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SPC Power stockholders clear firm’s foray into renewables

INVESTORS in SPC Power Corp. have given the green light for the company to embark on the exploration and development of renewable energy (RE) resources.

In a regulatory filing on Thursday, SPC Power said that majority of its shareholders allowed the firm to revise its articles of incorporation, reflecting its planned foray in the RE business.

Stockholders representing more than two-thirds of the outstanding capital stock voted to include in the firm’s primary purpose, “to carry on the general business of exploration, development and utilization and/or lease of natural resources, such as… solar, wind, biomass, hydro, geothermal, ocean, wave and other RE sources of power or hybrid systems, for the production of electricity.”

They also allowed the company to own, lease and develop real or personal properties, including land; and invest in the management of domestic corporations, partnerships and entities to attain its primary purpose.

The development comes two months after the listed electricity retailer’s board cleared its amended articles of incorporation.

Earlier in May, SPC Power said it is keeping RE projects “on its radar,” after sharing its plans to build one solar project and two battery energy storage facilities.

The firm added it is also looking at partnering up with a hydro power generation firm, but provided no further details.

According to its annual report, SPC Power holds a 40% share in KEPCO SPC Power Corp., which maintains a 200-megawatt circulation fluidized combustion coal-fired power plant in Naga, Cebu.

Shares in SPC Power at the local bourse improved by 2.99% or 40 centavos to finish at P13.80 apiece on Thursday. — Angelica Y. Yang

2 girls and social media: New romcom tackles the vicissitudes of romance and online contests

THE CHALLENGES and reality of a struggling romantic relationship is the focus on the new WeTV Original series BetCin which premieres today.

The romantic comedy series follows Beth (played by Kylie Padilla) and Cindy (Andrea Torres), a social media celebrity couple called “BetCin,” who join an online contest called “#RelationshipGoals” and are perceived as having a perfect relationship. But outside the filtered posts, things are barely smooth sailing as their differing priorities and needs begin pulling them apart. As they figure out what’s next for them, BetCin is selected as a finalist for #RelationshipGoals. The couple is then challenged to “fake it until they make it” for the “likes” and the cash prize.

“We thought that the stories of… two women in a romantic relationship is something that needs to be heard more,” said WeTV Philippines country manager Georgette Tengco, during an online press conference on Oct. 12,  talking about giving a platform for more inclusive love stories.

“Not a lot of people talk about it, it’s a perspective, that’s usually given a platform. It’s a perspective that is not usually given a loud voice, and so we felt that time has come that we needed to put a spotlight on it and found the perfect project,” she added.

Directed by Shugo Praico, the eight-episode series balances out the drama of a relationship on the rocks with punches of humor. The series is line-produced by Rein Entertainment Productions and written by Fatrick Tabada and John Carlo Pacala. Also in the cast are Elora Españo and Chai Fonacier.

“One of the brilliant elements of Fatrick Tabada’s original script for BetChin, when we were developing it as a part of an anthology series years back, is its tone — a charming blend of wit and absurdist humor,” Mr. Praico, the director, said in a statement.

“When WeTV asked us to turn it into an eight-episode series, the genius JC Pacala and I decided to stick with that tone, push the comedy, and add poignancy into the mix, to tell the break-up story of an odd but lovable couple trapped in the zany situation they created. We wanted to give the audience a fresh take, a unique experience on this familiar kind of story.”

Mr. Praico said that both lead actors were committed to their roles.

“You will see the level of commitment in the project through their performance,” he said during the press conference.

Actress Andrea Torres admitted that she is the opposite of her character. She described Cindy as someone who is social media active and outgoing.

“I feel like no day is wasted with her. She is always game (for anything). She is good with experiencing anything and feels as if she can do anything,” Ms. Torres said in English and Filipino.

Meanwhile, Ms. Torres’ co-star Kylie Padilla expressed how she related to her character, Beth and hopes to play the role again if given the chance.

“The show was such a blessing for me because it came at a time where I really wanted to sink my teeth into a project that I really loved… I just have so much fun, and this was the perfect project for that,” Ms. Padilla said.

“I know her. I need to give this character justice. I know what she’s going through. I know her wants and needs and I just knew that I could make a character I would enjoy,” she added with enthusiasm. “It wasn’t really a challenge. I had so much fun. Nabitin ako (It left me hanging). I really want to play her again.”

Ms. Padilla said that both characters are relatable and lovable despite their flaws.

“You’re going to learn to love each character. In all their flaws and all their mess, you will love both because they are relatable,” Ms. Padilla said in English and Filipino. “That’s what I love most about the show. They are imperfect people, but they try their best.”

BetCin starts streaming exclusively on WeTV on Oct. 15, 8 p.m. New episodes will drop every Friday. WeTV and the iflix app are available on the App store and Google Play. — Michelle Anne P. Soliman

Forbes: Jollibee, Ayala, AEV among world’s best employers

RESTAURANT operator Jollibee Foods Corp. (JFC) as well as conglomerates Ayala Corp. and Aboitiz Equity Ventures, Inc. (AEV) made it to Forbes’ annual list of the world’s best employers.

