Recently in Parañaque City, two wanted foreigners allegedly connected with the Japanese burglary gang leader Yuki “Luffy” Watanabe were arrested by law enforcers in BF Homes according to a news article published by the Philippine News Agency (PNA).
To put things in perspective, posted below is an excerpt from the PNA news report. Some parts in boldface…
Two more suspects connected with Japanese burglary ring leader Yuki “Luffy” Watanabe were arrested in Parañaque City, the Bureau of Immigration (BI) reported on Saturday.
Commissioner Norman Tansingco identified the Japanese nationals as Fujita Kairi, 24, and Kumai Hitomi, 25, who were apprehended in BF Homes by operatives of the BI’s Fugitive Search Unit on Friday afternoon.
The two have standing warrants of arrest for theft issued by the Tokyo Summary Court in September 2022. They are detained at the BI facility in Taguig City pending their deportation.
“This is a major breakthrough in the case, as we have finally arrested more suspects involved in this major case in Japan,” Tansingco said in a statement. “They will finally be facing their crimes in their homeland.”
Watanabe and accomplice Tomonobu Saito were deported on Feb. 8, the day after fellow fugitives Toshiya Fujita and Kiyoto Imamura, both 38, were sent home.
The above report ended stating that the gang was involved in at least twenty robberies that happened in Japan in the past twelve months, as well ass the murder and robbery of a 90-year-old person in the city of Komae.
Let me end this piece by asking you readers: What do you think about this recent development? If you are a Parañaque City resident, are you convinced that there could be more wanted criminals from abroad who could be hiding within your local community right now? If you have been following the developments about the Luffy case, do you know where exactly in BF Homes did the arrests happen?
For more South Metro Manila community news and developments, come back here soon. Also say NO to fake news, NO to irresponsible journalism, NO to misinformation, NO to plagiarists, NO to reckless publishers and NO to sinister propaganda when it comes to news and developments. For South Metro Manila community developments, member engagements, commerce and other relevant updates, join the growing South Metro Manila Facebook group at https://www.facebook.com/groups/342183059992673
As a happy gamer who owns an Xbox Series X console, I should state that I am having fun with turn-based tactical games like Gears Tactics, Empire of Sin and Phoenix Point. Those three games – which as of this writing are still available for Xbox Game Pass (XGP) subscribers to enjoy – have their own concepts and their own approach on gameplay that involves strategy.
Speaking of strategy gaming, Square Enix officially announced that it has a brand new strategy role-playing game (strategy RPG) that will be released on Xbox Series X, Xbox Series S and Xbox One this year – The DioField Chronicle.
To begin with, watch the official video below…
To put things in perspective, posted below are excerpts from the official announcement by Square Enix. Some parts in boldface…
This fresh new franchise is developed by SQUARE ENIX in conjunction with Lancarse Ltd, a team of veteran strategy developers, features unique character designs by Taiki (Lord of Vermilion III, IV), concept art by Isamu Kamikokuryo (FINAL FANTASY XII, FINAL FANTASY XIII) and has beautifully orchestrated music by world-renowned composers Ramin Djawadi and Brandon Campbell, known best for their work on Game of Thrones.
The Announcement Trailer unveiled today provides a first look at the story and new, deeply strategic real-time battle system called ‘Real-Time Tactical Battle’ (RTTB). Told through stunning ‘diorama’-style combat scenes, players will assess front line conditions in real-time, issue decisive orders and use a variety of skills, classes, and equipment to gain the upper hand over their foes.
A glimpse on the gameplay based on a work-in-progress.
The DioField Chronicle is set in a beautiful and unique world blending fantasy, medieval and modern-day influences. Under the steady hand of the Shaytham dynasty, the Kingdom of Alletain on DioField Island has known peace for 200 years, but suddenly find themselves cast into an age of uncertainty due to the rise of warlike powers and modern magic.
This image shows the scale of the location.
The Kingdom of Alletain is rich in the mineral Jade, prized for its use as a base ingredient in magic and sorcery, and the attention of both the Empire and the Alliance inevitably turns towards the island. Players will take control of a band of elite mercenaries calling themselves “Blue Fox”, but will the name “Blue Fox” come to signify hope or darkest tragedy?
