MANILA, PHILIPPINES — SB19’s highly anticipated film, “PAGTATAG! THE DOCUMENTARY” marks its nationwide theatrical debut today.
The much-buzzed documentary provides an inside look into the group’s collective and individual experiences on tour, while trying to navigate their ascension to global pop stardom with crippling fear of anxiety and pressure.
Aside from chronicling the P-Pop powerhouse’s journey as they “move forward to a new era of music, career, and emancipation,” the concert documentary also unravels never-before-seen moments that put their resilience and commitment to the test.
“Part of what makes the film even more special is that it doesn’t sugar-coat the learnings and experiences that we’ve endured during the entire era of the PAGTATAG! tour and album release,” SB19 shared in a press statement.
“The year-long run was filled with multiple setbacks that added mental and emotional distress. But as the title explains it best, the documentary will show how we bounced back from the adversities in life and career, and how we managed to mount a series of shows despite going through a lot of internal and collective struggles. We hope that through this movie, we will be able to inspire our A’TIN to become stronger and more resilient when they face a similar ordeal in a not-so-distant future.”
SB19’s PABLO, who currently serves as the Chief Executive Officer (CEO) of 1Z Entertainment, emphasized that they’ve always thought about producing a documentary that captures the story behind the stage and the little moments that define the human aspects of mounting a tour of this scale and ambition.
“We’re grateful to First Light Studios and Jed Regala for helping us turn our vision into a reality,” PABLO revealed. “We’re lucky to have a team that understands the power of collaboration.”
The exclusive screenings will take place from August 28 to September 01 in cinemas nationwide.
Just recently, SB19 emerged triumphant in Billboard’s Fan Army Face-off, winning for the second consecutive year against some of the biggest and most iconic international music stars. The chart-topping five-piece act garnered 56.3% of the votes during the final round, beating Barbadian mega-star Rihanna.
The “GENTO” hitmakers also represented the Philippines in Billboard Korea’s “Billboard K POWER 100” in Seoul on August 27, receiving the Voices of Asia Award for their groundbreaking contribution in putting Filipino music to the global stage.
MANILA, PHILIPPINES — At a time when countless movie and TV titles are on offer via streaming and video-on-demand platforms, when anything anyone wants to watch is at their fingertips, format programs — such as variety, reality, and talk shows — remain highly popular. While Filipinos enjoy tear-jerking drama, heart-pumping action, and gut-busting sitcoms, they also get their kicks from singing, dancing, contests, and games.
Some of the most enduring local programs are format shows, like Eat Bulaga, which just celebrated its 45th anniversary. Its veteran hosts, Tito, Vic, and Joey, are still some of the most famous and well-loved “artistas” in the country. It’s no wonder, then, that when TV5 acquired the top-rating noontime show, loyal TVJ fans followed it to the Kapatid channel.
A track record of breakthrough, brandable entertainment
Although Eat Bulaga is quite new to TV5, the station is not at all new to the genre. Unlike other networks, where narrative series dominate, TV5 has long been producing iconic format shows, such as Wow Mali and Tropang Trumpo, which brought much joy to Filipino homes decades ago.
More recently, TV5 successfully launched other innovative programs, like the now-concluded SpinGo and Barangay Singko Panalo. For both economic reasons and sheer entertainment value, Filipinos are magnetically drawn to gamified television with prizes, and these two were made that much more compelling by their breakthrough, never-been-done-before concepts. The truly pioneering SpinGo was the first game show to inextricably merge TV viewing with in-app play. And the highly relatable Barangay Singko Panalo glorified the core unit of the Pinoy community, the barangay, by setting the games in ultra-familiar environs, populated with “common tao” characters.
For viewers who prefer a magazine talk show format, Güd Morning Kapatid has segments covering an array of topics and hosts who represent a range of ages and interests; thereby appealing to a broad audience and lending itself well to various branded features. Currently, TV5’s strongest proposition is Wil to Win, which has a slew of brandable executions for on-air and on-ground, through which brands can reach Willie’s legion of avid fans. Like with SpinGo, technology enhances the reach and viewing experience of Wil to Win, thanks to the online livestream.