JFC was at the 256th spot, Ayala ranked 487th, and AEV was at the 665th place. They were among the 750 firms across the globe that are in the publication’s ranking.

Forbes worked with market research firm Statista to compile survey results of over 150,000 full-time and part-time employees of multinational firms and institutions from 58 countries.

A company’s branding, economic footprint, talent development, gender equality, and social responsibility were taken into account. Respondents were also asked if they would recommend their employers to friends and families as well as evaluate other employers in their industries.

Companies that made it to the list recorded the highest survey scores.

Forbes said employers now “offer more competitive compensation packages” in an attempt to retain and attract workers.

The list ranked South Korea’s Samsung Electronics as the top employer for this round, trailing behind are four US-based firms, namely: IBM, Microsoft, Amazon, and Apple. — Keren Concepcion G. Valmonte

‘Profound experience’: Star Trek’s Shatner becomes world’s oldest space traveler

STAR TREK actor William Shatner experiences weightlessness with three other passengers during the apogee of the Blue Origin New Shepard mission NS-18 suborbital flight near Van Horn, Texas, US in a still image from video Oct. 13. — BLUE ORIGIN/HANDOUT VIA REUTERS

VAN HORN, Texas —  Having made a career out of playing an explorer of the cosmos, William Shatner —  Captain James T. Kirk of Star Trek fame —  did it for real on Wednesday, becoming at age 90 the oldest person in space aboard a rocket ship flown by billionaire Jeff Bezos’s company Blue Origin, an experience the actor called profound.

Mr. Shatner was one of four passengers to journey for 10 minutes and 17 seconds to the edge of space aboard the white fully autonomous 60-foot-tall (18.3 meters-tall) New Shepard spacecraft, which took off from Blue Origin’s launch site about 20 miles (32 km) outside the rural west Texas town of Van Horn.

The crew capsule returned to the Texas desert from the suborbital flight under parachutes, raising a cloud of dust. Mr. Shatner emerged gingerly from the capsule in the desert silence, appearing reflective as the others celebrated by cheering and popping champagne bottles.

Mr. Bezos was on hand and embraced Mr. Shatner, who was wearing a cap and a blue flight suit with the company’s name in white letters on one sleeve.

“What you have given me is the most profound experience I can imagine,” Mr. Shatner told Mr. Bezos as the two chatted for several minutes. “I am so filled with emotion about what just happened.”

The all-civilian crew experienced a few minutes of weightlessness, having traveled about 65.8 miles (106 km) above the Earth’s surface —  higher than the internationally recognized boundary of space known as the Karman Line, about 62 miles (100 km) above Earth.

It marked the second space tourism flight for Blue Origin, the company Mr. Bezos —  the Amazon.com, Inc. founder and current executive chairman —  founded two decades ago. Mr. Bezos flew aboard the first one in July.

Mr. Shatner —  who embodied the promise of space travel in the classic 1960s TV series Star Trek and seven subsequent films —  said he had prepared himself for experiencing weightlessness, but was stunned at the dramatic contrast of the beauty of the blue Earth and the blackness of space.

“You’re looking into blackness, into black ugliness,” Mr. Shatner said. “And you look down, there’s the blue down there —  and the black up there —  and it’s just, there is Mother Earth.”

“This is life and that’s death, and in an instant, you know —  whoa – that’s death,” Mr. Shatner said. “That’s what I saw.”

“Is that the way death is?” Mr. Shatner asked.

Before the flight, each astronaut rang a bell and then entered the capsule atop the rocket ship, with Mr. Bezos closing the hatch. Winds were light and skies were clear for the launch, conducted after two delays totaling roughly 45 minutes.

Joining Mr. Shatner were former NASA engineer Chris Boshuizen, clinical research entrepreneur Glen de Vries, and Blue Origin vice-president and engineer Audrey Powers.

‘BEAM ME UP’
Mr. Shatner, who turned 90 in March, has been acting since the 1950s and remains busy with entertainment projects and fan conventions. He is best known for starring as Captain James Tiberius Kirk of the starship Enterprise on Star Trek.

During the opening credits of each episode of the series, he called space “the final frontier” and promised “to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before.”

“Beam me up,” Mr. Shatner’s character would tell the Enterprise’s chief engineer Scotty, played by James Doohan, in a memorable catchphrase when he needed to be transported to the starship.

Mr. Shatner’s participation helped generate publicity for Blue Origin as it competes against two billionaire-backed rivals —  Elon Musk’s SpaceX and Richard Branson’s Virgin Galactic Holdings, Inc. —  to attract customers willing to pay large sums to experience spaceflight. The flight represented another important day for the nascent space tourism industry that, according to UBS, could reach an annual value of $3 billion in a decade.

