I posted the thing on the Atop the Fourth Wall Identity Crisis reactions on a day when I was in an extremely bad mood. I probably shouldn't have done that, because while I stand by my contempt for a large part of fandom and their fear of change or drama in their comics, I shouldn't have brought it up in response to a discussion on Identity Crisis. As such, it seemed that many of the responses assumed that I enjoyed Meltzer's story.
To be clear: I didn't. At best Identity Crisis is technically competent with some good scenes but a lot of unfortunate implications. Grant Morrison's assessment of the book in his memoir(ish-thing) SuperGods was basically that if Meltzer's goal was to put down the Silver Age brutally and definitively, he succeeded. But that's a really back-handed compliment, and I agree with Morrison. The nice little character touches like the Kents commenting to Superman that "batman doesn't treat his parents this way" are overwhelmed by the outright sadism, the contemptible treatment of women, and the many potholes within the mystery.
My complaints were entirely with fandom, and how they often seem to equate status quo changes of any kind with being a bad story. There are plenty of cases where I could legitimately defend a great work within a superhero universe against the petty, atavistic nature of fandom. Grant Morrison's X-Men, Matt Fraction's Iron Man, Brubaker's Captain America, etc. This isn't one of them.
However, I would like to thank many of the people who responded for their thoughtful critiques and nuanced assessments of the situation. Jay Boaz, Omar Karindu, E. Wilson, and others made very good responses that expressed how the real problem isn't with drama itself, but with the half-assed notion that something like Identity Crisis is drama.