By using original, homegrown concepts versus foreign franchises, format shows satisfy Pinoys’ taste for comedy and game shows, while offering advertisers a way to strengthen their relationship with their target market.
Engaging and flexible content
The spontaneous, unscripted, often interactive nature of these programs means that they resonate more strongly with audiences and invite active engagement with them. TV5 Vice President of Sales for Entertainment & News, Sheila Aligora-Balcueva, avers, “Format shows will always have its space in the landscape, providing a unique flavor and energy to the TV viewing experience. Though they are equally engaging and compelling, I’d say narratives are a more passive & lean-back kind of content, whereas variety and game shows are lean-forward, asking you on different occasions to vote, think, participate, and play to win.”
In addition, programming that is locally conceived and tailored to the culture, language, and preferences of the viewers not only ensures authenticity, but also lends relevance to the brands that are part of them. And since these shows allow for a lot of flexibility — from product intrusion, to segment sponsorship, to innovative and immersive branded experiences — they provide a multitude of opportunities for brands to increase their affinity to consumers. “Format shows easily render themselves to content integration, whether via customization of existing portions or the creation of totally bespoke executions. We can be more direct with branded executions here and need not tiptoe around the suspended reality of narratives,” Balcueva explains. And she promises that there will be much more to expect from TV5: “More formats tapping the pulse of pop culture and entertainment, whether innovations or reboots of classic TV5 offerings.”
Solutions for diverse tastes and needs
With the ever-widening variety of programs available today, it makes sense to cater to different tastes, beyond the usual narrative series. Because format shows delight and excite Pinoys, while at the same time providing a wealth of possibilities for brands to make an impact on their target market, TV5 will continue to offer them—for both viewers’ and advertisers’ happiness. As Guido Zaballero, President and CEO of TV5 Network Inc., says,“The free-to-air business is not exclusive to one player. We are all finding solutions that address the diverse needs of our clients. TV5’s strategy is to create format titles for our audiences to love and embrace as part of their lives.”
Learn more about TV5’s shows and latest news on tv5.com.ph
MANILA, PHILIPPINES — Warner Bros. Pictures, Universal Pictures, and Paramount Pictures are back with new upcoming releases, leaving theatergoers on the edge of their seats once again. From the menacing Beetlejuice to a James McAvoy-led thriller to Optimus Prime’s comeback, a lineup of exciting movies is in store for audiences to see.
Take a look at the complete list of releases this September:
September 04: Beetlejuice Beetlejuice (Warner Bros. Pictures)
Cast: Michael Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega, Justin Theroux, Monica Bellucci, Willem Dafoe Directed by: Tim Burton
In Beetlejuice, Beetlejuice three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Still haunted by Beetlejuice (Michael Keaton), Lydia’s (Winona Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Jenna Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it’s only a matter of time until someone says Beetlejuice’s name three times and the mischievous demon returns to unleash his very own brand of mayhem. #Beetlejuice #Beetlejuice
September 11: Speak No Evil (Universal Pictures)
Cast: James McAvoy, Mackenzie Davis, and Scoot McNairy Directed by: James Watkins
When an American family is invited by a charming British family they befriended on vacation to a weekend in their idyllic country estate, a dream holiday is planned. Soon it warps into a psychological nightmare as not everything is what it seems. An intense suspense thriller from Blumhouse, Speak No Evil stars James McAvoy, Mackenzie Davis, and Scoot McNairy. #SpeakNoEvilPH
September 18: Transformers One (Paramount Pictures)
Voice cast: Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, Jon Hamm Directed by: Josh Cooley
Transformers One is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. In the first-ever fully CG-animated Transformers movie, Transformers One features a star-studded voice cast, including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, with Laurence Fishburne, and Jon Hamm. #TransformersOne
September 18: Taklee Genesis: Worlds Collide (Warner Bros. Pictures)
Cast: Paula Taylor, Peter Corp Dyrendal, Wanarat Ratsameerat, Nuttacha Jessica Padovan Directed by: Chookiat Sakveerakul
During the Vietnam War, the US Armed Forces built a large Radio Research Field Station (RRFS) at Ramasun Camp. It’s believed to be a test site for the warp-speed teleporter by the name of “Taklee Genesis.” Stella (Paula Taylor), a single mom experiencing a twist of fate, receives a call from her childhood friend Ith (Peter Corp Dyrendal) asking her to return to her hometown to care for her critically ill mother Duangphon (Jenjira Widner). Stella left Ban Don Hai when she was a child after testifying that her father had mysteriously disappeared into a forbidden forest, to no one’s belief. Now back in her hometown 30 years later, Stella receives a call from her missing father asking her to bring him back. #TakleeGenesis
Schedules are subject to change without prior notice.
