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SMC plans transfer of hogs, facilities to raisers

THE FOOD UNIT of San Miguel Corp. (SMC) plans to transfer its nationwide hog inventory and facilities to local raisers, amid high retail prices of pork.

In a statement on Monday, SMC’s San Miguel Foods is looking to shift the inventories of its Monterey brand to local hog raisers, and to allow them to supply the demand in their respective regions and improve biosecurity practices against African Swine Fever (ASF).

SMC President and Chief Operating Officer Ramon S. Ang said the company wants to give local piggery businesses an opportunity to flourish amid the coronavirus disease 2019 (COVID-19) pandemic, and to entice other smallholder farmers to improve the hog industry.

“This is one way to stabilize the supply of affordable pork in the country. More importantly, it will help boost the local hog raising industry,” Mr. Ang said.

Further, the company said Monterey, which is one of the known industry participants, had been hampered by the ban implemented on the transport of pork and pork products due to the continuous spread of ASF.

As a result, San Miguel Foods, a division of SMC’s listed unit San Miguel Food and Beverage, Inc., decided to change its strategy, thus the plan to transfer its inventories to local players.

“They can run this business at a lower cost, making it more sustainable. This also opens the doors for more Filipinos to become agri-entrepreneurs,” Mr. Ang added.

On Monday, shares in SMC at the stock exchange fell 0.08% or ten centavos to close at P128.80 apiece. — Revin Mikhael D. Ochave

FDCP gives grants to 22 films

THE FILM Development Council of the Philippines (FDCP) announced that it has given P12.1 million worth of grants to 22 films as part of its CreatePHFilms Philippines Cinema funding program that provides funds for development, production, post-production, and distribution.

Of the 22 grantees chosen for the first cycle of the funding program, eight were for scriptwriting, four for script development, three for small budget production, two for large budget production, and five for post production.

“The industry has been clamoring for public funding to support the development of films since 2016. We believe in the importance of public funding, as countries with thriving film industries such as France and South Korea benefit from various government programs and funding. At long last, the Philippines has public funding for film development through CreatePHFilms and now, we have our first batch of grantees,” Mary Liza B. Diño, chairperson and CEO of the FDCP said in a statement.

The domestic funding program was launched in September 2020 as part of the closing celebrations of the Philippine Cinema Centennial celebrations. The first entries were submitted in November and were deliberated on in December.

Eligible applicants must be Filipino filmmakers and companies accredited with the FDCP’s National Registry, while eligible projects must have a Filipino director and 100% of the funds must be spent in the Philippines for qualified expenses.

Among those who selected the projects for funding were Ms. Diño, director and writer Clodualdo del Mundo, Jr., director and Directors’ Guild of the Philippines, Inc. representative Raymond Red, Cinema Evaluation Board Chairperson Christine Dayrit, Solar Pictures, Inc. General Manager Butch Ibañez, cinematographer and Lupon ng Pilipinong Sinematograpo President Mackie Galvez, and Pangasinan 4th District Representative Christopher De Venecia.

The grantees for the scriptwriting fund will receive a non-refundable grant of up to P100,000 and will have at least two FDCP-led sessions of script consultations “with international mentors on concept, creative issues, and developing the screenplay,” according to an FDCP statement. The eight grantees for scriptwriting are: Ang Alamat ng Gumamelang Bukid by Richard Soriano Legaspi, Dead Boy by Jules Dan Katanyag, Magiliw (Gentle: A Carnage by the Land of the Rising Sun) by Bor Ocampo, Mother Maybe by Sonny Calvento, Oyayi by Mitzi Delima, Silk Ties by Wilfredo Manalang, The Fighting Filipinos by Honee Alipio, and Strange Natives by Paolo Herras.

Meanwhile, those chosen for project development will be given a nonrefundable fund of up to P200,000 for the production companies. The four selected projects are: In My Mother’s Skin by Kenneth Lim Dagatan, Ninja From Manila by Miko Livelo, Outerspace Filipino Workers by Keith Sicat, and The Tootle & Tina Show by Danzen Santos Katanyag.

Production grantees for small budget films will receive up to P1 million (refundable) for the production companies. The three films selected as small budget fund recipients are: 12 Weeks by Anna Isabelle Matutina, Blue Room by Ma. Anna L. Asuncion-Dagnalan, and Faramanis by Gutierrez Mangansakan II.

Those chosen for the large budget production fund grant will have P3 million to P5 million given to the production companies as an investment equity fund. The two chosen projects are Bansa by Brillante Mendoza and Kidplay by Khavn.

The FDCP has also given five post-production grants as they seek to “enhance post-production services so that they meet international standards.” The fund gives up to P300,000 to the engaged post-production company of a film production. Those chosen for the fund are Ang Pagbabalik ng Kwago by Martika Ramirez Escobar, Gensan Punch by Brillante Mendoza, Kargo by TM Malones, Mirador by Loy Arcenas, and The Brokers by Daniel R. Palacio.

