I do notice that changes in technology show up in the updated adaptations of Superman and Batman… (i.e. people use updated mobile phones), that occur less so in something like Shin Mazinger (if at all; there is certainly no text messaging there). Less about adaptations… it took 50 years for mobile phones to appear in Macross, but I imagine if the older series were to be adapted into other media, technology will show up as ‘corruptions.’ Misa would NEVER have to interrupt Miss Macross by PAGING HIKARU OVER THE PA SYSTEM WHILE THE PAGEANT IS ONGOING (for him to go look for a public payphone!).

I’d also like to be able to say that the trumping model is of no use to me, but it’s absolutely how I assign personal value to adaptations. Which came first has never concerned me much. So I’m sure there’s something to glean from it if I’m going the reader-response route, even if I’m still practically dogmatic about the absence of objective good/bad value.

I’m not sure I follow the contrast of Mazinger and American comics. Is the idea that, whereas American comics just reset everything and start over when the creative powers that be deem it necessary or lucrative, Shin Mazinger more or less represents the culmination of decades of change via adaptation in its franchise (or extended shared universe, or whatever)? Shin Mazinger’s being a kind of combined crossover and reimagining on an individual character level (is that right? I’ve only seen two episodes of it) reminds me of the kinds of miniseries events that happen in American comics between sweeping franchise reboots — I’m thinking of DC’s many crises and countdowns and alternate earths and so on. Bear in mind that I really know nothing about Go Nagai’s oeuvre, so forgive me if I fail utterly at puzzling through it.

Damn it.

Well, more work for pontifus then kekekekeke

That’s a lot of interesting stuff going on there. As much as I want to escape the trumping model, I do not forgo its usefulness. For example, Shin Mazinger Z Hen. Go Nagai’s habit of retelling his ‘master’ texts aside, the Imagawa version is to me, undoubtedly the best one. However, it’s complicated by integrating other narratives from Go Nagai himself: Violence Jack most notably. It becomes this interesting thing that is: best version Mazinger/corruption of Violence Jack.

Contrast this with (American) comic book licenses. Every major character or franchise gets re-booted, re-started every so often — even within the medium (Batman: Year One). Then you add to this film adaptations for specific generations: Superman and Batman. Are there meaningful similarities?

In any case, what say you about these?