MANILA, PHILIPPINES — There is something special when the orchestra is onstage instead of the pit. You see the entire ensemble in their neat sections. You become aware that the notes swelling you hear are from the bowing of the strings, and that percussionists tread stealthily until their time.
Maestro Yoshinao Osawa led the Philippine Philharmonic Orchestra for a single afternoon of NOSTALGIA: Music from Movie Musicals and more! held at The Aliw Theatre on August 10. The concert opened with some of the most recognizable pieces, like “Habanera” from Carmen Suite No. 2, before moving to the centerpiece: film soundtracks that appeal to nostalgia.
More measured than dramatic, perhaps owing to his decades-long career, Yoshinao eased into beloved film music with the scores from The Godfather, The Sound of Music, and his favored Leonard Bernstein musical: West Side Story. Further into the program: an amalgam of classic pieces that traverses from France, and Italy, to Cuba.
Aptly, he stripped the theater of the grandeur that usually separates the audience as warm bodies in the room, prefacing each number with spiels on the origins or on why he chose to include them in the repertoire. But when he’s on the podium, he’s the conductor who sensibly knows what the piece calls for — tempering the dynamics on more than one occasion, diligently stopping until the orchestra got it just right. His annotations were very much part of the show and the second takes he earnestly did with no sleight of hand.
This, however, did not discount his showmanship. He was candid as he was commanding. With palms downwards, he reposed the strings to the effect of its delicate sonority and soft pianissimos except at the finale, when he was sweeping into a heightened tension, leaning in as if to snap the violinists in precise downbeats; the conductor’s distinct pleaser nature shows up for the audience for the entirety of the concert.
What Nostalgia featured — both in repertory and the musicians — gave its concertgoers a semblance of recognition. The final numbers spared his concentration from the orchestra and towards the audience when alongside the baton in one hand, he seized the microphone in the other for a splashy rendition of “Love is a Many Splendored Thing” and “(I Left My Heart) In San Francisco”.”
As a guest conductor, Yoshinao Osawa has definitely made a vigorous connection with the Filipino audience, whom he described as warm, evidenced by their reception when he serenaded them.
As the strong finish, the maestro waved it all with the arresting “1812 Overture” by Tchaikovsky. He brought his hand to the formidable piece with finesse that directed the orchestra from the corners of the theater — quite literally when brass bands were stationed at the left and right of the house as they delivered rapid blows in the fanfare cadence. Here he was in his most animated element: arms outstretched and jumping for the fortissimo entrance of the band.
Noteworthy even post-show was the maestro’s assembly of the musicians and instrumentation: maximizing the percussion’s role with the hypnotic timbre of the harp, one that’s often traded for electronic record for practicality. For certain, if he were permitted to, the crescendo would break into the actual canons and church bells that 1812 is known for.
For a piece that its composer considers without warmth and heart, the Philippine Philharmonic Orchestra brought the overture to life with such ardor that it seemed the music poured from the tip of the stick.
Giving ground to its title, NOSTALGIA: Music from Movie Musicals and more!, in this case, “and more” is not a substitute for et cetera but indicative of the beyond-ness in deliverance — truly more than what Filipino concertgoers came for.
In this direction where no audience is alienated, the Cultural Center of the Philippines and its classical treasures keep inching toward popularity. If anything, the afternoon proves that the orchestra is still a vehicle of storytelling and the universality of music.
