I think about the fight sequence more than anything. To be frank, most fight sequences in superhero books, even in otherwise very good ones, aren't particularly interesting. The pacing is off, or the storytelling aint there, or the choreography is wonky, or various other quirks.
The ideal fight sequences shouldn't be show-stoppers, but natural extensions of the characters and their stories and motivations. They should have goals for the people involved(and the audience knows those goals so they can be involved and not just passive viewers), they're built up and paced well, its clear where all the people and places they're fighting at are in relation to one another, from panel to panel there's a clear "flow", you can see how they got in that position and how one panel translates to the next. The panels should be stories into themselves, snapshots of important moments that build up into one longer narrative.
Here's an easy example from The King. Light on background, wisely free of dialog, has a bit of Kirby's exaggeration for maximum effect, but it tells its story quite well.
There's a clear beginning, middle, and an end. You can tell how the figures ended up where they are between panels. Kirby puts emphasis on certain limbs for you to follow, like Batroc's leg winding up in panel one and he misses wildly in the second. Batroc's sweeping foot and Cap's hand draws your attention in the fourth panel, right where he brings it down in the fifth one, then starts to get out from underneath him in the sixth one. Wham, bam, thank you, ma'am.
But you don't have to be so conventional, and you can use your form to say something about the content. I hate to go back to the Morrison/Quitely well again, but those two guys knew what they're doing.
To set up, this is the new Batman and Robin's first night out fighting a Circus of Crime, including these martial artist triplets. Damian, proudly proclaiming his ninja/Batman heritage to anybody in ear shot, doesn't respect Grayson and thinks he can handle anything the world throws at him. Naturally, he's the first to leap to a fight.
Quietly goes for a "realistic" approach to his day-glo superheroes fighting wacky characters. This is part of Morrison's intention that Batman and Robin be "Adam West Batman directed by David Lynch", to make the silly and weird just a bit dark and twisted. He doesn't use comic booky sound effects or action lines but playfully uses his environments and characters to tell the story, like how Damian's leg arcs through the smoke or the cute SMASH with the wall cracks. I've never seen kung fu triplets, but the great attention to detail Quitely shows them with makes them more plausible, their actions more believable, and hit with more impact. When they go from ready to catch Damian to finishing pose, you buy into it entirely. He's always aware of the size and shape of the room they're fighting in and where they are in relationship to it and each other(notice the cop hat in front of them in the second panel and the cop hat behind them in the third is a good way to mark how close they've gotten in the space between panels). He shifts the panel sizes and angles to emphasize chaotic movement, but he also draws tighter and tighter on Damian's face, his options dwindling down, overwhelmed by what's happening, until that last calm but kinda sad close-up where the arrogant son of Batman and ninja masters realizes he might actually be out of his league. and then BAM an explosive forward kick in a big panel to end the introspection as Robin flees.
But for one reason or another, be it laziness, incompetence or otherwise, most fights in comics today are kinda whatever. You see them and don't really think about them and then they are forgotten about. There's a craft to the fight scene.