Blue Origin had a successful debut space tourism flight on July 20, with Mr. Bezos and three others aboard on a trip lasting 10 minutes and 10 seconds. On that flight, pioneering female aviator Wally Funk at age 82 became the oldest person to reach space. The previous record was set in 1998 when pioneering astronaut John Glenn returned to space as a 77-year-old US senator. Mr. Branson inaugurated his space tourism service on July 11, riding along on a suborbital flight with six others. SpaceX debuted its space tourism business by flying the first all-civilian crew to reach Earth’s orbit in a three-day mission ending Sept. 18.

In his annual address to world leaders last month, UN Secretary-General Antonio Guterres criticized “billionaires joyriding to space while millions go hungry on earth.”

Asked about Mr. Shatner’s flight, UN spokesman Stephane Dujarric said on Wednesday that Mr. Guterres “very much continues to believe what he said in the General Assembly.” — Reuters

Space agency site to rise in New Clark City

THE Philippine Space Agency (PhilSA) has started seeking interested consultants for the formulation of a master development plan for its official site in the New Clark City.

“The Philippine Space Agency now calls for the submission of eligibility documents of interested consultants,” the national space agency said in its invitation published by the Bases Conversion and Development Authority (BCDA) on its Facebook page on Thursday.

The Bids and Awards Committee Secretariat of the agency will accept eligibility documents until Oct. 19 at its office in UP Diliman, Quezon City.

The agency said the consultant will be selected and employed in accordance with “quality-cost based evaluation” procedures.

The National Space Center will have phases 1 and 2, both in the New Clark City, Tarlac.

PhilSA, established through Republic Act No. 11363, functions to address all national issues and activities related to space science and technology applications.

It serves as the primary policy, planning, coordinating, implementing, and administrative entity of the executive branch of the government to advance the national space program in accordance with the Philippine Space Policy.

The PhilSA facility will include offices, meeting facilities, research and testing laboratories, as well as areas, structures, and settings deemed necessary by the agency. — Arjay L. Balinbin

Unique gameplay loop shines

BETHESDA.NET/EN/GAME/DEATHLOOP-MEDIA

Videogame Reviews
Deathloop
Sony PlayStation 5

Ghost of Tsushima Director’s Cut
PS5

Ratchet & Clank: Rift Apart
PS5

The Great Ace Attorney Chronicles
Nintendo Switch

ARKANE Studios and Bethesda Softworks have outdone themselves with Deathloop. Featuring a likeable protagonist, a flexible open map to explore, and a fast, fluid combat system, their latest offering brings to mind their earlier games in concept and mechanics — but presented better — make that much better — gameplay, style, and substance.

In Deathloop, you play as Colt Vahn, an amnesiac who finds himself stuck in the middle of the island of Blackreef with no clue as to what’s happening. Caught in his own personal version of Groundhog Day, Colt is hunted by the island’s residents, and a mysterious woman named Julianna who’s holding a grudge against time. Trapped in an infinite loop of repeating the same day, and urged on by a consciousness he doesn’t yet fully understand, Colt must somehow find a way to learn more about the island, and break the timeloop that has kept him trapped.

This means using Colt’s extensive skills in order to learn more about the island. Many opponents stand in his way, but while Colt may have forgotten his memories, his instincts are still sharp. He can skulk, dodge, leap, and shoot with the best of them, and he has to if he means to find a way to break the loop. Colt is clearly experienced in the use of weapons, and the various guns Deathloop gives are satisfying to use. These range from silenced pistols and magnums, to stronger submachine guns and shotguns, all of which are capable of downing enemies with a few well-placed shots.

On the flipside, Deathloop requires Colt to operate under similar conditions – which is to say he shares this similar downside of being brought down by a few well-placed shots by otherwise inaccurate enemies. This turns gunplay into a satisfying, if frantic, mess of bullets and positioning. And while the game is pretty forgiving, with plenty of ammunition and health stations (and fiz-pop bottles) lying around, going head-first with guns blazing just isn’t always the right way to solve your problems.

This is where the stealth elements of Deathloop comes to the fore. Taking from such notables in Arkane and Bethesda’s library as Prey and Dishonored, the game features a robust power system that helps you when you’re sneaking about, letting you unlock upgrades not just for your character and his weapons, but also active abilities that you can leverage for use. Features like Invisibility and Blink are all essential when going on a stealth run, and these give so much depth when exploring the map, letting you explore places you normally would have trouble reaching. Your reward for this isn’t just more ammo, but also more information, and you’ll slowly start to unlock more information about the island and understand the motivations of its denizens.

At first glance, Deathloop’s gameplay might seem hampered by the fact that there are only four unique locations to explore, but there’s a twist. Time passing slowly has an impact on what enemies you can face, what information you can glean, and even what side-quests you can take on. Certain events happen only during a certain time of the day, and, if you miss these, can change what happens later on in the same location. This means having to not only budget your time carefully, but also piece together the information you find, and even using what you know with what events you figure will happen.

This system is what allows Deathloop to present its story piecemeal, but without making the player feel lost. It’s like a detective story coming together. You’re slowly unravelling the relationships that keep the island stable, and carefully finding a way to leverage them to your advantage. While death may set you back, the information you gather in these runs is permanent and ingrained, and each little step you take is, in the final analysis, progress. In a lot of ways, it feels more like a rogue-like, where your advancement slowly ramps up as you learn more and more not just about the narrative, but about the events surrounding it.