MANILA, PHILIPPINES — A new life in the big city sets up an opportunity for love for Lily Bloom, the main character in Colleen Hoover’s #1 New York Times bestselling novel It Ends With Us. Charismatic neurosurgeon Ryle Kincaid is just that opportunity, sweeping Lily off her feet from the get-go. Playing the role of Ryle and helming the film as the director is actor Justin Baldoni, known for his role as Rafael Solano in the hit satirical telenovela Jane the Virgin.
It was actually Colleen who suggested to Justin that he was the right man to play Ryle. “Ryle may not be exactly what viewers expect,” he said. “I wanted to portray him as a complex, smart man who has never dealt with old traumas. There is absolutely no excuse for what he does in the film. We wanted to show an example of a complex and seemingly impossible situation that so many people live through. Showing that there may be real love while not running away from the fact that there is also real harm.”
As new love blooms, an old flame returns into the picture in the form of Lily Bloom’s childhood sweetheart, Atlas Corrigan, played by Brandon Sklenar. “Atlas and Ryle are polar opposites,” Brandon said. “Ryle has a manipulative, toxic presence. Atlas is strong and sturdy, an example of what masculinity can be in a calm, present, and open way. Unlike Ryle, he has no need for validation. When he’s with Lily, he’s just purely there for her.”
Colleen talks about the contrast between the two men in Lily Bloom’s life, and Brandon’s portrayal of Atlas. “Atlas is who Ryle wishes he could be: someone who doesn’t blame his past for his present,” Colleen said.
“Atlas has learned and grown from his hardships, rather than shrinking because of them. I needed to see an openness and tenderness in Atlas that we wish wasn’t missing in Ryle, and Brandon portrays that beautifully.”
Justin talked about changes to characters from the novel, with the blessing of Hoover’s fans. He wanted it so that Lily, and in turn the audience, come to the realization that the relationship between her and Ryle was an abusive one gradually. “We decided to bring that realization out slowly, like a recovered memory,” Justin explained.
Go on a cathartic and emotional journey as It Ends With Us arrives in Philippine cinemas on August 07. To know more, visit the Columbia Picture Philippines Instagram page and connect with the hashtag #ItEndsWithUsMovie.
MANILA, PHILIPPINES — During the San Diego Comic-Con, Rick Riordan and Disney+ revealed that Daniel Diemer (Under the Bridge) will star as fan-favorite cyclops “Tyson” in the epic adventure series, Percy Jackson and the Olympians. Daniel joins Walker Scobell (Percy Jackson), Leah Sava Jeffries (Annabeth Chase), and Aryan Simhadri (Grover Underwood) as a series regular. The Disney+ Original series from Disney Branded Television and 20th Television will start filming its second season this week in Vancouver.
Season two of Percy Jackson and the Olympians is based on the second installment of Disney Hyperion’s best-selling book series titled The Sea of Monsters by award-winning author Rick Riordan. In the new season, Percy Jackson returns to Camp Half-Blood one year later to find his world turned upside down. His friendship with Annabeth is changing, he learns he has a cyclops for a brother, Grover has gone missing, and the camp is under siege by the forces of Kronos. Percy’s journey to set things right will take him off the map and into the deadly Sea of Monsters, where a secret fate awaits the son of Poseidon.
Daniel stars as Tyson, a young Cyclops who grew up all alone on the streets, and finds it difficult to survive in the human world. Shy and awkward, with a heart almost as big as he is, Tyson soon discovers that Poseidon is his father, which means Percy Jackson is his half-brother… and that Tyson may have finally found a home.
The young actor recently starred in the Disney+ limited series Under the Bridge based on the critically acclaimed book of the same name and a tragic true story of a missing teen girl in Vancouver in 1997. He will next star in the indie Thug opposite Liam Neeson and Ron Perlman for director Hans Petter Moland. Daniel was also recently seen as the lead in the indie Supercell opposite Alec Baldwin and Skeet Ulrich and the lead in the film Little Brother opposite Phil Ettinger and JK Simmons. He is a graduate of Victoria Academy of Dramatic Arts in Vancouver.
