Yeah, I feel it's a little unfair to lump the master craftsman in with the assembly line workers, even if they are the same age.
At the same time, I really feel that I'm being unfair for saying that about the man who wrote and drew Superman #75. I dunno if I could really defend Jurgens' oeuvre as a whole (the inferior Booster Gold-type product peddled by his purported creator is seriously depressing), but at the least, that's a case of an artist exceeding his limitations and doing something for the history books. Not just because of content, but because it's the single best-executed issue of Superman ever. Take that, Alan Moore. Whatever Happened to the Man of Tomorrow
is simply not as good.*
*Actually, on that note, its depiction of Superman as a moral coward who decides to make two people miserable because he can't bear to "hurt" either, apparently completely oblivious to the fact he's hurting them presently and in an ongoing way... well, while it's effective, it's sort of weird, a completely post hoc explanation for why Superman was a dick all those years, trying to convince the reader that he didn't get off to the idea of two women fighting for and pining over him, and it doesn't totally work. Especially when he lets Lana die (you cannot tell me dude was not aware of what was going on; if Lana can hear him, he could hear her--and are you telling me that under siege conditions, he was not checking on everyone in his care at regular intervals?!). But, that's creative problem solving, right? Got rid of that pesky Olsen too. What an asshole.
This has nothing to do with anything, it's just I reread it recently and that's what jumped out at me. You know what does totally work? An all-splash issue that concludes with Superman dying in Lois' arms and does not make you ask "Why was Superman moping when Lightning Lord burned Lana Lang to death and Brainiac put a fist-sized laser hole through Jimmy's elastic torso?"