It’s this unique gameplay loop that makes Deathloop really shine. Not many games can really incorporate a system like this fluidly. Deathloop does, and exquisitely, managing to keep it interesting with its constantly evolving world and its dynamic gameplay. From how new information and side-quests can warp your decisions, to how principal antagonist Julianna Blake’s ambushes can throw a monkey wrench into your plans, it’s a game that thrives on both repetition and flexibility, and it’s one that keeps itself entertaining from start to finish.

To be sure, Deathloop isn’t perfect. Gameplay bugs will, on occasion, creep up, with some of them highlighting shoddy enemy Artificial Intelligence. And then there are the random crashes that can soft-lock progress; one bug, for instance, kept happening in the same cutscene, only to solve itself after about an hour. Given the technical glitches, it’s just too bad the game doesn’t let you save mid-mission. The good news is that Arkane and Bethesda continue to improve on the product, issuing patches as necessary.

In any case, Deathloop is an outstanding release. Featuring all the best of the best of Arkane and Bethesda’s collaborative efforts, it’s an action-packed title that provides no small measure of introspection as well. Highly recommended.

THE GOOD:

Unique and engaging in its singular mix of stealth and gunplay with puzzle and adventure elements

Interesting twist of gameplay loop, requiring you to learn about your enemies and exploiting their weaknesses/quirks as you go through the same scenarios again and again

Strong, interesting, multi-layered characters

THE BAD:

Bugs show up on occasion

Some textures don’t render well

Sound can be a bit off at times

RATING: 9.5/10

POSTSCRIPT: Ghost of Tsushima was among the few Sony PlayStation 4-exclusive titles that had gamers in other platforms casting envious glances. Its concepts may not have been original or unique, but the fact didn’t really matter, because it was able to distinguish itself with its art style and its dedication to Japanese inspirations. While it took artistic liberties when portraying the Mongol Invasion of Japan, it was respectful to its source materials, and clearly inspired by the spectacle of Samurai Cinema. It emulated the works of directors like Akira Kurosawa, and excelled at delivering a gripping tale of loss and survival, of the constant interplay between pragmatism and idealism. It was an amazing experience, one that really pushed the limits of what the PS4 could do. And now, with the release of the Director’s Cut on the PS5, it’s back in all its glory, but bigger and better, ready to show us what tricks it can pull off with next-generation hardware while adding content to boot.

For those who lived under a rock in recent memory, a quick recap: Ghost of Tsushima has you play as samurai Jin Sakai in his desperate attempt to fight off the Mongol invaders. Using stealth, guile, and swordplay to conquer his foes, he sets out to liberate the oppressed people of Tsushima Island. It’s essentially Assassin’s Creed with a far more intense focus on Japanese culture. You’ll be exploring Japanese castles, traversing peaceful grasslands and forests, and fighting off wandering ronin and bandits — all while upgrading the strength of your sword and armor, and honing Jin’s samurai skills to prepare him for the inevitable showdown with the villainous Khotun Khan.

What this means is you’ll be going out of your way to scavenge supplies and take down enemy fortresses from within. Enemies in Ghost of Tsushima are surprisingly deadly and, on the game’s harder modes, quick as well. A momentary lapse in concentration with have you reloading from your last checkpoint, especially with how aggressive and plentiful enemies can be. You’ll have to parry, dodge, and cut your way through each encounter in the hope of staying alive.

Thankfully, Jin has many tricks up his sleeve to help him out. His sword skills are fantastic, allowing him to duel and defeat even the toughest of opponents. By taking down commanders, Jin’s own legend as the Ghost of Tsushima grows, and with it, his prowess in combat, allowing you to unlock useful skills and abilities. For example, being able to roll unlocks huge potential in how you take fights, and the game’s unlockable Ghost Weapons afford you even more flexibility in how you approach encounters. You can stun groups of opponents with your smoke bomb, or take them down with arrows. You can lure them out with a noise charm, or assassinate them from hidden positions. If you’re feeling honorable, you can even challenge them to a duel, using Iaido — enhanced awareness and capacity to act and react quickly — to cut them down one by one.

Ghost of Tsushima was a memorable experience on the PS4, and it’s even better on the PS5. The game, which already looked beautiful, looks even better on superior hardware. The experience is truly enhanced when it’’s running on a smooth, crisp 60 frames per second. The Director’s Cut also boasts additional content via the Iki Island expansion — a solid integral extension that colors Jin’s relationship with his family. Add that to the coop function that Ghost of Tsushima has through its Legends gameplay, and you have a solid single-player and multiplayer experience on the next-gen console. Whether alone or with friends, Ghost of Tsushima is prepared to entertain, and does so in style.

If there’s a negative (if it can even be called that) to Ghost of Tsushima Director’s Cut, it’s that the upgrade comes with a cost. However, owners of the game on the PS4 can avail of the Director’s Cut on the PS5 at an affordable price. And, really, with how much new content it offers as well as the chance to relive the old ones in higher definition, any price you can pay to experience it anew under better conditions is a steal.