The council has also introduced a distribution grant of up to P300,000 for the local and overseas distribution of Filipino titles, but no grantees have been announced.

“We are proud of the resiliency of our filmmakers and their perseverance to continue the production of their projects in these challenging times. We hope for the government’s continued support to the industry through funding programs,” Ms. Diño said.

For more information about the fund, contact createphfilms@fdcp.ph or visit www.fdcp.ph/CreatePHFilms.  Zsarlene B. Chua

McDonald’s closes 30 local stores

Financial sustainability, expired leases lead to decision

MCDONALD’S Philippines shuttered 30 stores last year after lease expirations and some concerns with financial sustainability, but opened 16 new stores despite the pandemic.

Golden Arches Development Corp. (GADC), the master franchisee of the McDonald’s brand in the Philippines, posted a net loss of P967 million as of September last year, compared with the P1.2-billion net income in the same period in 2019.

Sales revenues fell 39% to P14.2 billion, with system-wide sales hitting P24.2 billion, mostly due to the impact of the stricter lockdown in the second quarter.

The company in an e-mail said that it opened 16 stores in 2020, and shut 30 as it assessed financial sustainability, leases expired, and lessors made redevelopment plans.

McDonald’s now has 655 stores in the country, down from 669 branches at the start of 2020 and falling short of a pre-pandemic growth pace that had led them to target running more than 700 stores by the end of 2021.

GADC President and Chief Executive Officer Kenneth S. Yang in a forum last month said that the restaurant sector was one of the most affected by the lockdown last year.

Only 38% of the fast food giant’s branches were operating during the stricter lockdown in March and April, and 84% were running at limited capacity by May.

The company had to make their products accessible to customers during the lockdown, he added, by expanding their delivery channels.

“In the dine-in component of restaurants, it’s still weak. However, other channels have offset some of that,” he said, noting that drive-thru and delivery services are increasing.

He expects continued lockdown restrictions to impede business recovery this year.

But Mr. Yang said the vaccination program would help improve consumer confidence, noting that the company must modify its operations to meet its customers’ health safety expectations. — Jenina P. Ibañez

Instituto Cervantes pays tribute to Spanish actress Angela Molina

THIS February, Instituto Cervantes de Manila will treat Filipino film buffs to the film series “Ángela Molina,” an online tribute to one of the main contemporary Spanish actresses. The film cycle will be shown through the Instituto Cervantes channel on the Vimeo platform (vimeo.com/institutocervantes) and freely accessible for 48 hours from their start date and time.

Ángela Molina is one of the most outstanding actresses in Spanish cinematography. She started her career in the middle of Spain’s transition to democracy and has kept working until today. Her career has been marked by her participation in numerous international films, of which her collaboration with Luis Buñuel was arguably the peak. On the occasion of such a brilliant career, the Academy of Motion Picture Arts and Sciences will award her the Goya Award of honor at the 2021 edition of these Awards.

The film series, composed of three films that marked Molina’s career, will kick off on Feb. 13 with the screening of La sabina (which will be available for 48 hours until Feb. 15 at 3 a.m.). The movie, a Spanish co-production with Sweden, was directed by José Luis Borau in 1979, about an English writer who moves to a Spanish town with the aim of changing his life. There he decides to investigate the life of a wandering man who lived in the 19th century, since it is said that he was killed by a dragon woman, known as “La Sabina.”

The film series will continue on Feb. 20 with the drama La mitad del cielo (1986), directed by Manuel Gutiérrez Aragón — a fundamental director in Molina’s career, who starred in several of the films he made during the Transition years, such as Camada negra (1977), El corazón del bosque (1979), and Demonios en el jardín (1982). La mitad del cielo is about Rosa, a woman who travels to Madrid after the Civil War to open a restaurant that transforms to a political and intellectual center of the capital. The movie bagged the Golden Shell at the San Sebastián Film Festival and Molina received the Silver Shell award for best actress.

Finally, the musical Las cosas del querer (Jaime Chávarri, 1989) will conclude the film cycle on Feb. 27 (the film will be available for 48 hours until Feb. 29 at 3 a.m.). When the Spanish civil war ends, Mario, a homosexual singer, a pianist and his girlfriend Pepita come together to form a group, which will become famous throughout Spain. The trio’s career takes them back to Madrid, where the worst happens: the bored and unforgiving aristocracy goes against Mario for his homosexuality, while Pepita’s mother conspires to separate her from her pianist boyfriend. Aside from featuring Spanish folk music from the 1930s and 1940s, the film depicts the historical setting and makes a poignant criticism of the moral and sexual situation of this post-Civil War period.

The films, presented by Instituto Cervantes in collaboration with the Embassy of Spain in the Philippines, will be in Spanish with English subtitles. Admission is free. For further information and updates on this film series, visit Instituto Cervantes’ Facebook site (www.facebook.com/InstitutoCervantesManila) or the event page: https://www.facebook.com/events/161791552193592. For information on Instituto Cervantes’ cultural program, visit its website (http://manila.cervantes.es) or Facebook page.