Created by Rick Riordan and Jonathan E. Steinberg, season two of Percy Jackson and the Olympians is executive produced by Steinberg and Dan Shotz alongside Rick Riordan, Rebecca Riordan, Craig Silverstein, The Gotham Group’s Ellen Goldsmith-Vein, Bert Salke, The Gotham Group’s Jeremy Bell and D.J. Goldberg, James Bobin, Jim Rowe, Albert Kim, Jason Ensler and Sarah Watson.
The first season of Percy Jackson and the Olympians is available on Disney+.
MANILA, PHILIPPINES — K-Pop has undeniably cemented its status as a global phenomenon, with leading audio platform Spotify at the forefront of driving the genre, empowering artists to connect with a global audience and scaling their music across borders. Spotify’sflagship playlist for the genre, K-Pop ON! (온), has become a key destination for those new to the genre and veteran superfans alike, helping them discover new music while keeping up to date with K-Pop’s very best.
This year, Spotify commemorates a decade of the flagship playlist bringing K-Pop to the world and launched the first-ever Spotify K-Pop ON! (온) Singles. Headlined by artists ENHYPEN, SHOWNU X HYUNGWON (of MONSTA X), and STAYC, this milestone initiative was centered around the theme of “My First K-Pop Crush” and featured covers of songs by the sunbaes (industry seniors) who first sparked each band’s love of K-Pop. Much more than a nod to the very beginnings of every fan’s journey into the genre, the campaign was also a celebration of K-Pop across generations.
These Spotify Singles not only sparked enthusiasm among fans, but also rekindled appreciation for the iconic original tracks while continuing to spread the genre’s influence worldwide, even spanning beyond Asia and the US. To date, ENHYPEN’s cover of BTS’ “I NEED U,” SHOWNU X HYUNGWON’s rendition of 2PM’s “I Hate You” and STAYC’s version of TWICE’s “Fancy” have collectively amassed more than 35 million streams.
Fresh content to connect with fans and new listeners
Following the release of the Spotify K-Pop ON! (온) Singles, the performing artists saw notable uplifts in Spotify streams on a global scale – underscoring the power of the Spotify Singles program in providing artists with opportunities to build and deepen connections with fans as they bring listeners fresh content.
In the week following the releases of the covers by ENHYPEN and STAYC, the groups’ overall Spotify streams saw a week-on-week increase of close to 25% and 40% respectively. Most notably, in just a week following the release of SHOWNU X HYUNGWON’s cover of “I Hate You,” the duo saw a staggering 490% increase in global streams and a 20-fold increase in Spotify streams in the Philippines.
Igniting the rediscovery of iconic tracks
As ENHYPEN, SHOWNU X HYUNGWON, and STAYC gave fans a glimpse into their beginnings with K-Pop through their Spotify K-Pop ON! (온) Singles, their covers also reignited interest in the iconic original tracks – particularly those from earlier generations.
Highlighting the timeless appeal that music can have and the power of covers in bringing past hits back into the spotlight, SHOWNU X HYUNGWON’s rendition of “I Hate You” resulted in an uplift of more than 35% in Spotify streams for the original 2009 hit, in the week following the launch of the Spotify K-Pop ON! (온) Single. Spotify streams for BTS’ 2015 “I Need U” also grew in the week following the release of ENHYPEN’s version of the song, tracking a 135% increase.
Driving K-Pop beyond Asia and the US
K-Pop has proven that music from anywhere in the world can transcend language and cultural barriers. Once again demonstrating the global appeal of the genre, markets beyond the US and Asia ranked amongst the top countries rediscovering the original versions of the Spotify K-Pop ON! (온) Singles.
In the week following the release of ENHYPEN’s cover, Brazil and Turkey were amongst the top markets that saw the highest percentage increase in streams for “I Need U” by BTS. Meanwhile Mexico, Canada and Brazil ranked amongst the top 10 markets rediscovering “I Hate You” by 2PM following the release of SHOWNU X HYUNGWON’s rendition of the track.
A week after STAYC released their cover of TWICE’s “Fancy,” markets including Egypt, New Zealand, Hungary, the Czech Republic, Portugal, and Belgium saw the highest spikes in streams.