Ghost of Tsushima was deemed groundbreaking upon its release last year, and it has aged well in its transition to the PS5. It’s simply better in every way, and a can’t-miss title for those who already own the platform.

THE GOOD:

Smoother, crisper gameplay and visuals, thanks to the enhanced engine

Additional content to keep you entertained

Excellent single-player and multiplayer options

THE BAD:

The upgrade comes at a cost

RATING: 9.5/10

Ratchet & Clank: Rift Apart on the PS5 is a special experience steeped in nostalgia and old-time gameplay. The iconic duo of Ratchet and Clank are back at it again to save the universe, providing gamers with an intoxicating, exciting adventure, focused on exploration, third-person gunplay, and first-rate platforming from start to finish.

Ratchet & Clank: Rift Apart makes sure to keep the classic formula of the franchise’s previous releases. You’re still traversing unique, colorful levels with your chosen character. You still have the game’s witty, interesting dialogue interspersed with wacky, entertaining combat segments. You still have heartwarming scenes mixed in with fast-paced platforming and racing, complete with mini-games and side objectives. In a lot ways, it’s what you expect a Ratchet and Clank game to be, but on overdrive — and, honestly, that’s what makes it so compelling.

Ratchet and Clank: Rift Apart is a solid experience because it does everything extremely well. Take for instance, its gunplay. It starts off simply, handing you simple weapons like a laser gun that acts as a pistol, or a scattergun that functions as a short-range shotgun. While not trend-setting, these are the backbones on which stronger, more interesting guns start to appear. Homing missile dogs that lock onto enemy targets and explode on contact, a Mega Man-style megabuster, and a zapgun that spreads lightning to enemies — these are but a few of the weapons you can lay your hands on, each one useable and unique in its own way.

Pair this up with Ratchet and Clank: Rift Apart’s intense platforming action, and you have what makes for some fun action set pieces. You’re constantly dodging and weaving to avoid enemy shots, using cover and dashing between their bullets to find your own timing to strike back, and with the vast array of weapons at your disposal, you’ll easily find the pacing you’re comfortable with in no time.

Enemies are not very smart, but with how Ratchet and Clank: Rift Apart’s levels are laid out, you’ll constantly find yourself moving from area to area, scavenging for ammunition and rare materials to level up your weapons. Upgrades not only make your weapons stronger; they’re given additional properties to make them far more effective, further encouraging you to diversify your arsenal.

When you’re not picking apart your foes, you’re mostly engaging in side-quests that fill a very specific metroidvania itch, with some side objectives requiring specific story power-ups to smoothly acquire. While these are mostly cosmetic in nature, they don’t make that sense of exploration any less powerful, especially when the side-quest areas have you zipping on boosters, or exploring extra-dimensional rifts. These don’t last more than a minute or two each, but they do give you adequate rewards for taking the time to look around, with some cosmetic sets even giving you a slight but welcome passive bonus for completing them.

And you pretty much will want to, as when all’s said and done, it’s all ultimately because the world and story of Ratchet and Clank: Rift Apart feels genuine. While some other games may try to hide their charm behind high-fidelity graphics, Ratchet and Clank: Rift Apart makes its audio-visual strengths complementary to the excellent gameplay. There’s a sense of discovery in each planet you visit, and a sense of familiarity with each character you meet. There’s an authenticity in the story’s writing, emphasizing the love, fear, and loss that comes with any friendship. All in all, it’s a story that hits hard, especially for a series that has continually underscored the friendship between Ratchet and Clank.

Ratchet and Clank: Rift Apart is pretty much a masterpiece on the PS5, running smoothly on 60 fps with barely any hitches on performance mode. Textures are smooth but sleek, and its art style stands out with its stylish three-dimensional design. If it has any minuses, they would be the presence of some invisible walls in some areas that look like they lead to other areas — not exactly a knock when it does everything else wonderfully. True, it may not have any new ideas, but that doesn’t take away from its brilliance. Bottom line, it does what it always set out to do: Showcase Ratchet & Clank in the latest hardware, with all the bells and whistles front and center, ready to be played and enjoyed by both fans and newcomers alike.

THE GOOD:

Sleek, stylish, and smooth

Fun exploration segments in various different worlds

Heart-warming, touching story that focuses on Ratchet, Clank, and their alternate-dimension counterparts

Good balance of main mission content and side-content

THE BAD:

It ends

RATING: 9.5/10

THE LAST WORD: Capcom’s Ace Attorney franchise is built from wit and charm. The series of part visual novel, part puzzle/adventure games revels in its presentation, showing ridiculous but lovable characters in over-the-top legal trouble. It’s one that knows its humor well, and proves that a good series certainly has the power to keep on going as long as it knows its target audience. With over six main line games and several spin-offs in its belt, Ace Attorney is here to stay.

