Astro City is a deconstruction and a reconstruction; it focuses on the impact of superheroes on regular people, but also on the inner thoughts of heroes and villains. Even more so, it deals with those issues in ways that are not just negative or cynical as deconstructions often are. For example, one story deals with a parent bringing his children to Astro City, only to be greeted with a chaotic night full of angry weather elementals; yet despite the danger, he decides they should stay, as the strength and idealistic community of the city were values he wanted his children to have. Other stories deal with a hero trying to balance the needs of his neighborhood and the needs of his unborn child, or a lawyer leveraging superhero tropes to benefit his client but endangers his family. Kurt likes to keep his fans guessing.
Frank Miller's Batman: The Dark Knight Returns takes straightforward superhero action and makes it look absurd by having real-world politics interfere. Batman's work becomes a tool for debates about "toughness on crime," while Superman's idealism makes him an easy dupe for the US government's plans for nuclear war. It also asked the question: "What sort of a man would dress up in a bat outfit and fight crime?" The answer: "A man who isn't very pleasant or sane." Though, it's not really clear the work is intended or often taken to be a deconstruction.
Deconstruction in comics is even older than that, dating at least back to the Bronze Age. In The '70s, DC came out with Green Lantern/Green Arrow, in which the title characters do superhero stuff while at the same time arguing about the morality and political implications. As a result, the more lawful Green Lantern and the more chaotic Green Arrow butted heads many, MANY times.
While Kingdom Come was part of the mid-90's wave of Reconstructionist comics (made in response to the above-mentioned wave of deconstruction), its reconstruction of the Silver Age was accomplished by deconstructing the Dark Age, bringing it to its most extreme conclusion: the Nineties Anti Heroes, having killed all the villains, have become crazed Knight Templars and pretty much taken over the world.
DC Comics' Jonah Hex: Sounds like old fashioned Cowboys and Indians hijinx on the wild frontier, right? Riiight.
A story from Grant Morrison's Animal Man run (noted for its Postmodernism) deconstructs Looney Tunes and similar cartoons: in "The Coyote Gospel," a grotesquely anthropomorphic coyote is repeatedly and brutally killed by an Elmer Fudd-style hunter obsessed with his destruction, and continuously reforms/regenerates in a most disturbing manner. Finally, in a scene reminiscent of the classic "Duck Amuck" short, the malevolent animator paints his blood in as he dies for the last time.
Watchmen deconstructs the entire Silver Age superhero genre. The premise of the comic is exactly like any other Super Hero comic; some people put on strange costumes in order to fight crime. However, it didn't start with an alien child coming to earth, but rather, with a bunch of off-duty cops wearing masks to counter mask-wearing criminals. Along the way, every trope associated with Super Hero comics of the time is deconstructed: Impossibly Cool Clothes turn out to be fatally impractical, politicians get involved and deputize and weaponize superheroes, these superheroes end up changing the course of history (arguably for the worse), and the main cast of Super Hero characters are all rather screwed up. Specifically...
Rorschach embodies morally absolutist vigilante Super Hero characters like the original The Question. He is so morally absolutist that he will stop at nothing to enforce his view of justice and will commit heinous acts as a means to an end; ultimately it turns out he is a Straw Nihilist with a Woobie-worthy past.
Doctor Manhattan is a true superhuman with control over matter, the ability to teleport, see the future, see subatomic particles, and is so detached from the human condition that he is indifferent to human life, out and out saying "A dead body and a living body have the same number of particles, there's no difference". He also deconstructs the Omniscient Morality License. One of his superpowers is his capacity of living in the past, the present, and the future at the same time. Instead of having more freedom of choice than the average human, knowing that everything he will do will turn okay, he has none. He knows what will he do in the future and cannot change it. He is still a puppet, like everyone else, but (only) a puppet who can see the strings.
Ozymandias, the "smartest man alive," and a Marvel-style super-genius in the mold of Reed Richards and Professor X taken to the trope's logical conclusions. He becomes a superhuman athlete through sheer force of will and a training program he designed himself, and is also the world's wealthiest self-made businessman. He's driven by such ruthless consequentialism that certain actions of his can be... morally debated. He feels right with himself being alone, but has rage about the whole world being so stupid to be engaged in a Cold War that only will end in Mutually Assured Destruction. How would you feel if you were the smartest man alive and Richard Nixon sent you his enforcer, the Comedian, to tell you not to mess in his business? How much of Ozymandias' actions are trying to save the world, and how much are nothing more than petty revenge?
And the rest of the superheroes are shown to have great flaws and the common prejudices of their time, many being racist, sexist, homophobic (and hypocritical homosexuals themselves) and equally riddled with issues and neuroses.
It also showed that there would be far fewer 'costumed criminals' since they would either be in jail, killed, or even find redemption. Many criminals would go into more profitable and yet less showy pursuits, like drug trafficking.
The idea of the Nebulous Evil Organisation was also targeted for deconstruction. Who has the resources to kill The Comedian, engineer Dr. Manhattan's exile, frame Rorschach for murder, and engineer the destruction of New York other than Ozymandias, the world's smartest man?
Western Animation
"Epilogue" of Justice League Unlimited can be taken as a deconstruction of the superhero genre by having Amanda Waller deliberately try to engineer another Batman in response to the original Batman growing older. It fits both invoked and deconstructed, because it shows the horrible consequences of making a superhero, as well as the kind of monster you would have to be to do it (killing innocent people to do something that might achieve a goal).
It also deconstructs the classic Batman origin: Waller plans to kill Terry's parents when he's a boy, but when the assassin she hires (Andrea Beaumont, the Phantasm) refuses to go through with it, Waller realizes that whatever her goals, it wasn't worth it, and she's pleased that Terry has become a much more sane and stable superhero because he had a chance for a normal childhood.
It's also a deconstruction of what being Batman would lead to. The members of the Bat-Family have washed their hands of him, Terry's relationship with Bruce even becomes strained due to Terry barely able to cope with being Batman, and Bruce is going to end up dying alone.
The Young Justice (2010) episode "Disordered" deals the aftermath of a traumatic mission, with the cast of young heroes attending therapy in order to deal with the horrible things they witnessed. The ensuing interviews reveal the pressure the kids are under and ends with Robin deciding that he no longer wants to be Batman.
Later episodes try to convey that being a teen superhero is not all fun and games, as we learn that Aquagirl, Jason Todd, and the previous Blue Beetle have all been killed in action during the five year Time Skip between seasons one and two. Upon this revelation, the line between superheroes and Child Soldiers begins to blur even more.