Cebu Landmasters maintains market lead in Visayas, Mindanao – SKF study

CEBU LANDMASTERS, Inc. (CLI) has retained the largest market share among real estate firms that establish condominium projects and subdivisions in Visayas and Mindanao in 2020, based on a recent market study.

In a regulatory filing on Monday, the listed property developer cited a market study conducted by Santos Knight Frank (SKF), which revealed that CLI accounted for 12% or 18,683 units from the 86,126 available units in Visayas and Mindanao, based on data from third quarter last year.

The study added that companies trailing CLI were Sta. Lucia Realty and Development at 11,897 units, and Camella Homes at 11,768 units.

In 2019, SKF also placed CLI as the top developer of residential projects in Visayas and Mindanao, with a 12% market share, delivering close to 18,000 units.

Further, the study said CLI projects in Visayas and Mindanao were the most saleable projects in the two areas, with an absorption rate of 83%, and sales taking up 210 units per month.

CLI previously said that it posted P14.25 billion worth of reservation sales for 2020, which accounted for 5,300 sold units despite the coronavirus disease 2019 (COVID-19) pandemic.

“The high sales velocity of our projects even at the height of the lockdowns in key cities verify a deeply felt need, especially among Visayas and Mindanao economic and mid-income earners, to own their own homes,” Jose Franco B. Soberano, CLI executive vice-president and chief operating officer, was quoted as saying.

“We intend to continue fulfilling this need in 2021 with 8,000 more units in 15 residential projects in Cebu, Ormoc, Bacolod, Iloilo, Cagayan de Oro, and Davao,” he added.

Meanwhile, CLI cited a market study conducted by Leechiu Property Consultants that showed the housing backlog in Visayas and Mindanao would reach 2.85 million houses by 2022, with an average yearly demand of 475,000 housing units. From the figure, around 200,000 mid and economic housing units are needed every year.

However, the study said only some of the current top 10 developers in Visayas and Mindanao in 2020 are most likely to maximize opportunities in the mid and economic income segment for 2020 and beyond, as some developers extended project completion and turnover dates due to the pandemic.

Mr. Soberano said that CLI, together with local government units and stakeholders, has been able to roll out nine new projects with 4,300 units in Bohol, Iloilo, Dumaguete, and Davao.

“By yearend, 70.6% of the company’s new inventory mostly bearing the flagship brand Casa Mira had been sold out,” Mr. Soberano said.

“The year 2020 opened our eyes further to how high the demand truly is for quality housing in Visayas and Mindanao, and we hope to build on our growth momentum to satisfy this great need,” he added.

On Monday, shares in CLI at the stock exchange rose 0.59% or three centavos to end at P5.13 each. — Revin Mikhael D. Ochave

Gov’t hikes T-bill award as rates continue to drop

THE GOVERNMENT hiked the volume of the Treasury bills (T-bills) it awarded for the sixth straight week on Monday as rates continued to decline across the board.

The Bureau of the Treasury (BTr) borrowed P24 billion via the T-bills on Monday, higher than its initial plan to raise P20 billion, after it accepted more non-competitive bids for the three-month and six-month papers.

Total tenders reached P95.35 billion, making Monday’s offering nearly five times oversubscribed. However, this was smaller compared with the P103.65 billion in bids seen during last week’s auction.

Broken down, the BTr raised P7 billion via the 91-day T-bills, more than the P5-billion program, as tenders hit P21.6 billion. The three-month papers fetched an average rate of 0.846%, down by 7.1 basis points (bps) from the 0.917% seen last week.

The government also borrowed P7 billion from the 182-day papers versus the P5-billion plan, with bids reaching P29.834 billion. The average rate of the six-month papers went down by 11.6 bps to 1.094% on Monday from the previous week’s 1.21%.

Lastly, the Treasury made a full P10-billion award of the 364-day securities on the auction block out of total tenders worth P43.915 billion. The one-year instruments were quoted at an average yield of 1.446%, down 4.6 bps from the 1.492% fetched at the previous offering.

National Treasurer Rosalia V. de Leon said the T-bills auction was met with strong demand despite the spike in January inflation as the market continues to be flooded with cash.

“Liquidity remains strong with P20-billion maturity this week. Price pressures [are] seen as temporary and will be alleviated with measures like price caps and food imports,” Ms. De Leon told reporters via Viber after the auction on Monday.

A bond trader said market players are choosing to put their excess cash in these short-term securities.

“It’s just that funds have nowhere to go, especially for those with limits on tenor,” the trader said in a Viber message.

Headline inflation quickened for the fourth straight month to a two-year record in January after food and transport costs spiked, the Philippine Statistics Authority reported on Friday

Inflation climbed to 4.2% last month, faster than the 3.5% in December and 2.9% a year earlier. It was also the fastest since the 4.4% seen in January 2019.