The Great Ace Attorney Chronicles is one such spin-off, taking players back to Japan’s Meiji period. Only decades after the Boshin War that ended Japan’s near 300-year isolationism, protagonist Ryunosuke Naruhodo finds himself embroiled in legal trouble at a time where his country is taking steps to enter the “modern world” alongside the western powers. There’s a great deal of emphasis on culture, nationalism, and idealism, and you’ll get to explore these firsthand as you dive into Ryunosuke’s shoes and expose the flaws of the legal system from the inside out.

To do this, you must play the dual role of both investigator and lawyer, exploring the crime scene, interviewing people, examining evidence, and stitching together the gruesome details of the crime that prompted your probe. You’re not just taking stock of the scene of the crime; you’re doing it Ace Attorney style, complete with all the facets and quirks for which the intellectual property has come to be known. The characters are ridiculous but fun, with each memorable in his or her own way and designed with certain tropes in mind. Each case you take on is unique in its settings and problems, and while the game’s cases are never difficult, they do provide enough of a challenge to keep you hooked and on the edge of your seat.

This type of formula is part and parcel of the Ace Attorney series, and while at times it might seem silly in concept, it all flows very naturally in-game. Examining objects is as simple as a click of a button, and helpful hints and observations are tacked on and amended on an item’s description as you find out more about it. Your goals are often emphasized with very clear and concise problem statements, so you’re never truly lost if you happen to forget what you’re looking for, and each case has just enough ambiguity to keep you guessing without feeling patronized.

All this wouldn’t work, though, if the presentation wasn’t so good. Taking up the mantle of its predecessors, The Great Ace Attorney Chronicles seems to try even harder and, in the process, come out better. Each case you play is presented with crisp, cinematic openings that set the stage and serve as an introduction to the episode. Before, the series had mostly stuck to two-dimensional sprite work and pixel graphics in-game. On the PS4, it uses some very nice 3D artwork and animations to really set itself apart. In fact, it’s in the new sets of backgrounds of each area where it really shines. The art style lets each location you visit feel more vibrant and unique. Coupled with the game’s brilliant soundtrack, it’s very easy to get pulled into the moment, especially when the dramatic music starts playing, and witnesses start breaking down.

The Great Ace Attorney Chronicles shows just how far the Ace Attorney franchise has come. What was once a small but interesting little distraction on the Nintendo DS is now a full-blown series to enjoy, and the latest offering is able to do the legacy justice. It’s a game that fully understands its roots and where it’s come from, how far it’s gone, and how much it wants you to enjoy the ride it’s able to give you.

Which is all well and good, because The Great Ace Attorney Chronicles isn’t just one game; it’s actually two. Combining the then-Japan only The Great Ace Attorney: Adventures, and its sequel The Great Ace Attorney 2: Resolve gives it a ton of content for people to enjoy right off the bat. It’s essentially twice the normal amount of cases you get in any given Ace Attorney game in one solid purchase, and it’s a steal for what it has on offer.

True, the Great Ace Attorney Chronicles has you dealing with a few minor issues. The options menu is surprisingly bare, with no sliders for the music volume or anything to really change. The game can also be a bit repetitive in how it emphasizes things; it drags on with its plot points, especially when it tries to set up for later payoffs. As noted, however, these concerns are trivial. Whether you’re a longtime fan of the franchise or just new to it, nothing will detract you from enjoying it.

Little wonder, then, if the Great Ace Attorney Chronicles winds up being your favorite set of Ace Attorney games to date. With a rich new aesthetic, interesting cases, and a lovable cast, it’s Ace Attorney, but set in Japan 200 years ago. What’s not to love about that?

THE GOOD:

Lots of content; two games in one

New art style and aesthetic make each case feel more dramatic and interesting

Interesting themes and moral dilemmas to explore

THE BAD:

Can feel a bit slow and repetitive, especially with the first few cases

Limited menu options to play with

RATING: 9/10

Metro Pacific Tollways to start installing EV charging stations next year

MPT Mobility, a new entity that houses all the non-toll related enterprises of Metro Pacific Tollways Corp. (MPTC), announced on Thursday that the group would start installing electric vehicle (EV) charging stations along its expressways in 2022.

“We will start next year,” MPT Mobility Vice-President for Business Development Mark Richmund M. De Leon, a former Transport department undersecretary, said at a webinar hosted by the MPTC.

“At least one [EV charging station] in NLEX (North Luzon Expressway), one in CAVITEX (Manila–Cavite Expressway) and even in CALAX (Cavite–Laguna Expressway). That’s the plan in our mobility,” he added.

Mr. De Leon also said the next step would be the installation of EV charging stations in parking lots.

The Energy department said in September that it had endorsed to the Board of Investments a P2.5-billion investment project that would bring in 20,000 imported electric vehicles.

Electric vehicle registrations fell 35% to 1,015 in 2020 from 1,570 in 2019, according to Electric Vehicle Association of the Philippines President Edmund A. Araga.

Global EV sales are expected to grow from four million units in 2021 to 35 million in 2030.

