Also, how about almost every Fantastic Four comic not by Lee and Kirby, with the possible exception of the Byrne run?

Anyone other than Gerber on Howard the Duck.

Coincidently, this is the only run of Daredevil from the MK relaunch until now that hasn’t been put into trade paperback.

The Steve Engelhart, Marshall Rogers, and Terry Austin Dark Detective was good fun (if a misfire where Two-Face was concerned), but certainly wasn’t anywhere near their original work on the title. Likewise, Engelhart’s Celestial Quest failed to recapture the magic of his older Avengers stories while using many of the same characters and concepts.

And I’m surprised that no one has mentioned that John Byrne has done nothing but rather bad Silver and Bronze Age karaoke comics for the last few years. Blood of the Demon, the ill-conceived Doom Patrol relaunch, Spider-Man: Chapter One, and X-Men: The Hidden Years. All of them were almost explicitly devoted to rerunning the “classic” or at least original runs on those titles. All of them except The Hidden Years and possibly Chapter One were sales failures, and none of them were conceptual successes.

And there’s probably a special category for out-and-out homages that don’t work — the two series that spring most readily to my mind are Erik Larsen’s 12-issue Lee/Kirby pastiche Fantastic Four: The World’s Greatest Comic Magazine! and the Fabian Nicieza/Steve Rude Spider-Man: Lifeline, which seemed to be a riff on the Lee/Conway/Romita days.

Well, Rucka didn’t exactly take over for Brubaker: they had been co-writing the title before Brubaker’s departure. Rucka would focus on the Major Crime Units’ “Day Shift” (Montoya, Allen, etc.), while Brubaker would focus on the MCU’s “Night Shift” (Driver, Chandler, etc.). And they would write the bigger stories together (the Joker storyline, the “dead Robin” one and I think they co-wrote the first story too).

Anyway, karaoke comics… I guess Ed Brubaker’s and Michael Lark’s current run on “Daredevil” is a karaoke comic in terms of art, though I don’t think Michael Lark’s work on the title is inferior to Alex Maleev’s.

a lot of Gaiman’s short stuff from various anthologies mirroring his stock ideas culled from Chesterton, et al.

and i guess it can be argued that som eof Alan Moore’s stuff have been karaoke renditions of various people’s ideas and concepts, only i guess he belts them out in such a way that it seems like he owns the damn things.

2 – Wolfman’s later run on Teen Titans without George Perez. All the angst with none of the fun.

3 – Dark Knight II. Way to cash a seven figure paycheck!

4 – Joe Kelly on Superboy.

Hush is a karaoke version of Long Halloween, which itself was a karaoke medley of a bunch of sources, including Godfather movie.

Spider-Man Blue was a Lee/Romita Karaoke.

Every Howard Chaykin story I’ve read in the last ten years feels like American Flagg!, but without the originality. I will admit that I have not read them all, but I dropped Cyberella & Pulp Fantastic after an issue each, and couldn’t get into Challengers of the Unknown.

All those early ’00s Authority rip-offs (The Establishment, the Agency, etc.)

JMS FF: fate and avatars and quasi-mystic gobbledeegook. I thought I’d left that behind when I dropped Amazing Spider-Man. I stuck with it for 4 issues before bailing.

A lot of DC mega-crossovers are kakaoke versions of Crisis on Infinite Earths. (War of the Gods and the late unpleasantness stand out as the clearest cases. The appearance of Pariah and/or Harbinger is the tip-off.)