I would disagree that it's about spotting works extra points.
I just think we are talking about two different things.
It's apples and oranges, Creator-owned/creator-controlled works are a different thing than working on long-running, pre-existing series.
A Beatles cover band or even a contemporary band doing a really great cover of a Beatles song, isn't the same thing as the actual Beatles.
No, it's not.
However, the analogy doesn't work. A Beatles' cover band is (in theory) perfectly capable of writing a song called "Everywhere Man", and then a song called "Anywhere Man", maybe even introducing "Nowhere Woman", and then a song about someone who does it in the road, blew his mind out in a car, found Gideon's Bible and came in through the bathroom window because they wanted to hold your hand, and occasionally were called "The Walrus".
No, this isn't the Beatles, but in terms of superhero comics, that is what non-creators have been doing. Why would the revelation of the Green Goblin's identity mean anything to anyone if wasn't a good story. Steve Ditko didn't have anything to do with it, so by your logic, it is obviously inferior, right? Then when the Green Goblin came back, Ditko had been replaced yet again by Stan, so it was something about Harry Osbourne in the sky with diamonds (and then going cold turkey). Still no Ditko, but it had some validity as a story.
And then the Goblin comes back again, and kills Gwen Stacy. There's certainly no Steve Ditko, and accounts differ on whether or not Stan Lee even *heard* of the story before it was printed, much less approved it, much less had to deal with all the ramifications. The Hobgoblin had some good stories in him, and they were directly derived from the Green Goblin [and honestly, I read Marvel Tales when I was just little, so Lee-Ditko is indeed *MY* Spider-Man, and I honestly never saw the Goblin as a big deal, until, in hindsight, the revelation of his identity drawn by JRSR, and looking back at the big deal being made about certain Goblin cronies in earlier issues] And realized all the issues that came from those stories.
Fine, Lee-Ditko "Spider-Man" is equivalent to the Beatles. I'm hip. But what does that mean for the Moore-Bissette-Totleben "Swamp Thing"? And if you can explain *that* away, how about Moore being followed on the title by Rick Veitch? This is a cover band that happens to strike brilliance, not once, not twice, but consistently for years (almost as many years as the Beatles existed as recording artists), and then were followed up by another cover band who just happened to match their brilliance.
Moore, Bissette, Totleben and Veitch would probably be horrified to think of themselves that way, but fortunately they're all horror fans and can at least appreciate the horror that realizes they've all done brilliant work, immeasurably influential, while serving time in what amounts to a Beatles cover band. Hell, Wein and Wrightson's "Swamp Thing" doesn't have such cachet. It's an historical artifact. Without Moore's "cover band", the basic concept didn't really have legs, beyond Wein and Wrightson's vague gifts. Wein had shadowy corporations for subplots, and Ben Grimm-type 'let me restore my humanity' plots, and Wrightson's art came across as cartoony. Other than giving, in my opinion, the best looking Batman ever seen to that point, Wein-Wrightson brought very little to the table.
Moore, Bissette, Totleben and Veitch, now they brought a great deal. To the Beatles cover band, anyway. Leaving aside the "everything you know is wrong, but it still happened exactly the way you saw it happened" brilliance of "The Anatomy Lesson", and the issues that followed, nothing could prepare an audience member for a Beatles cover band for "Love and Death", where Moore, in a hastily-written script that pushed "The Nukeface Papers" back for a year or so, not only defied the Comics Code, but left its anally-violated corpse lying on the sidewalk with bloody footprints to mark the killer, and decades later, we're still following those footprints. The various creators and editors have had their say, I won't presume to speculate on whose version is right, but the fact is, for a fill-in story, Alan Moore introduced the undead, incest, necrophilia, and a host of other non-Code-approved topics, all in service to bringing back a Wein-Wrightson villain, Anton Arcane. Kinda like when Spider-Man fought drugs.
This was the issue that launched Vertigo. Again, the various contributors have different points-of-view, but DC went ahead and published it without Comics Code approval, and it went fairly well, so they stuck with it. It would go until Rick Veitch (the cover band of the cover band of the Beatles) was developing his own "Nowhere Man travels back in time" storyline that, to defeat Arcane, the Nowhere Man would need to learn from Jesus Christ himself. DC refused to publish it, Veitch quit, it was twenty fucking years ago [and realizing this makes me want to go sign out a 9mm from the Arms Room and shoot myself in the forehead for being so old] and we're *STILL* dealing from the ramifications of his choice. "Preacher", "Fables", they have to make their own great music under the shadow of of the cover band of the Beatles cover band.
So what have you got against the Death of Gwen Stacy anyhow? Whatever your problems with it, the fact that it wasn't done by Lee and Ditko should, somehow, be the least of it. Next you'll be complaining that neither Claremont nor Byrne created Jean Grey. Frank Miller didn't create Daredevil. Peter David didn't create the Hulk. What kind of monster are you?