What is a Super-Imposed Adaptation? (Enchanted Assemblages)


During my previous string of posts concerning my adaptation, I had posted something which delineated the difference between two concepts I called a “Super-imposed Adaptation” and a “Translated-adaptation”. Since quite a bit of time has passed since that last post, and because the adaptation in question has changed from one concept to the other, I thought it prudent to very quickly revisit what these two concepts mean.
                In short, I had defined a translated-adaptation as something which was more of a spiritual successor than a direct adaptation; a translated-adaptation was something like the films Clueless or Easy A, where classic books are taken and ‘translated’ into contemporary scenarios which pay homage to the source material while rendering the plots into modern day situations.

                A super-imposed-adaptation, meanwhile, was an adaptation which more closely adapted the text in question yet still made some surprising alterations. Super-imposed adaptation were creations which presented the idea of the text without a translation into the modern; but, the key here was that such adaptations differentiated themselves from mere ‘adaptations’ proper, by including fantastical elements. So contemporary examples of such super-imposed adaptations would be something like Pride and Prejudice and Zombies—the core idea of Austen’s text is there, but it is suffused under this veneer of zombie apocalypse. 

                Previously, I had pegged my adaptation as a translated-adaptation, since the original setting for my Gawain-click adventure was a post-apocalyptic sci-fi universe; the basic plot remained, but it was encoded as a surreal kind of postmodern tale.

                Presently, though, with the reformulation of my project on to more conventional terms, I—and probably you—have realized that this version of the adaptation is a super-imposed adaptation. After all, I am imposing ideas into the story: the heavy focus on interpretation, Critical Theory as magick embedded into the land, and others, all make for dramatic departures from the normal Arthurian canon. Hence, it’s place as a super-imposed adaptation.

                As I have repeatedly said, I feel this is the right move. It strikes a good balance between the text as it appears, conventional European fantasy, and avant-garde theory. In the end, I know that the blood, sweat, and tears which I am pouring into this creation will be worth it.

                Since I have never before worked on a super-imposed adaptation, but have always wanted to since the publication of the many ‘spin-off’ adaptations of various classic works, I am having a great deal of fun with this project. Though I was excited about the possibilities which came with the translated-adaptation, as I said a little bit ago, I have not given up on the details of that world. In fact, I plan on using those details in creating an original novella or novel. So, all is well.