“We’re thrilled to witness how listeners worldwide have supported our first-ever Spotify K-Pop ON! (온) Singles,” shared Jungjoo Park, Head of Music Korea at Spotify. “At Spotify, our dedication to helping music travel the globe goes beyond showcasing talent. In addition to driving the growth of K-Pop by fueling music discovery, we’re also committed to helping artists foster deeper connections with fans and new listeners to build the appreciation of the genre.”
MANILA, PHILIPPINES — There have been many indie games over the years that have achieved fame and glory, some even outpacing big-name AAA studios. However, something like that has yet to come from Filipinos. While it may not be the solution just yet, a recent event may have been a small step in the right direction. Organized by creative director and illustrator Rob Cham and independent game developer Mellowminx, Videogames by Indie Dev Girlies brought forward the idea of creating safe spaces for female developers at Space63 at Comuna, Makati City, on May 26.
According to Rob, the event was organized to promote art that “wasn’t in galleries,” especially video games. “Video games are also a very cool art form, and I’m so excited to see what local creators are able to make,” he said.
He and his frequent creative collaborator, Apol Sta. Maria, hosted a takeover of Studio63 throughout May, celebrating Filipino art in unconventional ways during the month-long May Art Month. At one of these events, Mellowminx approached him with the idea for a female-led gathering of indie game developers.
For Mellowminx, the event was set up to boost female voices and experiences in the game design industry, especially since most video game events tend to be male-dominated, focusing on competition and esports.
“I was kind of looking for a more sort of chill and girly space for gamers and game developers, and because I know other women and developers locally, I wanted to have a space for us,” she shared.
Videogames by Indie Dev Girlies featured several indie developers whose games were set up on computers free for anyone to try out. Upon entering, guests were greeted by Kelsie Regine Reyes, the developer of Pluck & Brew, who would give them a small sheet listing every game being shown at the event.
Guests could have the developers sign this sheet, and if they got every developer’s signature, they would be rewarded with a free sticker. Guests could try out the games on display, as well as talk to the developers themselves about their work and experiences.
This is exactly what I did. I played four of the seven games being demoed (and enjoyed them greatly) and interviewed their creators, and this is what they had to share:
The game is described by Bee as a combination of a romantic visual novel and a management simulator. It is set in the city of Deepharbor, where you control either Edmond or Edna, twins who have inherited their father’s tavern, the Ready Bready Tavern. This is where the management elements come in, as the twins must recruit allies from all over the city to help around the tavern. You can also romance any one of them, no matter which twin you play as.
“I’m really into Dungeons & Dragons, like the tabletop RPG,” Bee said, when asked about what inspired Bardic. “I just loved playing it so much that I wanted to make a dating sim out of it, yeah.”
Bee served as lead programmer on Bardic, as well as Creative Director. The game is available on Steam for PHP 485, with a free demo version. An art book containing concept art and production notes is also available on Bardic’s Steam page for PHP 239.95, with copies being sold at Videogames by Indie Dev Girlies for PHP 100.
The game immediately took me by the art style and charming voice acting, and I enjoyed the management elements (even though I’m normally bad at management simulators) almost as much as I did the worldbuilding and story. If you’re into fantasy settings, quirky characters, and dating sims, definitely give this game a spin.
Players take control of a mage-in-training, who runs a potion shop out of her caravan. You sell potions to various customers and brew these potions by completing different pattern-based puzzles to mix together the ingredients (if you even have them, as you have the option to send customers away if you don’t). This is the only programmed feature so far, as the game is currently in its demo state.
“Currently, the demo has one coded feature, which is the selling and the brewing,” said Kelsie. “But in the future, I’m hoping to add a traveling mechanic where you get to travel from location to location, where you can forage ingredients and basically set up shop in areas, and there’s the foraging mechanic where you have to be careful about overharvesting, getting too many ingredients from one area.”
“I always liked cooking and management games,” she continued. “Ever since I was a child, I liked playing games like Diner Dash, and I really liked this mobile game called Cooking Craze. Something that I wanted more of from the games that they didn’t give me was that I couldn’t get to know my customers. That’s also another thing I have planned for the game, where all of the named characters, you can form a relationship with them as you travel through the land.”