The January print exceeded the Bangko Sentral ng Pilipinas’ (BSP) estimate of 3.3-4.1% for the month and its 2-4% annual target.

BSP Governor Benjamin E. Diokno has said this spike in prices will be temporary and is not likely to require policy action. The Monetary Board will meet on Thursday for its first policy meeting for 2021.

Meanwhile, the Treasury will hold on Tuesday the rate-setting auction for the three-year retail Treasury bonds (RTBs) as it looks to raise at least P30 billion. It will offer the bonds in denominations of P5,000 from Feb. 9 to March 4, unless ended earlier.

The government offers RTBs to encourage small retail investors to invest, as these have higher returns than prevailing market rates.

The BTr plans to borrow P110 billion from the local debt market this month: P80 billion via weekly auctions of T-bills and P30 billion from a Treasury bond offer. It canceled a previously scheduled bond auction for its RTB offering.

The government is looking to raise P3 trillion this year from domestic and external lenders to help fund its budget deficit seen to hit 8.9% of gross domestic product. — B.M. Laforga

Good grief! Snoopy brings new antics to Peanuts streaming series

LOS ANGELES — Beloved beagle Snoopy and his friends from the Peanuts gang are starring in a new animated series for the streaming TV era. Just don’t expect them to be texting or watching TikTok.

The Snoopy Show debuts globally on Friday on the Apple TV+ streaming service, where viewers can watch via mobile phones, tablets or televisions. Yet the show itself will stay grounded in traditions that have charmed fans for 70 years, said Jean Schulz, widow of Peanuts creator Charles Schulz.

Plot lines are mined from decades of Peanuts comic strips. Some reveal the backstories of well-known characters, including how Charlie Brown and Snoopy met and how Snoopy and Woodstock became pals. Each episode will contain three, seven-minute vignettes. Charles Schulz’s comic strip debuted in 1950 and ran until the day after his death in February 2000 at age 77.

Jean Schulz said the show intentionally avoids modern devices, to stay true to the comic.

“We always felt that to put a cell phone in Charlie Brown’s hand … just didn’t fit,” she said. In the

new series, “it’s the old handset on the table when the phone rings.”

Viewers will see familiar exclamations of “Good grief!,” blunt psychiatric advice from Lucy and friends including Linus, Franklin, and Peppermint Patty grappling with everyday challenges at school and in the neighborhood.

“The characters represent a humanity that is embodied in all of us – our hopes, our fears, our tears, our laughter,” Jean Schulz said in an interview with Reuters. The TV series “still embodies

all these characteristics that people recognize and love.”

Snoopy’s many alter-egos appear in the series, from the hip Joe Cool to World War I flying ace The Red Baron and arm wrestler Masked Marvel.

“Snoopy is irrepressible and never stops coming up with new, animated antics,” Jean Schulz said. — Reuters

Damosa Land eyes two foreign locators for Panabo ecozone

DAMOSA Land, Inc., the real estate arm of the Floirendo-owned Anflo Management and Investment Corp., is in talks with two foreign companies for space at the Anflo Industrial Estate (AIE) in Panabo City.

AIE Corp. First Vice-President Ricardo “Cary” F. Lagdameo said the potential locators are involved in the agro-industrial chain business. He said further details will be announced as negotiations develop.

Mr. Lagdameo said they continue to be bullish about the economic zone after achieving targets last year despite the mobility restrictions and overall economic impact of the coronavirus pandemic.

“Year on year, we were able to hit (targets), to completing infrastructure and bringing in foreign investments,” Mr. Lagdameo said during the company’s 2021 kick-off event held online on Jan. 29.

There are currently 15 locators in the Philippine Economic Zone Authority-accredited complex, represented by five nationalities. Employment within the ecozone more than doubled to 600 as of end-2020 from 289 at the start of the year.

Among the locators that started operations in 2020 were Davao Zhenzhi Corp., PMR Pallet Ltd. Co., Southern Harvest, and Connovate Philippines.

“That’s something that we were extremely happy about… when we see that, despite the pandemic, people are being given job opportunities,” Mr. Lagdameo said.

Japanese paper packaging company Packwell, Inc. also started construction on its facility last year.

About 33 hectares of the 63-hectare AIE has so far been developed, according to Mr. Lagdameo, including 2.1 hectares of ready-built facilities and warehouses and over 2 kilometers of roads.

Mr. Lagdameo said they are also considering expanding the ecozone area with surrounding properties.

“We will be looking at acquiring additional land so that we can continue this project. For 2020, we had to stop our developments during ECQ (enhanced community quarantine, the strictest lockdown level imposed by the government), but before that we were in full swing. Some of the projects that we started even before the start of the pandemic, we were able to finish, (like) the spine road from the front gate of the park to the back gate,” he said.

