The Metabarons is heavily inspired by and can be seen as a Spiritual Successor to Dune. The Shabda-Oud are the Bene Gesserit devoid of any concern for humanity's growth or future, the Technopriests are the Harkonnen with heavy doses of the Tleilaxu, and the Metabarons themselves are the Atreides with even more tragedy.
When comparing the initial premises, you can see that second volume of Young Avengers is one for Runaways - in both we have group of superpowered teenagers on the run, who cannot count on help from their parents (in Runaways because their parents are the bad guys and in Young Avengers because the Big Bad can easily mind control adults to kill them) and both series explore relationships between kids in their late teens. Also, in both groups one of the kids is secretly evil.
It also draws some of its tone, and a couple characters, from Joe Casey's Vengeance.
Tintin: Its style was widely imitated in the European comic strips scene. Especially the work of Edgar P. Jacobs (Blake and Mortimer) and Bob De Moor show this. Not surprisingly, both artists worked as assistants to Hergé.
A lot of comic strip authors for the Belgian comics magazine "Spirou" had a very similar looking style, inspired by André Franquin. They were even nicknamed "The School of Marcinelle".
Nero: In terms of drawing style, black comedy and surrealistic stories in a Flemish setting Urbanus is the spiritual successor.
Bryan Lee O'Malley's Seconds is one for his previous book, Scott Pilgrim, with the emphasis on zany humor/characters, heavy amounts of characterization, an aesop based around personal responsibility and a very Animesque art style.
Peter David's Fallen Angel is one for his Supergirl run, so much so that the heroine was initially hinted to be Linda Danvers (Supergirl's civilian identity) under an assumed name. This connection was abandoned when the series changed publishers.
Warren Publishing's 1960s horror comics such as Creepy Magazine, Eerie Magazine, and Vampirella were spiritual successors to the horror comics produced by EC Comics in the late '40s and early '50s like Tales From the Crypt and The Haunt of Fear. The EC comics had vanished in 1954 due to The Comics Code banning all violent imagery and macabre themes from comic books; Warren exploited a loophole by publishing its comics in magazine size (10.5" x 8.5", as opposed to 10.25" x 7" like a regular comic) in order to feature mature content while the Code was still in effect.