Well, Animal Man ended as a rebuild of the superhero idea, but it was a thorough deconstruction for well over half, I’d say.
Deconstruction has become a bad word, but it’s a good thing, I think – it means you’re taking a critical eye to what you have in front of you, figuring out how it works, then putting it back together again, hopefully with some improvements.
It’s not the only way to do it - the ABC line was total build, and all the deconstruction had clearly gone on behind Moore’s eyes before he started writing - but it is a satisfying way to do it.
Morrison’s mainstream stuff almost always follows that formula, long form - Batman was a complete deconstruction of that character and mythology, to reveal the radiant core that somehow was ignored for decades (Batman as an inherently collaborative and iterative idea), then rebuild something new around it. Doom Patrol, it could be argued, was a deconstruction of mainstream values more than comic tropes.
I’ve often found comic fans weirdly dogmatic about these things – to the point that reality gets altered to fit their preconceived ideas of intent. Frank Miller’s work on Batman is often called gritty, but it’s actually some of the most absurd, large scale, silly stuff you’ve ever seen – mutants gangs and Batman on horseback and Superman sucking the light out of plants speaking poetry as Cyborg-Batman stomps in for the kill. His Batman stuff is a real celebration of the DCU, in all it’s weird and wonderful glory. And yet because, for wahtever reason, he’s been labeled as gritty and despising of superheroes, his work is seen through that light.
It’s all just tools for the box, is what I’m saying.