MPTC is the tollways unit of Metro Pacific Investments Corp., one of three key Philippine units of Hong Kong-based First Pacific Co. Ltd., the others being Philex Mining Corp. and PLDT, Inc.

Hastings Holdings, Inc., a unit of PLDT Beneficial Trust Fund subsidiary MediaQuest Holdings, Inc., has a majority stake in BusinessWorld through the Philippine Star Group, which it controls. — Arjay L. Balinbin

Satellite system access to help boost financial services’ reach

MATTHIJS VAN HEERIKHUIZE-UNSPLASH
INCREASED internet access on the back of a law allowing telcos to access satellite systems will help boost financial services. — MATTHIJS VAN HEERIKHUIZE/UNSPLASH

EXPANDED ACCESS to internet service through satellite technology will help bring financial services to underserved areas, the central bank said.

“With enhanced countryside connectivity, we see previously unserved and underserved areas being reached by digital financial services, especially those designed for the lower income segments, like remittances, bills payments and the opening of transaction accounts,” Bangko Sentral ng Pilipinas (BSP) Governor Benjamin E. Diokno said in a statement on Thursday.

The Department of Information and Communications Technology (DICT) last month released the implementing rules and regulations (IRR) of a new law that aims to promote the development of satellite industry in the country by liberalizing access to these systems.

Executive Order (EO) 127 gave telco players and other businesses wider access to all satellite systems.

The EO was backed by the recommendation of the Financial Inclusion Steering Committee, which is headed by the BSP, the National Economic and Development Authority (NEDA), the National Telecommunications Commission, and the government’s task force for pandemic response.

In the IRR, the DICT said inclusive access to satellite services is in line with the digital connectivity goals of the country under the Philippine Development Plan 2017 to 2022.

The BSP hopes this reform will encourage financial service providers expand their reach, which will improve financial inclusion.

The central bank said expanded internet connectivity will benefit financial service providers and allow them to give rural areas more access points, including automated teller machines and cash agent services.

It is also expected to help the central bank reach its target to have 50% of all payments done online and to bring 70% of Filipino adults into the financial system by 2023, Angelito M. Villanueva, chairman of Fintech Alliance.ph said.

“This reform is a big leap forward to help us realize the digital Philippines. With such facility, the reform seeks to enhance internet connectivity in rural areas which will then allow the opening of more digital access points and other fintech services,” Mr. Villanueva said in a Viber message.

Data from the BSP showed only 29% of adult Filipinos had formal financial accounts in 2019.

Meanwhile, 20.1% of the volume of monthly retail payments were done online last year. Cashless payments made up 26.8% of all transactions in terms of value in 2020. — L.W.T. Noble

Hollywood crews to strike next week unless deal reached with producers

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BEHIND-the-scenes workers on Hollywood films and television shows will launch a nationwide strike next week unless contract talks with producers are resolved, their union said on Wednesday.

If no agreement is reached by 12:01 a.m. PDT on Oct. 18, the International Alliance of Theatrical Stage Employees (IATSE) which represents some 60,000 off-screen workers, including camera operators and make-up artists, will launch a work stoppage threatening to devastate major studios, IATSE President Matthew Loeb said.

In the hopes of reaching an agreement on a new contract before the Monday strike deadline, the union will continue bargaining with producers this week on issues such as reasonable rest periods, meal breaks, and pay increases for those at the bottom of the wage scale, Mr. Loeb said.

“However, the pace of bargaining doesn’t reflect any sense of urgency,” Mr. Loeb said in a statement. “Without an end date, we could keep talking forever. Our members deserve to have their basic needs addressed now.”

The Alliance of Motion Picture and Television Producers (AMPTP) said studios were working hard to negotiate a deal to keep alive the industry that has provided an at-home entertainment escape for so many people working remotely during the coronavirus disease 2019 (COVID-19) pandemic.

“There are five days left to reach a deal, and the studios will continue to negotiate in good faith in an effort to reach an agreement for a new contract that will keep the industry working,” Jarryd Gonzales, an AMPTP spokesman, said in a statement. Last week, 90% of IATSE members cast ballots and more than 98% of the votes returned were in favor of authorizing a strike.

The union wants to reduce working hours that can stretch to about 14 hours a day as the demand for TV shows and films has increased, particularly for streaming platforms such as Netflix, Disney+, Apple TV+ and Amazon Video.

It seeks higher pay for workers on streaming projects, who get paid less than for work on mainstream and cable TV shows under an agreement signed in 2009, in the early days of streaming and online media.

During the most recent major strike in Hollywood —  by film and television screenwriters for three months in late 2007 and early 2008 — all scripted shows were forced to shut down and television networks ran re-runs of comedies and dramas. — Reuters

PSALM: Korean firm is lowest bidder for Casecnan contract

STATE-LED Power Sector Assets and Liabilities Management Corp. (PSALM) has declared South Korean firm Soosan ENS Co. Ltd. as the lowest bidder for the operation and maintenance service contract (OMSC) of the 165-megawatt (MW) Casecnan hydro power plant.

In an e-mailed statement on Thursday, PSALM said Soosan ENS submitted the lowest bid of around P253 million, which it described as “substantially lower” than the P462-million approved budget.

