Obscure Adventures in Geek and Nerd Culture

Channel K, otherwise a popular tv station in military controlled Myanmar, has its own festival teleplay show, ‘A Drama I don't want to forget’, which has gotten a bizarre reimagining of the Broadway Tarzan musical in its first season.  Two of the actors known to regular Burmese theatre goers are Myo Shwe Mann and Ko Po Chit (Tar Phoe Chit), who starred in such a frankly crazy early episode of this teleplay show.  It is a frankly entertaining experience.

The Kusube Lineage  Kusube School (Kusube Rockabillies)  Kazuko Nakamura > Shinsaku Kozuma Daikichiro Kusube > Naotoshi Shida   Norimoto Tokura  Yuu Yoshiyama  *Oddly enough, Shinsaku Kozuma now remains a better known liquid action animator who otherwise adds in a base variant of both Tokura’s and Shida’s own takes on Wakame Shadows, whereas Yuu Yoshiyama remains a part timer for the Arai effects school. Thus, Kusube and Dezaki are linked together more so than we think, resulting in all three of the main Rockabillies being amongst the most radical Japanese animators in the world by far. Norimoto Tokura on the other hand, is more related to Shida in terms of style, yet is still somewhat unique, although more associated to an extent with two of the three main Rockabillies.  Hisashi Mori School Osamu Dezaki >  Hisashi Mori Hironori Tanaka  Ryo Imamura  *Hisashi Mori’s school remains the animation school somehow closest to Osamu Dezaki’s...

Vlaamse Filmpjes, the modernisation of postwar period Vlaamse Filmkens, remains a much longer runner than its predecessor’s Francophone spinoff Presto Films. It’s pretty telling when Presto Films’ sole major claim to fame is perhaps Jean Ray’s Hirro the Jungle Boy, which is basically a Tarzanesque shipwreck story cashing in on the Jungle Book expy trend.  The first postwar period is known for tropical stories which not just have felt too colonialist even for the 1960s, but are often offensive to almost everyone involved except for grandparents who vote for hyper corrupt politicians regardless of any political wing. Nonetheless, there is a good reason why even it evolved positively from featuring such boring, stodgy colonialist stories into darker and edgier, also more mindful, weekly Shōnen Magazine style contemporary stories. But that was before the third period has now become a mild Shōnen Jump style Mecca for Flemish school stories and fantasies from the early 2000s onward....