For the newcomers reading this, The DioField Chronicle is the fourth new game from Square Enix that will be released on Xbox consoles this year. The others are Star Ocean: The Divine Force (release date still pending), Stranger of Paradise: Final Fantasy Origin (March 18, 2022), and Chrono Cross: The Radical Dreamers Collection (April 7, 2022). While it is notable that Square Enix won’t be releasing their big-budget RPG Final Fantasy XVI on Xbox consoles anytime soon, their other games mentioned above will still add a good amount of Japanese-style gaming on the Xbox platform for gamers to enjoy. Take note that hot Xbox-exclusive RPGs are coming and Bethesda’s Starfield will rock the gaming world this November. To the Xbox fans reading this, be assured that 2022 will be an even bigger, more exciting and more enjoyable year. Team Xbox has strong momentum that PlayStation and Nintendo cannot even match.
Going back to The DioField Chronicle, it sure looks interesting and intriguing at the same time. The visual style of using 2D art while showing polygonal action in key sequences is notably eye-catching. For more information about the game, visit https://www.diofieldchronicle.com/
In closing this piece, posted below are Xbox-related videos for your viewing pleasure.
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Disclaimer: This is my original work with details sourced from watching the movie and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
There is no doubt that Japan’s fictional monster Godzilla (originally called as Gojira) made tremendous impact not only with the Japanese but also with other entertainment lovers around the world. Way back in 1954, the monster was portrayed as a destructive, walking symbol of nuclear weapons in the movie Gojira directed by the late Ishirô Honda.
Before the 2019 movie was released, Toho in Japan released Shin Godzilla (alternate titles: Shin Gojora and Godzilla: Resurgence) which was the result of the 2014 movie’s success as well as the fact that there were no restrictions in the contract with Legendary Pictures for the Japanese studio to make their own domestic versions.
Due to its lack of presence in cinemas here in the Philippines in 2016, I was unable to watch it on the big screen. Fortunately, it was released locally on original DVD and I got to watch it in the comfort of home.
With those details laid down, here is a look back at Shin Godzilla co-directed by Hideaki Anno and Shinji Higuchi (both best known for Neon Genesis Evangelion).
This is classic Godzilla.
Early story
The story begins at Tokyo Bay where the coast guard personnel found an abandoned yacht and searched inside. Suddenly a huge cloud of steam erupted from the ocean followed by blood-like water flooding the Tokyo Bay Aqua-Line. The tragedies compelled local authorities to take action starting with a committee meeting.
As emergency personnel save the victims in the damaged Tokyo Bay Aqua-Line, the tragedies reach the office of the Prime Minister who engages with many other government officials in an official meeting. They try to figure out what caused the incidents and, as such, theories and efforts to explain what happened were spoken until Deputy Chief Cabinet Secretary Rando Yaguchi (Hiroki Hasegawa) theorized that a living creature caused it (because he saw a viral video) which only resulted disbelief and dismissal.
Suddenly a massive tail rises from the ocean which got captured in video and photographs by the news media which confirms Yaguchi’s hunch. As the Prime Minister and the team of officials spend more time discussing and searching for real experts (because the three scientists they just met did not produce any breakthroughs), a huge creature makes its way into one of Tokyo’s districts through a waterway causing massive damage and displacing many people as well as all boats that got in its way.
In a press conference, the Prime Minister gave his assurance to the public that they need not worry about the creature coming to shore. Just after giving his assurance speech, an assistant approaches the Prime Minister with really bad news that the creature has been crawling inland and causing even more damage…
Quality
Japan’s iconic monster is not only terrifying here but also very deadly.
When it comes to presentation in comparison to all other Godzilla movies released, Shin Godzilla is very unique as it strongly brings to the viewers a very in-depth examination of the bureaucracy of the Japanese government complete with the many laws, requirements, rules and other elements of governance that made it so hard for the local authorities to respond to Godzilla’s invasion of the metropolis. There are key details that were raised such as the constitutionality of using local military force against the monster (which is not a foreign invader), which department should be in-charge of research about the same monster, etc.