The Casecnan hydro facility is a combined irrigation and power generation project located in Pantabangan, Nueva Ecija.

Other qualified bidders for Casecnan’s OMSC are SN Aboitiz Power-Magat, Inc., which submitted an offer of P261.56 million; and KEPCO KPS Philippines Corp., which offered P391.49 million.

Soosan ENS will undergo a post-qualification process that will ensure it meets financial and legal requirements, PSALM said.

“If Soosan ENS passes the post-qualification process, it will be given sufficient lead time to familiarize itself with the operations of CHPP (Casecnan Hydro Power Plant) before the contract’s beginning effectivity date on Nov. 26, 2021,” PSALM said.

PSALM President and Chief Executive Officer Irene Joy J. Besido-Garcia said that after the successful public bidding of the Casecnan plant’s operation and maintenance contract, the agency can now move forward with its goal to privatize the facility.

The Casecnan plant is covered by a build-operate-transfer deal that expires on Dec. 11 this year.

Even during the plant’s privatization, the National Irrigation Administration will continue using it to irrigate farmlands in line with its mandate, according to PSALM.

Under Republic Act No. 9136 or the Electric Power Industry Reform Act of 2001, PSALM is required to manage the orderly sale, disposition and privatization of National Power Corp.’s assets, including real estate properties, so it can liquidate all of the latter’s financial obligations in an optimal manner. — Angelica Y. Yang

BSP looking to set up registry for cash agents

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THE CENTRAL BANK wants to monitor the cash agents through a registry, which will also provide consumers with a database of these players.

“This agent registry is a tool that can generate information on the number of agents, their location, services, and transactions, among others,” Bangko Sentral ng Pilipinas (BSP) Governor Benjamin E. Diokno said at a virtual briefing on Thursday.

The registry will help streamline the submission of agent data by financial institutions, provide a tool for agent data analysis, measure the reach of agent services, and give consumers a database of agents with whom they can make transactions.

He said the BSP has tapped a development partner for technical support in coming up with a prototype for the agent registry.

“Cash agents and the agent registry will be powerful tools to support the mutually reinforcing goals of payments digitalization and financial inclusion,” Mr. Diokno said.

The central bank said cash agents help bring financial services to unserved and underserved groups in the countryside.

“What we are trying to pursue is to expand the penetration at the barangay level of these cash agents. It’s important not to look only at the total number, but also to make sure that they are well dispersed,” said Ellen Joyce L. Suficiencia, director of the BSP Center for Learning and Inclusion Advocacy.

The pandemic has also shown the vital role played by cash agents in the country’s financial system, especially for people who do not have access to technology, Mr. Diokno said.

“Those from the vulnerable sector who did not have smartphones, and internet connection continued to rely on physical cash for their transactions. Cash agent service alternative channels for them,” he said.

Cash agents also helped in the distribution of aid under the government’s social protection program during the crisis, he added.

“Without the cash agents, it would be difficult to implement the disbursement of government cash assistance during the pandemic, especially in communities without a bank infrastructure,” he said.

Mr. Diokno said 15 banks included cash agent operations in their services by 2020, up from 11 in 2019.

He added that 58,000 agents are considered active as they operated in the past three months, up by more than three times compared with the 17,000 in 2020. This is also out of the 77,000 registered entities last year.

The BSP wants 70% of Filipino adults to have accounts with financial institutions by 2023. It also targets to have 50% of all payments done online by the same year. — L.W.T. Noble

Bello says ILO seeking to upgrade migrants’ contract protections

PHILIPPINE STAR/EDD GUMBAN

IMPROVING overseas workers’ employment contracts is on the table at the first meeting of the International Labour Organization’s (ILO) government sector on Oct. 27, which as Labor Secretary Silvestre H. Bello III will chair. 

At a televised briefing Thursday, Mr. Bello said the work on contracts will focus on job security and safety and strengthen protections to ensure receipt of salaries and benefits.

The group will also discuss the democratization of the ILO process by extending voting authority to all ILO delegates.

At present, out of the 187 member states of the ILO, only 28 have voting and speaking rights, another 28 have only speaking rights, and the rest “are mere observers with neither voting (nor) speaking rights, including the Philippines,” Mr. Bello said in a statement in August.

Mr. Bello assumed the chairmanship in July.

Before the ILO meets, Mr. Bello will attend a ministerial meeting on Oct. 25 to 27 in Dubai, during which he will meet with the Saudi Minister of Labor to discuss payments delayed since 2016 for about 9,000 overseas Filipino workers (OFWs) in Saudi Arabia. 

The OFWs had been repatriated, but salaries worth around P4.6 billion have not yet been paid by their employers.

“It’s high time we show the people of Saudi that our people deserve justice,” Mr. Bello said.

Last month, Mr. Bello also considered suspending the deployment of OFWs to the Saudi Arabia to pressure its government to intervene in the repatriation of two workers allegedly abused by a retired Saudi general. — Bianca Angelica D. Añago