Pluck & Brew’s demo is available on Itch.io as a browser game.
The concept of a potion-brewing game caught my eye immediately, and boy, was it worth it. The simplistic pattern puzzles proved surprisingly challenging when I had to match up to the required symbols. What I liked most about this game is that Kelsie’s desire to connect with her customers, which she longed for in other cooking games, is made clear here, as the customers have distinct designs, speaking patterns, and needs, not only informing you of their required potions but also their personalities.
If you enjoy cooking and puzzles and are into the “cottagecore” aesthetic, then this game is the one for you.
“Miranda’s Retail Rebellion” and “Lucky You? Bancit Kantunan”
Both of these games were made by the last two developers I spoke to at the event, Dara Mendez and Nissie Arcega, who worked as partners and were presenting on behalf of their development team.
In Miranda’s Retail Rebellion, you take control of a teenage girl — the titular Miranda — as she applies for a new job at an unnamed store.
And this is where the “rebellion” part comes in. Described by the two presenters as an “anti-management simulator,” the player’s goal is to sabotage the store by deliberately ruining operations (throwing stuff off the shelves, breaking the cash register, wrinkling and tossing clothes, etc.), all while a studious coworker runs around trying to fix these mistakes. Your goal is to cause the store to lose as much profit as humanly possible by the end of the day.
“We made that project during a game jam,” Dara shared. “It was a women’s game jam that was hosted by […] an organization that supports women in game design. One of the prompts was ‘management’, so that’s the idea our game designers thought of. Nissie’s one of the game designers for that, and I personally did background art.”
In Bancit Kantunan, you play as an unnamed, gender-ambiguous student at “UB” (playfully based off of the University of the Philippines). Your goal is to secure a date to an upcoming student fair from among the game’s various love interests.
This would be your run-of-the-mill romcom dating sim, if not for the fact that each love interest is seen as a package of Lucky You! (Lucky Me) Pancit Canton. For instance, Xander is represented by a pack of Hot n’ Spicy, while Chris is a pack of Chilimansi with glasses. Only by completing their respective routes do you get to see hand-drawn photographs of the boys as actual humans.
“We started this back in the pandemic,” Dara said. “We’re both from UP, and we were sort of reminiscing about university life.”
I tried Retail Rebellion first, and while I liked the art style and found the concept hilarious, it was too challenging from the third day onwards. Maybe it’s just because I was too slow and didn’t notice things quickly enough, but still, it was a fun game.
When I tried Bancit Kantunan, I found the concept even funnier than Retail Rebellion. What really shined, though, was the many references to UP life and student culture, with details here and there like the many street food stalls, as well as the floating park.
From what was displayed at the showcase, it’s easy to have nothing but optimism for the Pinoy indie game scene. Videogames by Indie Dev Girlies left me with a smile on my face and hope in my heart that local developers will only get better and more creative as time goes on, especially when given safe spaces to showcase what they can do.
And that someday, one of us may even make their mark on video game history, ascending to join the likes of Toby Fox (Undertale) and Omocat (Omori).
MANILA, PHILIPPINES — Laughter and loud cheers reached the high ceilings of Ayala Museum on May 10 as stand-up comedian Red Ollero took the stage at CreativeFest 2024, hosted by 4As Philippines and the Creative Guild.
Red kicked off his talk with an interesting analysis of the phrase “trying hard.” He explored its nuanced interpretation, highlighting its differing connotations in Western and Filipino contexts. While it may denote good intentions in the West, it often carries negative implications in the Filipino context.
For Red, this has been his life’s work — trying hard. Again, and again, and again. Despite the potential for failure and skepticism, he embraced the ethos of persistent effort. To him, the act of trying, regardless of outcome, is infinitely more valuable than stagnation.
“We’re always trying to make sure na before we try, ang daming preparation, in the end, ‘di na gagawin,” Red explained. “In trying, doon niyo malalaman kung gusto niyo yung ginagawa niyo or hindi.” (In trying, you’ll find out if you really love what you do.)