The developed area also covers the container yard for the adjacent Davao International Container Terminal Port, another Anflocor subsidiary. The port’s expanded berth is also expected to be completed by March.

The company will also start with the AIE’s commercial area this year. — Maya M. Padillo

Fruitas to venture in bakery business

LISTED Fruitas Holdings, Inc. will soon offer pandesal and other bread products in its community stores, the company said, citing customer demand for freshly baked bread.

In a statement on Monday, the food and beverage kiosk operator said it plans to open several standalone “Babot’s Panaderya” branches that will offer pandesal and other bread products, with an initial target of four branches in Metro Manila and one branch in the provincial area.

For the bread production, Fruitas said it would be leveraging off the baking capacity of Negril Trading, Inc., which houses the company’s “De Original Jamaican Pattie” brand.

“As a result, Fruitas is initially entering the bakery business with minimal capital expenditure. Fruitas decided to enter the bakery business itself to serve the demand of its customers for freshly baked bread,” the company said.

The bread products will be sold via its community stores, CocoDelivery subsidiary, and in the soon-to-be established “Babot’s Panaderya.”

Its community stores are currently offering curbside ordering and pickup, and home and office delivery via the company’s CocoDelivery unit, which provides for flexible and improved consumer distribution.

The company also disclosed its plan to offer bread products in some of its kiosks and to selected institutional customers.

Fruitas President and Chief Executive Officer Lester C. Yu said baked bread is a perfect addition to the company’s community stores.

“Pandesal is a staple in Filipinos’ daily diet. Our entry into the bakery business is a natural step to achieve our vision of having every Filipino household consume at least one Fruitas product every day,” Mr. Yu was quoted as saying.

According to Fruitas, the total Philippine bread market is projected to be around P200 billion per annum.

On Monday, shares in Fruitas at the stock exchange rose 5.41% or eight centavos to close at P1.56 apiece. — Revin Mikhael D. Ochave

More financial institutions allowed to access credit information system

THE CREDIT Information Corp. (CIC) has on-boarded more financial institutions that will gain access to credit data, which could help borrowers get financing.

Banks and financial institutions that will now have access to the credit history of nearly 23 million borrowers with more than 80 million contract data include Asia United Bank Corp. (AUB), Cooperative Bank of Quezon Province, Philippine Star Development Bank, Kviku Lending Co., Rural Bank of Central Pangasinan, and The Insular Life Assurance Co. Ltd., CIC said in a statement on Monday.

“We are glad that these financial institutions are complying with the requirements for accessing entities; they are recognizing the value of the credit registry, and they are seeing an actual solutions partner in CIC,” CIC Senior Vice-President for Business Development and Communications Aileen L. Amor-Bautista was quoted as saying.

Authorized financial institutions can access borrowers’ credit reports either through a direct database report from the CIC or special accessing entities such as the CIBI Information, Inc. and TransUnion Information Solutions, Inc.

“Being an accessing entity of the CIC means that we have ready access to comprehensive credit reports which will then expedite the process of granting loans and other financial services to our wide range of consumers including SMEs (small- and medium-sized enterprises) and even corporations,” AUB First Vice-President and credit card business head Magdalena V. Surdia said in a statement.

To get access to the credit database, a firm must be among submitting entities in production or already submitting live or actual basic credit data of their borrowers to the CIC’s credit information system.

Entities that want access to the credit database can use a web-based application system called Covered Entity Portal. The platform can be used for registration, update, and submission of documents such as memoranda of agreement, accessing entity information sheets, and secretary’s certificates or board resolutions.

Ms. Amor-Bautista said consumers can see a list of institutions that access CIC data on its website to know which entities are using the database to assess borrowers’ creditworthiness.

The central bank is also working on a project meant to bridge the gap in the credit risk database for small businesses to help them secure financing. Data collection for the project started last year and the scoring model and service is expected to be launched this July. — L.W.T. Noble

It could have been transcendent

Video Game Review
Watch Dogs Legion
Sony PlayStation 5

Atelier Ryza 2: Lost Legends
and the Secret Fairy
Sony PlayStation 5

Haven
Personal Computer via Steam

UBISOFT’S Watch Dogs series shares much of its makeup with Assassin’s Creed, the company’s other sandbox property. Just like its older brother, the Watch Dogs franchise makes heavy use of its large open world, filling it to the brim with quests, storylines, and alternate activities to keep its players entertained. However, where the Assassin’s Creed games eventually played with concepts of magic, myths, and historical tales of knights, assassins, and Vikings, Watch Dogs would follow its science-fiction roots to their natural conclusion. The series has delved further into its dystopian setting, and out of this evolution comes Watch Dogs: Legion, just released and available on the Sony PlayStation 5, PS4, Xbox Series X, Xbox One, and personal computer.

