gordon) but that's largely because [[Film/{{Batman}} the]] [[Film/TheDarkKnight adaptations]] as well as numerous later comics reused some of the [[NotSoDifferent more]] famous [[NietzscheWannabe themes]] from it such as Joker's MultipleChoicePast or Batman being tempted to break the [[ThouShaltNotKill One]] [[JokerImmunity Rule]].
* ''TheDarkPhoenixSaga''. Before Jean Grey's death was retconned a dozen different ways and the concept of "dead is not dead in comics" became a punchline for critics and comedians, a story where a main character becomes a morally grey antihero who sacrifices herself to save the lives of her team was virtually unknown in comics. It's become almost commonplace to kill off superheroes in "event" storylines these days (to the point that some comic fans take bets to see how long the character will stay dead). To today's average reader, Jean's death isn't all that shocking.
* ''{{Deathlok}}''. The comic book character debuted in 1974. In 1974, the idea of a man who has been turned into a cyborg and struggles to keep his humanity while fighting against those who transformed him was relatively fresh and original. Nowadays it seems clichéd, and like a ripoff of ''Franchise/{{Robocop}}'' and many other sources.
* ''Comicbook/DoomPatrol''. Very shortly after ''ComicBook/FantasticFour'' debuted, DetectiveComics tried their hand at "superhero angst". It was also the first title to pull a KillThemAll ending for the ''entire team''. Now, it's more or less known for the youngest (surviving) member, who went into the ComicBook/TeenTitans, and for Grant Morrison's surreal early 90s run.
* The Comicbook/FantasticFour are considered by some to be the lamest Marvel superheroes out there. But, they were also the characters who introduced the concepts that revolutionized the genre in the early 1960s. It was unimaginable for readers back then to have a superhero with a monstrous appearance like the Thing, or dysfunctional team dynamics (that became so popular, the FF looks normal in comparison with most other groups). That's not to mention the villains, which included [[DoctorDoom a dangerous leader of a foreign country]] and [[{{Galactus}} a planet eater entity bound to destroy the universe]]. And they ''didn't have secret identities'', which were a staple for all superheroes then (and are still common even today).
* ''ComicBook/{{Legion of Super-Heroes}}''. The Great Darkness Saga is considered one of the all-time best Legion stories. The villain is {{Darkseid}}--a plot element that seems trite nowadays because of Darkseid's overexposure. But the story is from [[BronzeAge 1982]], when that was a new idea.
* ''Comicbook/SpiderMan'' was a unique deconstruction of superheroes when he was first created. The idea of a superhero who was a normal teenager like the readers and [[WakeUpGoToSchoolSaveTheWorld who had a normal life]] hadn't been done before. Nowadays, this is nothing special.
** "The Night Gwen Stacy Died". Today, especially with TheDarkAgeOfComicBooks, it's not rare for characters to be killed off left and right, but back then, the thought killing off such a beloved and popular character was unfathomable. It's often credited with ushering comics into the BronzeAge.
** The series, along with ''ComicBook/XMen'', also first popularized the idea of superheroes who weren't wholeheartedly embraced by the public, and often faced fear and suspicion from the people they were protecting. The idea soon spread to the rest of the Marvel Universe, and even to DC.
* Both the ''ComicBook/XMen'' and ''[[Comicbook/TeenTitans New Teen Titans]]'' were revolutionary for the time, and set the gold standard for angst, melodrama, and SoapOpera elements in superhero comics. Nowadays, it's quite hard to see what was so special about the books, as it seems like an unwritten rule that every superhero team book must contain a copious amount of [[LoveTriangle Love Triangles]] and angst.
* The ComicBook/DisneyDucksComicUniverse comics of CarlBarks. He invented most of the characters and concepts, most notably Scrooge himself, and is regarded as a classic by people old enough to have the right kind of perspective, but these days his comics don't really look that different from those not-very-high quality same-old-same-old stories the average Duck artist produces easily and constantly (except maybe slightly dated compared even to them), and the few modern innovators, particularly Creator/DonRosa, who himself adores Barks, have moved on to somewhere quite different. Rosa builds a lot on Barks's ideas, but Rosa's comics look much more impressive on a technical level, and the themes are treated in a way that allows them to be taken more seriously.
* Back in the 1980s, ''ComicBook/CrisisOnInfiniteEarths'' and ''ComicBook/SecretWars'' were big stuff. While characters had crossed over with each other before, earth- and universe-shattering perils so huge that not just one or two, but every single superhero (and villain!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unknown. Nowadays, the CrisisCrossover is a standard part of the superhero comic book publishing schedule, with at least one big event (sometimes more) happening every year, with the result that going back to the originals can be an underwhelming experience.
* The early comics of Creator/JackKirby and Joe Simon have a layout that was revolutionary at the time but is par for the course nowadays. Back then, comic books were very unimaginative in their layout. They looked as if they were reprint collections of newspaper comic strips even when they weren't, with one strip above another. The idea that you could do splash pages, or have one panel take up half a page, or use diagonal gutters and {{odd shaped panel}}s... All these things were completely new at the time.
** Ditto for Kirby's use of collage elements (especially in his [[ComicBook/TheMightyThor run on ''Journey Into Mystery'']].)
* One minor example from the pages of ''ComicBook/{{Superman}}'': {{Brainiac}}'s name. To many non-fans, or just casual readers who like the character but find his name laughable, it can seem a bit ridiculous to name an ostensibly serious supervillain after a juvenile slang word for "genius". It can ''seem'' that way... unless you know that the character actually came first, and that the writers of {{Superman}} are credited with coining the word. The fact that the word is now part of the popular English lexicon, and that most people who've said it aren't even aware that it's a {{Superman}} reference, is just a testament to the comics' ubiquity.
* Pretty much all of Marvel's Silver Age comics are a little underwhelming. Yes they are competent, serious, fairly well-constructed and have decent stories, but there doesn't seem to really be anything groundbreaking here... However if you read the DC comics from the same time period (which displayed the worst excesses of Silver Age silliness) you can understand why Marvel made such an impact.
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