The stand-up comedian proceeded to share his success story, characterized by numerous instances of “trying hard.” From helping establish the local stand-up comedy scene to surviving the pandemic through Zoom comedy shows and even striving to secure a comedy special on Netflix, Red’s path exemplifies relentless determination.
Seventeen years ago, Red was a junior copywriter who felt lost and struggled to pursue his true passion of being a stand-up comedian. But thanks to several attempts of trying — from rewriting jokes, filming comedy specials with shoddy cameras, selling comedy shows, and persistently contacting the Netflix hotline — he made it.
While sharing his origin story drew a lot of laughter from the audience, it was Red’s Q&A session that truly brought the house down with even more laughs and a plethora of learnings.
Launching into his Q&A session, someone asked: “What’s next for Red Ollero?”
“Well, I have a meeting at 4 and then dinner at 7,” Red quipped. “Just kidding. I have to admit that I felt depressed after I ticked the Netflix comedy special off my list. But I want to do more live shows, I want to do more different things with my friends.”
“Gusto kong yumaman, so pahingi pera,” he added. (I want to be rich, so give me money.) “I also want to focus on local wrestling promotion. But everything I’ve been through so far made me realize I want to do standup comedy more than ever.”
As the session continued, a copywriter posed a question: “Since you mentioned that you used to be a copywriter, what are the similarities between copywriting and stand-up comedy?”
“Constant rejection,” Red answered without missing a beat. “Nasanay lang akong ma-reject paulit-ulit. ‘Pag sanay kang ma-reject, you have that muscle to keep going. Kapag hindi bumenta joke ko sa stand-up, iniisip ko na lang na parang binaril yung idea ko sa pitch.” (I’m used to rejection. If you’re used to being rejected, you have that muscle to keep going. When my jokes don’t work in stand-up, I just think of it as my idea being rejected in a pitch.)
Red also tackled a question about creatives struggling to produce “funny” work. “I come from a school of thought that believes that everybody has a sense of humor, it’s just that some people are better at conveying it,” he shared. “It’s just a matter of trial and error.”
Wrapping up his presentation, Red responded to a query about delivering humor to a generation with that perceives humor differently. “You have to have the intention of learning and being better. Sometimes, it’s not all about thinking outside of the box. A better creative makes the box great.”
adobo Magazine is an official media partner of CreativeFest 2024.
MANILA, PHILIPPINES — As X-Men ’97 continues to hold fan attention with the release of each episode, we continue our focus on all things X. Specifically, veteran X-Men creator Chris Claremont who revitalized the mutants back in the late ’70s.
It can be argued that X-Men ’97 would not be possible if it weren’t for Chris’ work on the title. Here’s why:
Likable and fully realized characters
Chris revitalized the X-Men by making old and new members Cyclops, Jean Grey, Wolverine, Storm, and the rest charismatic and simultaneously relatable. Chief among them was Wolverine himself. While first coming off as savage and arrogant, Chris would slowly unveil his code of honor and fierce loyalty to his friends in later issues.
Compelling dialogue
His character lines were always very entertainingly quippy and melodramatic. When read aloud, they sounded very cheesy to the ears. Yet there were moments when the inner monologues felt very human and intimate. Chris never talked down to his audience considering that the medium was targeted to a considerably young audience at the time.
Breakneck action
The early Chris issues were a visceral rush! High tension and suspense were the norm. It was uncanny (pun intended) that in spite of the story speed, Chris never sacrificed character for action. In fact, it was through action that he demonstrated character, whether it was Cyclops calmly strategizing in the middle of the fray or Wolverine going berserk.
Plots galore
For context, the early X-Men issues were released every sixty days (compared to today’s monthly schedule!) That meant Chris had to make sure that every issue was worth the wait, and he partly did that by packing each issue full of story. Aside from the main plot, he would sow each with lots of subplots that would pay off eventually plus slowly unveil a lot of the backstory for each character. By the end of his tenure, there were so many subplots that never paid off to this day.
Woke before there were woke themes
Chris and the editors broadened the X-Men’s message of racial harmony by making the new heroes ethnically diverse. He delved further into the differences between characters in terms of belief and culture, making the fanbase international. He even broke further ground when he made the bigots and villains empathetic by exposing their fears.