Technology is at a peak in Watch Dogs: Legion, with the franchise embracing crisp, futuristic applied sciences within a digitized version of modern London. Here, the eyes of the State and its various agencies are everywhere, keeping watch over dissident elements and silencing them in an effort to maintain control. It’s a chilling backdrop, one that, for followers of the series, may well feel out of place given the original material’s melodramatic presentation and the sequel’s over-the-top, even occasionally silly, treatment. And yet the third installment makes the premise work wonders, particularly in the face of stylized visuals that provide a horrifying look at a future filled to the brim with conspiracies, espionage, and shadowy dealings.

Watch Dogs: Legion has players picking up the pieces off an attack that leaves London in shambles. Controlling members of the local branch of DedSec, they’re tasked with exposing the terrorist organizations at work and, in the process, clearing the name of the hacking collective. En route, they must recruit new blood from the city’s ordinary folk, fulfill quests and side missions that bring about much-needed resources and upgrades, and ultimately prepare a team capable of restoring order and justice to the world around them.

Watch Dogs: Legion revels in its grandiosity from the get-go, and, for the most part, it lives up to its promise. London is vast and expansive, and the sheer number of missions on offer will more than hold players’ attention. From recruiting new members to infiltrating and clearing mission zones, they’re pretty much neck-deep in situations typical in a Watch Dogs game. There’s a lot of running around, sneaking, hacking, and puzzle-solving while continuing along a set path. Much is done in stealth, but unwanted discovery brings about action-filled encounters, with weapon and melee skills required for survival. All of this is pretty standard fare, and anyone who’s ever played a third-person shooter before will be right at home with its controls.

Where Watch Dogs: Legion does try to set itself apart from its predecessors, however, is in its informed decision to eschew a named principal character. If Watch Dogs had vigilante Aiden Pearce and Watch Dogs 2 had hacker Marcus Holloway chewing up the scenery, the latest release does not have a central protagonist to control. The world is the players’ oyster, and they’re free to pick and play whomever they want. The interface enables multiple playable characters, thus providing an incredible amount of variety and, therefore, uniqueness. Parenthetically, the setup allows it to double down on its sandbox nature, and helps maintain its freshness. There is no one-man killing machine. There are just nameless characters with diverse looks, distinct backstories, personalities, abilities, and gear. And just like the enemies they face, the protagonist being controlled at a particular moment could be anyone.

To Watch Dog: Legion’s credit, the deliberate, if surprisingly daring, choice actually serves to underscore its virtues. Coupled with a vast environment rendered exquisitely on the PS5, excellent shooting mechanics, and competent level designs, it proves to be no slouch as far as open world games go.

To be sure, Watch Dogs: Legion is not without its flaws. While it’s good parts do shine through and distinguish it from its older siblings, it nonetheless exhibits quirks that should be familiar to the series’ old hands. Meanwhile, the game is locked to 30 frames per second on all consoles, not a complete deal breaker given its polish, but still a minor letdown considering the vast potential being offered by latest-generation platforms. Certainly, players spoiled by other titles running on 60 frames per second will be looking askance at Ubisoft’s programming choices. Other minor complaints also surface once the midpoint is reached. It misses or throws to the wayside otherwise-notable marks like variety of missions and non-playable characters, as if suddenly engulfed by an overall lack of ambition. And perhaps due to the weight of its pledges, it never gets to reach its projected dazzling heights. It never stops being enjoyable, but the most demanding players will be bothered by a nagging feeling that it could have been not just better, but transcendent — that it’s just a few steps shy of greatness.

All told, Watch Dogs: Legion is an extremely engrossing title well worth its $59.99 price tag. It boasts of practically everything it needs to keep players entertained, and it’s not one to shy away from using every trick in the open-world book to hold their attention. Through exciting set pieces, urban gunfights, and stealth missions, it manages to combine familiar Watch Dogs prompts with a darker, more serious plot and singular gameplay. That said, it seems to hold itself back when it should press on, and ultimately leaves fans wondering if the best is yet to come.

THE GOOD

• Compelling dystopian premise, blended nicely with modern designs and architecture

• Excellent gunplay and stealth mechanics on a brand-new game engine

• Open-ended approach to team-building

• Multiple playable characters offer variety and freshness

THE BAD

• Familiar Watch Dogs design notes can give off a been there, done that vibe

• Settings and storylines are darker but seem to be held back, leaving the payoffs wanting

• Tasks become repetitive as the game progresses

RATING: 8.5/10

POSTSCRIPT: Though the Atelier series has churned out a game practically every single year since 1997, longtime fans continue to look forward to new releases. It hasn’t mattered that the gameplay invariably features all-too-familiar elements; improvements come with every subsequent title, but incrementally. For the most part, similar beats being struck serve to keep gamers engrossed again and again, and it’s a testament to developer Gust’s steady shepherding of the franchise that all the freshness seems to remain even though the ingredients largely stay the same.