Along the way, there is an overload of information – in terms of text, images and dialogue – that makes viewing quite a challenge. This makes watching Shin Godzilla a learning experience that viewers who are interested in governance and science will likely enjoy although it will alienate other moviegoers, especially those who only want to watch the spectacle of massive on-screen destruction that giant monster movies are known for. Going through all the exposition and explanations, and understanding most of it, however, will make the viewing experience worth it as these countless details do make sense in relation to Godzilla’s destructive impact on the people.
And then there is the huge cast of characters that needs to be followed. This is another big challenge for viewers because if one misses out on the key purpose a character has, then following the government’s efforts on dealing with Godzilla will make less sense. Not only will you have to follow the characters’ names, you will also have to remember their respective work titles. Apart from the government officials, there is also the huge batch of nerds and varied experts gathered by the government to do intense research. Again, those people need to be followed and remembered so you can understand what they do and how they contribute to their government’s efforts. When it comes to performances, they are collectively dramatic and you will be convinced of the pressure, the danger and uncertainty they face with Godzilla threatening Tokyo.
Better get used to seeing so many characters throughout the movie.
Hiroki Hasegawa as Rando Yaguchi.
As for the main spectacle of the movie, Godzilla, I can say that the monster here is very terrifying to watch. This is not your typical Godzilla as the Anno-Higuchi directorial duo really went all out with their creativity to remake Japan’s iconic monster into something new and deadly while still linking him creatively to the legacy of the classic Godzilla. There is even an element of evolution in this version of Godzilla and to see the Japanese military fire their expensive weapons at him really made a lot of spectacle to enjoy. I should also state that several scenes of disaster caused by the monster in this film were inspired by the tragedies of the Tōhoku earthquake and tsunami, and the Fukushima Daiichi nuclear disaster of 2011. Lastly, Godzilla here is really a super villain that is not only gigantic but also is made to be highly believable that it can destroy the nation, kill innocent civilians, demoralize the authorities and even bring Japan’s entire economy way down (note: one of the government officials explained the economic consequence of failing to defeat the monster).
When it comes to visual effects, this one is the best-looking Godzilla made by the Japanese yet! While the traditional approach of having an actor wear a rubber suit has been disregarded in favor of using modern, digital means (with motion capture), what the production team did here is very impressive as they focused strongly on having computer-generated graphics that are photo-realistic. While it is true that there were some moments of fake-looking CGI, the heavy photo-realism on the graphics of Godzilla (combined with strategic camera angles that really captured the scope and size of the monster) easily outweighed the weak spots. The lighting effects used for the laser blasts were very impressive, even competitive with what Hollywood has been doing. As for the scenes of destruction, a mix of CGI and practical effects (specifically miniatures) was used. In fact, certain scenes showing Godzilla interacting with the environment was done with pushing a prop through miniatures which resulted a high level of detail with organic and solid stuff.
The spectacle would not have been that effective, however, without the solid musical work done by Shiro Sagisu. Not only did the music add a lot to the intense sequences of Godzilla, it also brought out the sense of dread and horror out of the monster especially in the night-time scene when he was towering over a large section of Tokyo that lost power. Sagisu was also involved in Neon Genesis Evangelion.
Conclusion
The emphasis on photo-realism on the computer-generated effects is something special.
I can say it out loud that Shin Godzilla (2016) is truly a spectacle to watch complete with tons of heavy drama, tons of information and the widest cast of characters to date. It is a new version of the Japanese icon that really impresses and when it comes to movie intelligence, it easily outshines many other Godzilla flicks. While it has a lot of spectacle to keep moviegoers entertained, its heaviness with the information and large cast of characters could turn off viewers who are not used to thinking and paying attention to lots of details while watching a giant monster movie. Personally, I welcomed the information overload and made efforts on paying close attention to the details and the characters. It really takes patience and focus to truly make the most out of the story and the overall presentation.
Ultimately, I enjoyed this movie for what it is and what its message was about with regards as to how governments should respond to immense disasters, what is Japan’s place in the world of the 21st century and, most notably, what Godzilla means to Japan and the international community. This is a very solid modernization of Godzilla and the Anno-Higuchi deserve admiration.
If you are seriously planning to buy an existing hard copy of Shin Godzilla (2016), visit Amazon for the Blu-ray disc release and see if it has the right price and special features to satisfy you.
Overall, Shin Godzilla (2016) is recommended!
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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
Author Carlo Carrasco 