Until, that is, the arrival of Atelier Ryza 2: Lost Legends and the Secret Fairy on store shelves late last month. Given all the advantages to playing safe and staying in well-tread paths, Koei Tecmo could not have made its decision to explore uncharted territory lightly. To be sure, there was ample reason for it to take the risk and, for the first time in the annals of the beloved franchise, come up with a direct sequel. After all, Atelier Ryza: Ever Darkness and the Secret Hideout, brought to fruition in late 2019 by a new creative team within Gust, wound up being a runaway critical and commercial success.

To consider how much of a hit Atelier Ryza: Ever Darkness and the Secret Hideout became, gamers need only note that it wound up being the highest-grossing title in the history of the series. In fact, demand was such that physical copies, initially produced based on projections off performances of previous offerings in the franchise, quickly became scarce and fetched ridiculous prices in secondary markets. A second printing was approved and done, and yet, once again, stocks ran out. Supply simply could not keep up, if nothing else providing ample proof of its winning combination of a tighter, if still comfortable, storyline and a brand-new battle system.

Under the circumstances, it’s fair to argue that Atelier Ryza 2: Lost Legends and the Secret Fairy comes with great expectations. And it no longer carries the security blanket its predecessors had the luxury of turning to from the outset; instead of the usual story of a female would-be alchemist coming of age after undergoing critical physical and social challenges, it follows the title character three years after the events of the first release. The fish-out-of-water narrative now has her chasing after big-city dreams, in particular the expansion of her knowledge of alchemy and the answer to a mystery a member of her small town has asked her to find.

Which is not to say Atelier Ryza 2: Lost Legends and the Secret Fairy boasts of all-new dimensions. Reisalin Stout still gets to rely on friends and familiar faces while exploring Ashra-am Baird and the ruins just outside the capital city. And for those who have managed to play through Atelier Ryza: Ever Darkness and the Secret Hideout, there should be no learning curve. That said, newcomers to the series will find the interface as easygoing as the story it propels.

Parenthetically, Atelier Ryza 2: Lost Legends and the Secret Fairy’s turn-based combat mechanics offer not inconsiderable variety, but remain intuitive all the same. Even as the system makes use of individual and special attacks, it exhibits a profound bias for team-based executions that sound complicated in theory but are a breeze to pull off with and in practice. And, in this regard, it bears noting that, while in battle, gamers are treated to proper angles highlighting the urgency of the moment.

Needless to say, alchemy nuts and bolts are how the Atelier series has invariably separated itself from other Japanese role-playing games, and where Atelier Ryza: Ever Darkness and the Secret Hideout proved especially transcendent. In Atelier Ryza 2: Lost Legends and the Secret Fairy, finding the right ingredients to mix and turn into useful equipment and powerful weapons still requires no small measure of grinding both in terms of exploration of dungeons and synthesis of items. That said, quality-of-lie features have been enhanced to the point where gamers don’t feel burdened; the world map enables fast and practical travel, while the crafting can be automated. In other words, gamers are provided avenues to spend their time wisely.

Notably, Atelier Ryza 2: Lost Legends and the Secret Fairy improves upon its older sibling by offering narrative heft. Cutscenes and expositions are now in abundance, aided immensely by outstanding Japanese voice acting and spot-on English subtitles. If there’s any negative to the experience, it’s that fanservice is done to excess. The Atelier series has always had lots of it, admittedly lending to its unique appeal, but the latest release seems to have even more – an unnecessary “improvement” in light of all the other pluses.

In any case, Atelier Ryza 2: Lost Legends and the Secret Fairy delivers, and how. As one of the finest JRPGs to be released in a while, it figures to bring hours upon hours of bliss to longtime followers of and newcomers to the series alike. It’s a finely tuned audio-visual treat, with an excellent storyline that complements the immersive gameplay. And it certainly serves to justify the choice of Koei Tecmo and Gust to take the road less traveled. Considering the unmistakable sheen of the final product, it has made all the difference. Highly recommended.

THE GOOD:

• Excellent audio-visual presentation

• Expanded narrative supported by ample cutscenes and exposition

• Superb voice acting and subtitling

• Complex but easy-to-learn interface

• Alchemy at its finest yet

THE BAD:

• Grinding required

• Fanservice offered to excess

• Character stereotypes abound

RATING: 9.5/10

THE LAST WORD: The Game Bakers has come through with yet another surprise hit. As with Furi, the independent developer and publisher’s previous offering, Haven boasts of a carefully thought-out sense of style that shines through its science-fiction setting. It takes gamers on a wild journey across a distant, colorful planet through the eyes of survivors Yu and Kay, as they do their best to find a home in its hostile shores. Centered around the relationship of these star-crossed lovers, it winds up providing a heart-warming tale of exploration, survival, and love amid dangerous times. It’s a story of coping with the struggles of the world alongside a chosen partner, and, just like any other romance-fueled chronicle on any other platform, it derives its value both from the ending and from the journey getting there.

For Haven, getting engrossed in the voyage means engaging in its role-playing-game and survival mechanics. As gamers traipse through the planet’s surface, they’ll frequently find themselves veering off to the nearest resource node to collect plants and items the couple needs to survive. They’ll clean up goop trails called rust, and occasionally, they’ll be allowed to glide from area to area, charging up their boots through energy lines to allow them to hover in the air or run across water. While the interface isn’t particularly engaging or deep, it does serve to maintain interest and alertness levels. After all, the energy lines or flow threads can be rather fickle in design, with tracks that occasionally force sharp twists and curves and lead to new areas to visit – thus furthering the ever-present need to keep collecting resources.

Haven isn’t just about exploration, however. Battles crop up every now and then, with the game pitting the lovers against dangers that lurk on the planet’s surface. When these various fauna attack, the characters team up for some good old-fashioned turn-based combat. As there are but two different attack types to choose from, the system is less about thoughtful decision-making and more about quick reactions. In a lot of ways, it’s like a dance, asking players to juggle between normal hits and dual attacks and blocks. It may seem a little strange at first, especially for gamers used to more conventional Japanese RPG styles of engagement, but it has no lack of satisfaction in any case. It proves particularly entertaining when the couple begins to weave attacks together and block for one another. The resulting visuals ooze with charm, showing off the relationship Yu and Kay have for each other even more.

Which is all well and good, because the relationship is really where the heart of Haven lies. Its other mechanics may be straightforward, but the simplicity serves to enhance Yu and Kay’s interactions. Throughout the game, gamers aren’t just helping the couple survive; they’re also learning more about the central characters. Through its 15-hour campaign, the various conversations they have reveal a bond that only grows stronger with each trial they face. From the small quips they have during battle to the lovey-dovey compliments they give one another during the quiet moments at night, it’s clear that the game isn’t about fighting space demons or building sprawling houses, but about constant love and affection.

The Game Bakers consciously has Haven move off the beaten path. Its RPG elements take a back seat to the overarching narrative, thus supplying entertainment in doses seen to be appreciated by gamers with a pronounced bias for visual-novel-style dialogue. It makes for an interesting story of love conquering any and all challenges, and while the implementation may well be an acquired taste, it does glue everything together with charm. Its artistic design and outstanding writing are its strongest points, and wind up being more than enough to merit its $25 price point. Recommended.

THE GOOD:

• Engrossing storyline of love conquering all

• Engaging exploration and combat mechanics

• Stylish presentation

THE BAD:

• Lacks gameplay depth

• An acquired taste

• Can be repetitive over time

RATING: 7/10

Property sentiment may rally as vaccines arrive

INTEREST in commercial properties within central business districts, as well as residential spaces may increase this year as market sentiment improves, online property market place Lamudi said in a report on Thursday.

There are more growth opportunities for the real estate market this year, as the Philippines maintains a stable credit rating and gears up for mass vaccination against the coronavirus disease 2019 (COVID-19), Lamudi said.

After demand slipped due to pandemic-related uncertainties, Lamudi said page views for residential properties could spike in the first half amid growing interest in houses, condominiums, and foreclosed properties.

Land will have the biggest demand growth between the first to the second half of 2021, while foreclosed properties will see an uptick in the first half.

“Condos, meanwhile, are projected to have the highest growth from second half of 2020 to second half of 2021,” Lamudi said.

Apartment listings also grew between the first and last quarter last year, which Lamudi said could be a response to more property seekers looking for investment opportunities or cheaper housing close to their workplaces.

“As residents in the metro gravitate towards rentals, this type of real estate presents a promising passive income source for investors.”

The exodus of Philippine Offshore Gaming Operators last year dragged office space demand lower. Mall-based commercial spaces also saw more vacancies as retail sales sank.

For commercial properties, Lamudi said spaces in Makati City will likely have the highest growth in page views between the first and second half this year and Muntinlupa City properties will have the most demand.

Demand for Quezon City commercial properties would likely grow by almost 12% in the first half compared to the same period last year.

The continued popularity of central business districts could indicate recovery for the residential sector this year, Lamudi said.

“Even with the new normal of work-from-home, several companies have adopted split operations or staggered schedules, having a portion of the workforce in the office, while others at home, on alternate periods,” the report said.

“For this reason, proximity to the workplace will still be the primary consideration for property seekers.”

Beyond Metro Manila business districts, Lamudi said that infrastructure projects linking the capital to nearby provinces would improve land values in the areas. Demand is increasing as locators potentially show interest in moving investment to the provinces and as the prices of properties in the provinces remain lower than those in Metro Manila.

Interest in Santa Rosa, Laguna commercial properties could increase in the first half compared to the same period last year, while Silang, Cavite property page views could jump by more than 40% between the first and second half. Properties in Biñan, Laguna could also have 13.32% growth in views in the same period.

“The demand for commercial real estate in provincial cities with technoparks can serve as a guide to investors considering property investment away from the densely-populated capital region,” Lamudi said. — Jenina P. Ibañez